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PRISM
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 EDITOR DAQUAN TAYLOR dtaylor6@binghamton.edu
PHOTO EDITOR JOEL VELASCO jvelasc2@binghamton.edu
ASSISTANT PHOTO EDITOR ANASTASIA FIGUERA afigue11@binghamton.edu
COVER PHOTOS BY JOEL VELASCO
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.
I can’t believe I’m writing my last letter from the editor. I’ll get to the super sappy stuff at the end of this, so let’s just go through what you can expect from this final issue of PRISM! Assistant PRISM Editor Tykeem starts the issue off with coverage of Black Dance Repertoire’s outstanding Exposé it put on earlier this month, and we stay with the Binghamton-centered content with my article about local Black- and minority-owned businesses. I wish I could cover every restaurant — and maybe PRISM will do that sometime in the future — but we feature four local restaurants for now. I really wanted to write this piece because I firmly believe in the importance of supporting businesses for us, by us, and I hope some other students will get enjoyment out of having that information. We move on to a larger spread than we’ve done all semester, featuring students of color who are musicians, artists and creatives at Binghamton University. With everything from paintings and poetry to rap music and a saxophonist, there should be something for everyone to enjoy. This spread is really dear to me since it essentially does exactly what PRISM was created for in that it showcases the talent, determination and beauty of the flourishing BU multicultural community. Following that spread is a pair of articles centered around Asian women. One of our writers discusses a couple of upand-coming female South Asian artists, specifically focused on Raveena, and explaining the significance of this trend to the South Asian community. Our other writer focuses on the burgeoning feminist movement in South Korea that has come as a result of a huge sex scandal in the Korean entertainment industry.
Next, we include excerpts from our contributor Kojo’s upcoming exhibition at the Bundy Museum of History and Art. The exhibition, “To Live For The Revolution,” features photographs that center around political organizing on and off campus. Finally, we end the issue with two articles focused on dating. The first one discusses racist dating preferences and how dating apps like Tinder and Grindr may exacerbate the issue, but also emphasizes that we can change our problematic behaviors. Lastly, our final article just provides a couple of tips for navigating summer flings. To anyone who’s stuck with PRISM this long, or even to anyone who picked up an issue of PRISM for the first time with this one, I need to say thank you. Throughout the semester, even when I was drowning in class readings I needed to catch up on, papers I needed to write or presentations I needed to memorize, no amount of work stopped me from wanting to create an issue (almost) every month. PRISM has been the greatest outlet for me and provided me with the opportunity to grow and learn far more than I ever expected. To Tykeem, Daquan, Cory and Joel, thank you for helping me put an issue together despite all of the things life has thrown in our way. I know you’ll kill it next year. Thank you, thank you, thank you. Going to this predominantly white institution was a serious struggle for me at times, but PRISM gave me the space to cope. To my readers, don’t let all of the terrible things that happen on and off campus discourage you. Know that you belong here just as much as everyone else, no matter how it may feel sometimes. When things get tough, know that there are people who support you. PRISM was that for me; I hope it can be that for you, too.
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PRISM
PRISM E-BOARD Photos by JOEL VELASCO
JOEL VELASCO Photo Editor
SARAH MOLANO Editor-in-Chief
TYKEEM BANINI Assistant Editor
DAYQUAN TAYLOR Digital Editor
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May 13, 2019
PRISM
Black Dance Repertoire presents ‘Outbreak’ The 27th annual Exposé showcases the group’s versatility
TYKEEM BANINI On May 3, the Black Dance Repertoire (BDR) hosted its 27th annual Exposé to a packed house in the American Legion Post No. 80 in the Downtown Binghamton area. Created in 1985, BDR is a performance group that showcases six forms of dance in the genres of hip-hop, modern, African, jazz, Latin and reggae. The group can be seen providing entertainment at various events over the span of a whole school year, but its fall show and annual Exposé is an opportunity for the collective to demonstrate the versatility in tal-
ent held by the organization. Practicing since February, BDR worked every night before the event up until the days leading up to the Exposé. Ahjah Renee Adams, president of BDR and a junior majoring in comparative literature, said she sees practicing as a way to make everything performance-ready. “We practice every day, even on the weekends, Sunday through Friday,” Adams said. “Usually, Exposé practice will end a little past 3 [a.m.].” Seen as the time to work on any movements that need refining, practicing for the performance group is taken very seriously. “Everything has to be sharp and perfect since there is just a few of us on stage,” Adams said. “It’s best to show the cleanest — we want everyone to look
their best.” This year’s Exposé was titled “Outbreak” and it followed a group of dance teams that lost practice spaces at their school to dance in due to an outbreak of asbestos. In an attempt to solve their issue of a lack of space, the dance teams submit their choreographies to a competition with a chance to win a new dance studio. Each dance team in the show represented one of the six genres BDR performs. The show culminated in each of the six genrethemed dance teams working together to do a final dance that would help them win the competition and obtain the space they all need. Each performance during the Exposé encompassed diverse movements varying from sharp to elegant. Dance styles such
as Afrobeat and reggae had very precise and even acrobatic movements, whereas styles like Latin and modern were very fluid and free. In addition to the contrasting movements within each dance set, the formations during every performance creatively led into grandiose transitions. The high energy demonstrated in even the smallest details of the showcase by the dancers transferred to the crowd, which progressively became more lively with the end of every dance. Nana Appiah, a sophomore majoring in mechanical engineering, was a fan of the effort by the performers and the various styles of dancing. “They’re really enthusiastic — you can tell by the looks on their faces that they’re excited to go out there,” Appiah said. “They’re
out here showing me all types of dances. I might try to take some of these new moves and try it out for myself because they’re showing me some cool stuff.” Serving captivating dance moves is not the only thing BDR provides to the Binghamton University community. The organization also functions as a family for anyone who is a lover or performer of dance, and not just the six genres usually focused on by the organization. “We love dancing — you don’t have to be the best dancer, you just have to be comfortable in your body to move,” Adams said. “BDR is like a second family, we’re all different majors and we’re all different years and we come together every day, Monday through Friday, to practice, and we share one passion together.”
