MAY 2019 • ISSUE 4

THE

BLACKPRINT MAY 2019 • ISSUE 4

REDEFINING SUCCESS IN

AU EXCELLENCE

WHO CAN SAY THE N-WORD?

MINORITY COMMUNITIES

ARIEL GOMEZ

DR. IBRAM X. KENDI

VOCES DE LA DIÁSPORA

CAMPUS 6 AU EXCELLENCE 14

CULTURE 16

OPINION 36

COVER | INSERT: SEHVRINE LEZEAU

4

LETTER FROM JENNA CALDWELL

ALEXIS ARNOLD

M THE EDITOR Dear Reader, I’m not sure how I can confine my words into a 12-point type-font perfectly placed between the faces of Alexis and I, but here I go. To leave The Blackprint is to leave a piece of me behind. (Literally, I’m sure the magazine you’re holding is tear-stained as we speak.) The past three years of my life has been committed to ensuring that students of color on this campus had a space where they not only felt comfortable voicing themselves, but felt welcomed in doing so. My place in this world, at this university, has not been to give anyone a voice — we all have voices — some are simply muted, hushed and made smaller by those we are told to respect in positions of power. My place has been to help elevate the voices of those who are tired of waiting for a seat at the table because damn it, we are the table. Our culture, our minds, our excellence are to be celebrated — not hidden or pushed into the margins of society, conveniently picked and primmed when we become “fads.” And we’ve always been here, always will be. And you’ve been hearing us, just not listening.

This is the fourth edition of The Blackprint magazine that I’ve had the pleasure of editing, designing and producing alongside an amazing team of writers, editors and creators. It is this copy that holds a special place in my heart. An international studies major studying identity, race, gender and culture in Latin America, I recognize the beauty within the Latinx community and in particular the beauty of the Black diaspora. To our beautiful Afro-Latinx brothers and sisters, we see you, we understand you and we celebrate you.

As I leave The Blackprint in these coming weeks and begin the next chapter in my life, I know that I am leaving this publication — to which I am the last original executive board member — in the hands of capable, beautiful, intelligent and forward-thinking students.

I love you. Always have, always will. May my heartbreak turn itself into words and words into stories for these past three years have been a love affair only hands can tell.

Te amo,

5

6

CAN YOU SAY

How do yo

Black

Do what you want, bruh.

THE N-WORD?

ou identify?

Non-Black

NO But I got a “Black card” in highschool?

But no one is around?

But Kanye said it?

But I have a Black [insert relative here]?

Isn’t it just a word?

STILL NO. * The N-word is a derogatory term; a racial slur which was used to refer to and insult Black slaves. Yes, it is a word, but words don’t have meaning without context. And, just because certain communities may choose to reclaim or use a derogatory word among themselves, that doesn’t give other people outside that community license to do so.

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8

WHO CAN SAY THE

SIMIN MA

N-WORD?

BY: COURA FALL

9 The Blackprint spoke with Dr. Ibram X. Kendi, a professor at American University and director of the Antiracist Research and Policy Center, to discuss the impact the N-word can have on a collegiate setting, as well as how institutions should respond. Dr. Kendi’s groundbreaking work on antiracist policy and practices has earned him the prestigious Guggenheim Fellowship allowing him to work on his next book, “Bones of Inequity: A Narrative History of Racist Policies in America” and continue his research.

THE BLACKPRINT: Upon being asked “why he thought it was okay to say that word,” in a video that has now gone viral, Aise O’Neil answered “I think it is okay to say any word.” His opinion has sparked a conversation about the meaning of the N-word and the power of language. Is it “just a word”?

DR. IBRAM X. KENDI “Everyone has certain words that when said about them or said to them, they find hurtful or find offensive and would