JOEL VELASCO Black Dance Repertoire performs Unity, the hip-hop portion of its 27th annual Exposé.
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PRISM
Black- and minority-owned restaurants Featuring a few of the many POC-owned businesses in Binghamton
SARAH MOLANO For students of color, it feels like authentic food that reminds us of home is hard to come by in the city of Binghamton. Many of us want to do our best to support businesses owned and operated by people of color, but we don’t know where to turn. Luckily, last summer, local community organization Progressive Leaders of Tomorrow (PLOT) arranged the city of Binghamton’s first Blackand Minority-Owned Restaurant Week, which finally provided some kind of guide for those of us who strive to support our own. Instead of patronizing businesses that serve less-than-authentic “ethnic” food, maybe check out some of the POC-owned restaurants below. To be clear, this is not an extensive list, but these businesses may be a good place to start. For those of you who will be hanging around Binghamton this summer, PLOT plans to hold the second Black- and MinorityOwned Restaurant Week from June 16 to June 22. Last year, anyone who ate at one of the participating restaurants and shared a picture on social media with “#607EatBlack” was given the chance to win different prizes such as a $25 Visa gift card, a PLOT shirt and more. If you’re interested, keep an eye out for any upcoming announcements from PLOT to learn more.
COOP’S LATIN & SOUL FOOD — 92 ROBINSON ST.
THE KITCHEN AT SPOTLIGHT — 73 COURT ST.
Anyone who eats at Coop’s Latin & Soul Food is bound to come back for more. It serves a variety of classic Latin favorites like empanadas, plantains and combination plates with your choice of meat and Spanish rice. As the name suggests, though, it also serves soul food staples like fried, barbecue and jerk chicken, collard greens, mac and cheese and yams. On top of its delicious food, Coop’s also boasts really affordable prices. If this sounds good to you, be sure to check the restaurant out and give its Facebook page a “like” — this is how you can find out about Coop’s daily specials and any other relevant information for customers.
Students may know Spotlight as a music venue, but have you tried its food? The menu may not be extensive, but the quality of its food makes that a nonissue. Spotlight serves its fair share of soul food favorites and wings, but its selection of burgers and sandwiches is a game-changer. You can indulge in the buttermilk fried chicken in Spotlight’s “CBR” burger, enjoy a classic pulled pork sandwich or try out the “P&M” burger with spicy ham, sharp cheddar and grilled red onion. Spotlight also hosts a variety of events featuring live music and drink specials, often announced on its Facebook page, so go and enjoy all that Spotlight has to offer.
CARIBBEAN PATTY WORLD — 190 MAIN ST.
THE GOOD BAO — 58 HENRY ST.
If you’re craving a great classic beef patty, look no further than Caribbean Patty Word. Its menu doesn’t end at just patties, though, and is actually more versatile than you might expect. It serves a variety of Caribbean dishes like jerk chicken, oxtail and curry goat, but also has burgers, sandwiches, wings and even different drink specials for every day of the week that it’s open, as it’s actually a bar and grill. Caribbean Patty World’s Facebook page is also useful to follow to find out different events going on, like Karaoke Night every Tuesday from 8 p.m. to 10 p.m. when wings are just 50 cents. Additionally, its convenient location on Main Street near many student residences makes it an ideal spot for students seeking some good Caribbean.
The Good Bao serves a variety of Asian dishes, making it the perfect spot for friends who may all have different tastes. Its bao menu includes Thai chicken, Korean beef, pork belly and banh mi, but the restaurant also serves rice bowls, scallion pancakes, ramen and pho. Additionally, customers can purchase bubble tea that comes in a variety of flavors and different toppings like tapioca and mango jelly. If you stop in, be sure to say hello to co-owner Soal Sotivongsa, ‘12, who got his undergraduate education at Binghamton University, and his business partner, Steven Lounsavang, who previously worked in the kitchen at Thai Time.
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Raveena inspires South Asian women Recognizing the rise of female South Asian artists
SHIVANI TAMBI Baby’s All Right was filling up fast on a late July night this past summer. The Brooklyn venue was buzzing with excitement early on, with people filing in and heading to the bar in the back to get a drink before the opener came on stage. Everyone was gathered for Raveena, a New York native who had made a name for herself with her soothing voice and ethereal image. Her songs are melodic and serene, with steady percussion and synth, and instrumentals that sound like something out of
a dream. The dreamlike quality of Raveena’s music extends to the visual image she portrays of her tunes and herself. Her music videos contain a multitude of flowers, delicate and solid colors, and a hazy focus on the models. They reflect a desire to promote softness and sensuality. This visual image also attempts to be inclusive, with a focus on creating a landscape for women of color. Raveena’s involvement of women of color in her music videos speaks to her dedication to promote diverse players in the arts. Videos for songs such as “Honey” and “Temptation” feature a wide array of brown and black men and women, many of them dressed in traditional clothing and jewelry. They move with slow movements, their smirks
and gazes drawing the viewer in with promises of comfort. The way in which these videos exclusively include people of color is not novel, but it does not cease to have a strong impact on the community. The traditional attire they adorn is noteworthy, as it provides exposure to the culture that influences these artists, the culture that influences Raveena. South Asian musicians, ones that operate primarily in the West, are few and far between. Prior to Raveena, the Sri Lankan-British rapper M.I.A. made a breakthrough in the Western scene to provide a South Asian voice to the industry. A fierce activist, visual artist and musician, she provided a lot of the initial exposure of the community. Currently, Raveena seems to be gaining traction, and in doing so,
GALORE MAGAZINE Raveena’s rise to fame encourages other South Asian women to pursue careers in the arts.
she is allowing women of South Asian descent to be seen in roles they haven’t previously occupied heavily. This space does not only involve music, but the wider field of art in general. A common, and often true, stereotype about South Asians involves their aversion to the art disciplines. So many Asian immigrants feel immense pressure to pursue fields with the promise of wealth and prestige: medicine, law, engineering, business, etc. All of these fields are perfectly valid and necessary. However, there is a large stigma against art in this community, and the demand to seek more “stable” employment is common. The presence of South Asians, especially women, in the arts is not just great for representation in regard to the Western world; it may also lead to a shift in the societal outlook on the arts. These roles have been filled before, they are being filled well, and there is plenty of room for more. Many South Asian artists, particularly women, are gaining recognition in bigger artistic communities. Ranjani Shettar and Huma Bhabha’s installations were on show at the Metropolitan Museum of Art this past summer. Both of their works center on physical material and sculpture. They are striking in their creation, and the West is now paying attention. The New York Times article “The South Asian Artists Making Their Mark on the Western Scene” by Meara Sharma states that “Before 2013, neither the Met, the Museum of Modern Art, nor the Guggenheim had featured a solo exhibition of a South Asian woman.” These artists, in addition to many more, are reshaping what preconceived notions of what South Asian art must be. This kind of contribution is incred-
ible for the artistic community, one that must always be changing to accommodate new forms of expression. The presence of South Asian women in the arts has always existed. It would be irresponsible to claim that they are appearing only now. However, the new forms in which they are gaining exposure and the styles of art they are creating is significant. Take visual artist Maria Qamar, known on Instagram as hatecopy, who boasts 166,000 followers. Known for her distinctive pop art style, Qamar has gained much of her fame from her social media presence. Her art heavily focuses on South Asian issues and beliefs, with a comedic twist that allows for the serious issues to be all the more relatable. Qamar punctuates her pop art with brief, funny captions such as “…but that’s none of my lena dena!” — a play on “that’s none of my business” in Hindi. This kind of art is refreshing to see purely because of its simplicity and wit. Qamar has created a brand that allows for her art to be an accessible form of expression to a completely different audience. The artist published a book in 2017 titled “Trust No Aunty,” another reference to her South Asian roots, one that most people from that community can find humor in. Qamar was questioned in an NPR interview if she was worried about the risk of leaving “non-desi’s behind” by using such targeted art and writing. She replied, “I think of the book as something for us, by us. I deliberately didn’t translate some terms, for example. I think of it as a collection of inside jokes shared with 100,000 cousins.” Maybe we need more of these types of inside jokes in the arts — maybe it would be beneficial to all of us.
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Burning Sun scandal ignites Korea The controversy highlights misogyny in Korea’s entertainment industry STELLA HUANG In recent months, the South Korean entertainment industry has experienced waves of turmoil as reports of drug trafficking, corruption and sexual assault, involving numerous celebrities, have emerged. Labeled “scandals” in South Korea, an overarching term for various indiscretions committed by those in the public spotlight, these reports have made headlines in national and international news. Many wellestablished celebrities have been found to have been involved, and ongoing investigations have revealed the darker side of an industry that prides itself on perfection. One of the most significant revelations in the midst of these investigations has been this year’s biggest case, the Burning Sun scandal, which has highlighted the severity of the gender disparity in South Korea and has since given rise to the country’s own feminist movement. South Korea’s Burning Sun scandal encapsulates two smaller, but related, cases. The first case involves issues of prostitution, drug trafficking, sexual assault, bribery and corruption at Burning Sun, a now defunct club in the upscale Gangnam district of Seoul, South Korea. The second involves issues of sexual assault, drug usage and bribery, detailed in text messages recovered from singer Jung Joon-young’s phone. The Burning Sun case began in January 2019 when a civilian, Kim SangGyo, detailed his assault at the club and the later mistreatment he experienced at the hands of the police to the public. Kim SangGyo had allegedly witnessed a woman being sexually assaulted at the Burning Sun club when staff members attacked him for intervening. He said he then called the police for help, but was attacked
and arrested instead. Kim SangGyo’s subsequent plea for help through his social media led to an investigation into the club, which revealed possible evidence of police misconduct, drug use, sexual assault and prostitution. First reported in early March by reporter Kang Kyung Yoon and lawyer Bang Jung Hyun, the Jung Joon-young group chat case has generated significant media coverage because of the celebrities linked to the case. Unlike the Burning Sun scandal, this case has direct ties to well-known figures in the Korean entertainment industry. In an industry where celebrities are held to extremely high standards of conduct both in and out of the public spotlight, even the smallest indiscretion sparks interest. Recovered group chat messages from singer Jung Joonyoung’s phone revealed numerous incidents of sexual assault, bribery, drug use and corruption. It is alleged that the messages were discovered by an employee who was tasked with fixing the singer’s phone. The chat messages revealed the group members’ patterns of sexual assault, such as hidden camera filming of sex acts, and documented frequent drug use. The case has ignited national outrage, as the hidden camera problem, known as the spy cam epidemic, is especially prevalent in South Korea. The case also highlighted the consequences of misogyny and patriarchy in a conservative society as the group chat members were all male, and most were well-known celebrities. At the forefront of both scandals is Seungri, the 28-year-old member of Korean pop band Big Bang. Prior to the scandal, Seungri had been known in the industry as a successful businessman and singer whose only flaw was his extravagant lifestyle. Seungri, who
Jung Yeon-Je /AFP Seungri, a member of the K-pop group Big Bang, is at the center of South Korea’s Burning Sun scandal. was first linked to the assault case as the executive director of Burning Sun, was later found to be a member of the group chats involving Jung Joon-young. Both men have since retired from the entertainment industry. On March 21, Jung Joon-young was arrested on for allegedly filming and sharing explicit videos. On May 10, another member of the chat room, singer Choi Jong Hoon was arrested for alleged sexual assault and attempted bribery. Four more members of the group chats currently under investigation are Roy Kim, Eddy Kim, Lee Jong Hyun and Yong Junhyung. The two cases have shone a light on sexual exploitation in the entertainment industry. Korea’s
equivalent of the “casting couch,” referred to as “serving drinks,” has recently gained significant media attention and led to the reopening of a 2009 case in which a rookie actress accused 31 prominent men of sexual assault. The reopening of the Jang Ja-yeon case happened as a direct result of a national petition that generated more than 600,000 signatures. Ten years ago, the case was quickly closed, and only two of the 31 men were indicted, one of whom was the late Jang Jayeon’s manager, and the other was the CEO of her agency. Both of their sentences came to just a few months. Today, new evidence as well as testimony from the late Jang Ja-yeon’s labelmate
and friend, actress Yoon Ji-oh, gives the case a second chance at justice. All three cases have led to the rise of a feminist movement in Korea that aims to change the image of the woman in a traditionally conservative South Korea. But more than just a movement about one cause, the feminist movement appears to reflect the wishes of a new generation of socially conscious South Koreans who have campaigned to bring about change and lead the country into a new era. On the heels of recent positive changes, such as the new presidency and peace summits between the two Koreas, the people continue to rally for truth, change and peace.
PRISM’S ARTIST SPO OTITO
LGCY
MT.KAI
JQ
CHARLIE ODUME
DANNY GARCIA
GODFREY FENTON
JOSUÉ QUIÑONES
SENIOR MAJORING IN MECHANICAL ENGINEERING
SENIOR MAJORING IN BIOLOGY
SENIOR MAJORING IN MECHANICAL ENGINEERING
EDUCATIONAL OPPORTUNITY PRO
Charlie Odume was born in Enugu, Nigeria but has spent the majority of his life living in the United States. Odume started making music as a hobby with his older brother when he was in the sixth grade. His mother bought him a piano for getting straight As during the school year, and from there, he continued his musical training. Odume is a part of a musical duo with his brother Chimdi, who goes by the stage name E Major, called itsENJ in which they produce and perform music as well as DJ. The single being featured is called “Thopo” and was produced by the duo. The song is an uplifting blend of AfroBeats and blues that was inspired by their upbringing as “Nigerinas who like to flex!” In addition, the song encourages all individuals to be proud of their unique self through the art of dance.
Danny Garcia always wanted to make music since he was a young kid. He was always singing songs by R&B greats like Musiq Soulchild, Joe, Luther Vandross, Usher and many other artists. Garcia would always sing in his room, making up random lyrics to the little instrumental breaks in these songs. He officially started making music in the summer of 2017 after being heartbroken. The heartbreak served as the catalyst that caused him to write and record his first song. The genre of music Garcia currently creates is called “Trapsoul,” a genre in which artists such as 6LACK, Partynextdoor and Bryson Tiller also reside. The song being featured is about a fictional girl who ghosted Garcia and won’t give him the time of day to show her that he could be the man of her dreams.
After his ping at a ñones is used rap his frien nism as friends u er making remixes of their favo what bound them together as th schools. As he matured, he deve people with the words he says a had something meaningful to sa according to Quiñones, “highligh and tuning into our stories as a w on a much deeper level.”
⮑ email book.enj@gmail.com
⮑ spotify @Lgcy
Godfrey Fenton, musically and creatively known as Mt.KAi, is a first-generation American from a Jamaican and Haitian background. He started forming the MT.KAi idea once he graduated from high school, inspired from some Buddhist beliefs and anime influences. The name Mt.KAi comes from a series of things, such as there being a mountain in existence called Mount Kailash, which, if you completed a pilgrimage up this mountain, you are said to be released from ignorance. Additionally, his own middle name has phonetic sound similarity to the stage name. The “Long Live the Queen” EP serves as an introduction to some of the ideas and tones he aims to explore with his music. Elevating self and expressing honestly are two of his biggest concerns as an artist. Mt.KAi serves to perpetuate and attract that in his listeners. He defines himself with his curiosities as an artist, aiming to create works that elevate the black male.
⮑ spotify @itsENJ
⮑ email contact.mountkai@gmail.com ⮑ soundcloud @mtkai
⮑ spotify @Josué “J
OTLIGHT // MUSIC YAYA
M.O
SHABIE
MAYA ANDERSON
MUHAMMAD WALLY
SHABIE ACHIL
OGRAM ACADEMIC COUNSELOR
A SOPHOMORE MAJORING IN SOCIOLOGY
SOPHOMORE MAJORING IN BUSINESS ADMINISTRATION
s cousin suggested he start raparound age 12, Josue “JQ” Quis a rapper and hip-hop artist who pping as a means to bond with nds, as well as a coping mechas he grew up. Quiñones and his used to sit in front of a computorite songs, and music became hey all went off to different high eloped a desire to really impact and strived to create music that ay. His 9-track album “Self Care,” hts the importance of exploring way of understanding ourselves
Maya Anderson is a rapper who started making music when she was 17. In the beginning, it was a hobby for Anderson, when she would post freestyle videos to Instagram. After a few years of great feedback, Anderson’s love for music transitioned to college, where she began to take it more seriously. Her “thank u, next (Yayamix)” is one of the first songs she has recorded in an actual studio. The message behind the song is to let women know that there is a greater good behind every heartbreak and that life goes on.
SENIOR DOUBLE-MAJORING IN MECHANICAL ENGINEERING AND PHYSICS
JQ” Quiñones
⮑ soundcloud @Yayavanity
Born in the South Bronx, Muhammad Wally moved to Gambia, West Africa at age 7 and lived there until moving to Brooklyn at age 12. He began recording music in spring 2018, but had been writing poetry since the age of 14. After recording his first track “Voyage,” his passion to make music came from the want “to motivate people that are in the position to end their family’s generational curses.” His goals include motivating and being relatable to first-generation immigrants, first-generation college students and the “first” in their family to do anything that’ll positively impact the outlook of future generations — people like himself. It was from this idea that the “Mansa” EP was born. The project serves as the first step in this mission, uplifting the “firsts”and letting them know that they’re leaders — mansas.
⮑ email mo@mansamo.com ⮑ web mansamo.com/music
Shabie Achil started playing the saxophone in the 3rd grade. Achil fell in love with music because she loved the effect that music has on people and their emotions. Her goal is to inspire people through music in the same way music inspires her. She has performed at the Binghamton University chapter of NAACP’s Image Awards, providing soulful musical renditions on her saxophone that completed the ambiance of such an event.
// POETRY AMINATA JAITEH SENIOR MAJORING IN SOCIOLOGY Aminata Jaiteh has written poetry and done creative writing for as long as she can remember. It all began as an outlet to express her emotions on paper, and she fell in love with how clearly it could reflect her feelings. Through her writing, Jaiteh explores the reality and beauty of reflecting on both the inner self and the realities of life.
“THEY SAY VS. I AM” excerpt by Aminata Jaiteh I am a Black Woman! I have a name. I have a purpose which is ordained not by the oil you wish to slick on my skin, but rather I am History. I have an ancestry on my back, a people that I birth and represent between my hips, I am not for show. I am more than the woman you have portrayed me to be. I have made many a choice, but I never chose to be who you painted me to be. So here I am taking back the brush, refusing to conform to your wishes
SALLY BISHOP SENIOR MAJORING IN MECHANICAL ENGINEERING Sally Bishop started writing when she was going through a breakup her sophomore year and found that it had helped her verbalize her feelings. Bishop then had the realization that she had other unresolved feelings about her transition to her new culture and found an outlet through the same method of expression. The Miss Asia pageant and Asian Outlook gave Bishop an opportunity to showcase her work in the beginning, which made her feel heard and understood by the Asian community on campus. From then on, Bishop started to perform at more events such as the Caribbean Student Association’s poetry slam and, eventually, Noche Dorada, Lambda Upsilon Lambda’s banquet.
“FOB RHYMES” excerpt by Sally Bishop These Asian morals from my fam taught me how to love To respect and revere all those above I came to this new land believing the same Only to realize we’re not all the same They see kindness they think weakness but its not the same As long as we don’t fight back it’s all fair game But this younger generation is here to reclaim All in the honor of our family name
MALACHI MITCHELL SOPHOMORE MAJORING IN ENGLISH Malachi Mitchell started writing around his junior year of high school and joined a writing club. He decided to stay in this writing club because he found a love for writing, and it became a necessary outlet for a lot of his emotions. “Thinking Too Much” is about him realizing his worth, ignoring his doubts and ultimately being confident in what he brings to the table.
“THINKING TOO MUCH” excerpt by Malachi Mitchell The older I get the less and less I care I’ve been trying my best But the feeling just not there I’m desensitized to life I’ve been living And with all this talent that I’ve been given I really should be winning But that’s not the way it works Been thinking about my self worth And is it really that high? Will there be a crowd of people mourning when I die? That’s a dark thought but it’s life
// ART DANIELLE CHRISTIAN SENIOR MAJORING IN BUSINESS ADMINISTRATION Danielle Christian started painting when she was younger to create gifts for her family, friends and teachers. She continued painting as a way to raise money for college. Christian ultimately creates pieces in which she provides a platform for people like herself to feel represented in art, as well as aims to make art much more accessible and affordable.
AIDA GNING JUNIOR MAJORING IN ANTHROPOLOGY Aida Gning has been drawing for as long as she can remember. As a child, she would draw as a means of passing time and dealing with boredom. However, the more art she made, the more she developed a passion for it. Above all else, Gning finds one of the most enjoyable aspects of making art is seeing others appreciate and revel in the final result. She makes art not only for her own enjoyment, but to bring out gratification in others. As an artist, she works on her own art involving sketching and painting as well as graphic and multimedia designs such as logos, book covers and art accompaniment to others’ writing pieces.
TO LIVE FOR THE REVOLUTION A History of Organizing in Binghamton “We must begin to understand that a revolution entails not only the willingness to lay our lives on the firing line and get killed. In some ways, this is an easy commitment to make. To die for the revolution is a one-shot deal; to live for the revolution means taking on the more difficult commitment of changing our day-to-day life patterns” — Frances Beal Over the course of the past two years, Pipe Dream staff photographer KOJO SENOO, a senior triple-majoring in philosophy, political science and sociology, has been at the front lines of countless demonstrations and grassroots political activity on campus and in the local Binghamton community. His exhibition, “To Live for the Revolution,” chronicles the intersections of class struggle in Binghamton while making larger connections to the historical and global manifestations of social movements. The following are samples of this exhibition. The exhibition will be on display at the Bundy Museum of History and Art starting May 17.
Rally at East Middle School held by PROGRESSIVE LEADERS OF TOMORROW (PLOT) on Jan. 29 in support of four black female students who were nonconsensually strip-searched by school administration. Rallies such as this have been part of the larger movement for black lives, which so often come under attack in cities all over America, let alone Binghamton.
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ANDREW PRAGACZ, a sixth-year graduate student studying sociology, speaks at a Justice and Unity for the Southern Tier (JUST) demonstration for Rob Card, one of the many people who have died in custody at Broome County Jail in the past few years. Broome County’s incarceration rate is more than double the state average and is commonly cited as the highest in the state.
STUDENTS FOR JUSTICE IN PALESTINE hold a rally for Gaza on the Spine Nov. 19, days after the Palestinian territory was hit by a bombardment of strikes from the Israeli Defense Force. Palestinian solidarity organizing on campuses across America remains strong in the face of violent opposition from Zionist groups and attempted legislation such as bills threatening to blacklist those who participate in the Boycott, Divestment and Sanctions movement against Israel.
TAJ ROBINSON, a junior double-majoring in sociology and Latin American and Caribbean Area studies, confronts Randall Edouard, assistant vice president for student affairs and interim dean of students, at an admitted students open house on April 14. Movements such as Students for Change and the Frances Beal Society have held the Binghamton University administration accountable for its pattern of disrespect toward students of color in dealing with racial incidents on campus.
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May 13, 2019
PRISM
The myth behind racial dating preferences Examining our biases in dating and the culpability of dating apps
AARON MOK It is common nowadays for 21st century millennials to search for partners, whether it be romantic or sexual, through dating apps. Apps such as Tinder, Grindr, Her and so forth have made pursuing partners much more convenient and accessible than it used to be. Rather than attending that local bar in your neighborhood every Thursday night in search of a partner, partners can be accessed anytime and anywhere you want — an entire dating pool available to you through your handheld device. And with that convenience comes the privilege of choice. Through dating apps, you are now able to sift through thousands of profiles in search of “the one” who fits the criteria for your partner. But with such privilege comes a dilemma. What is most often overlooked, and arguably the most consequential feature of dating apps, is the freedom to filter people based on specific characteristics. More specifically, the freedom to filter potential partners based on race. And as we mindlessly swipe left and right on countless profiles, we often are not conscious of how our own racial biases can be reflected and mediated through our swiping choices. In other words, dating apps could be perpetuating racism by amplifying one’s ability to choose partners based on their “racial preferences.” I, for one, was once a culprit
of having racial preferences, and didn’t notice those patterns in my dating behavior until I decided to take a real, cold hard look at who my past partners were and the types of people I would often swipe right on. I didn’t entertain the concept of dating until I entered college. Up until my senior year of high school, I was coming to terms with my queerness, and as a result I shut myself out of pursuing any form of romantic relationship. And although I finally accepted that I was queer before college started, I still didn’t feel like I was ready to fully put myself out there. So as a result, I refused to place myself in queer spaces like LGBTQ club meetings or other on-campus events catered to queer people simply because I felt exposed. However, I still wanted to explore my sexuality in a more subtle way, which is what drove me to download Tinder. Even though downloading Tinder was still a step I took toward putting myself out there and meeting other queer guys, I still had the comfort of hiding behind a screen, where I was able to set my insecurities about my sexuality aside and construct the best online representation of myself. It was Tinder through which I entered the dating scene — an app that would ultimately define my understanding of romantic pursuit and set a precedent for the racial biases that would follow. As a queer Asian American cis man, it was, and still is, difficult for me to navigate the queer dating scene at Binghamton University. Located in the middle-of-nowhere New York where 57 percent of the student population is Caucasian, you can only imagine how small (and white) the queer
male dating pool really is. It took a whole 25 minutes before I swiped through the entirety of gay Binghamton, and reached the “Sorry, there is nobody around you” page. And it’s not like I matched with that many people, either. Part of that lack can be ascribed to me not knowing how to construct a desirable representation of myself online. The other part of it can arguably be placed on my Asianness. In America, where Asian men have been historically and systemically desexualized and feminized — whether it’s through discriminatory immigration policies or racist, reductive portrayals of Asian men in mainstream Western media — the LGBTQ community has positioned Asians at the bottom of the sexual hierarchy. So what was the product of the overwhelming whiteness and anti-Asian biases entrenched in the Binghamton gay community? Given the community I was working with, I ended up mostly matching and, therefore, dating white men. Specifically, I was dating mostly White men who fetishized me, ones who perceived me as this skinny, feminine, submissive Oriental being that they could experiment with and dominate. Additionally, it made me resent my Asianness, in that I would constantly fantasize about how much more fulfilling and exciting dating would be if I was white. Maybe if I was white, I would actually be interested in the guys I pursued. Maybe if I was white, my messages would say “Hey what’s up?” instead of “What part of Asia are you from?” Maybe if I was white, I would dislike myself a little less. Although, thankfully, none of those romantic and sexual
pursuits ever materialized into anything serious or long-term, the experience unfortunately set an unhealthy standard for the types of people I would continue swiping right on — the standard simply being “mediocre white guys who want to sleep with me.” Additionally, my internalized racism — of me despising my Asianness — was articulated through the outright dismissal of pursuing other queer Asian males. Add to that the anti-Blackness I internalized growing up in a traditional Chinese household, and you have yourself the recipe to become a “white man’s whore.” And so from that point on, my dating life was defined by an unhealthy cycle of dating strictly white men who offered me an inkling of attention, whether that attention had ulterior motives or not. It wasn’t until years of intense self-reflection, countless therapy sessions and a commitment to constantly challenging and questioning my sexual biases when I finally started to break out of this unhealthy mindset. Meeting and befriending other queer people of color and listening to their experiences of racial discrimination also helped, in that it made me realize that the oppressions and feelings that I have internalized do not exist in a vacuum, and are valid. Fast-forwarding to the present, I can finally say that I have a healthier relationship with dating, and with myself. Although I continue to work through my internalized racism and racial biases every single day, my eyes have finally opened up to the beauty, complexity and diversity the queer community has to offer. I have finally stopped centering mediocre white men
in my dating pool, and am finally approaching relationships as a way to form deep, meaningful connections rather than dating for the sake of filling a void in my self-worth. So what’s my point? Well, to state the obvious: that Tinder, as well as other dating apps, can be dangerous if it is your entry-point into the dating world in that it can skew your understanding of what healthy romantic pursuit looks like. More importantly, however, the reason as to why I wrote this article is to highlight how racial biases can be perpetuated through dating apps, and that it is possible to dismantle them. Conversations on “racial preferences” and whether or not it makes you racist are prevalent among queer folks. And to be quite frank, yes — having racial preferences is racist, because you’re eliminating entire ethnic groups from your dating pool based on physical characteristics arbitrarily associated with them. However, it is important to recognize that your “racial preferences” aren’t static, objective truths that you are born with. Rather, they are an amalgamation of systemic injustices, one’s unique circumstances and one’s ignorance. So next time you are swiping on Tinder — regardless of your sexuality — try to be more conscious of your swiping choices. Are you swiping right mostly on white guys? Are you immediately swiping left on profiles that center a Black face? Are you swiping left on only Asian people because you hope to fulfill some deviant sexual desire? If so, really interrogate why you’re making those decisions, and remind yourself that those racial biases can be unlearned.
May 13, 2019
B15
PRISM
Navigating summer flings You need to know yourself before getting involved with someone else
DAQUAN TAYLOR As the sun begins to heat up the land, new adventures are bound to set sail. Summer brings about blossoming flowers as well as relationships. Summer flings are born, and the journey begins. Around this time, something’s in the air and everything heats up. The energy is just right.
SHOOTING YOUR SHOT
COMPETITION
In order for a fling to begin, you need to approach someone that you are feeling. To some, this is a daunting task, but in order for things to take off, you need to have confidence. You’re not going to get anywhere being shy and hiding your feelings. No matter what gender you are, you have every right to seize the opportunity and go for what you want. Our generation calls it “shooting your shot.” You can do this by sliding in someone’s direct messages or talking to them in person. An important key is, less is more. When shooting your shoot, don’t talk too much or text a paragraph. Be subtle. A simple “hey” with heart eyes or “I’ve seen you around and I like your vibe” goes a long way. You’re setting the tone for conversation to begin. Once the conversation begins, go with the flow — don’t rush it. People don’t like to be seen as sexual objects. They want someone to understand them and help them grow with knowledge. So be respectful and learn about each other to see if this is the person you really want. If you run out of things to say, play a fun game of 21 questions. Start with basic level questions, then gradually move toward more intense ones. This helps break the ice and inspire greater conversation.
As you begin to enjoy the ride of your blossoming summer fling, there will be other people that want what you have. In these moments, don’t be bothered by the competition. You are worthy of yourself, and you deserve to feel loved by someone. Don’t let anyone take that away from you. Never compare yourself to anyone because each person is on different paths and levels. Just focus on you and keep your significant other’s attention on you. Be attentive to them, whether it’s in conversation or sexual relations. Strive to please each other physically and mentally. Go on dates to the beach, movies, museums, photo shoots or hanging at home. Maintain a balance between flirting and friendship.
KNOW EXACTLY WHAT YOU WANT Before you dive too dip, you need to be honest with yourself and analyze your intentions. Do you want this to a be short-term fling? Or are you looking to build a long-term relationship? This is major because if you don’t know exactly what you want, you put yourself in danger of getting emotionally hurt. The last thing you want to do is play with your feelings as well as someone else’s. That is why it’s crucial for you to be straight up so everyone is on the same page. If there is a chance that the person doesn’t have the same intentions as you, that is OK. Not everything is going to go the way you imagined it. You have to let it go and move on. It is not now beneficial for you to try to force something that will not work out. What is meant to be, will be. It’s summer — there’s someone else who is feeling you. In order to receive that energy, you have to be open to new people.
YOU COME FIRST Most importantly, know that you are the center of your world and everyone else revolves around you. Take care of yourself physically, mentally and socially. Enjoy your summer for you. You don’t need a fling to have fun. Hang out with friends and the people that matter the most. A summer fling is an addition, not a necessity. Whatever you do, be safe and make it the most useful, self-fulling summer yet.
JOEL VELASCO The Philippine-American league (PAL) hosted its 30th annual Barrio Fiesta, “To All the Pinoys I’ve Loved Before” on April 13 in the Osterhout Concert Theater.
ANASTASIA FIGUERA Jamila Woods performs during a Binghamton Underground Music Presents (BUMP) show.
JOEL VELASCO The Bold Beta Chapter of La Unidad Latina, Lambda Upsilon Lambda Fraternity, Inc., hosted its “Noche Dorada: Juntos Progresamos” scholarship banquet, where it celebrated its 33 years and awarded a local high school student a $1,000 scholarship to attend college.
JOEL VELASCO Quimbamba Latin Dance Team hosted its annual Latin dance festival, “Polvorin Gigante,” during Latin Weekend. The dance festival featured Latin dance teams from other schools competing.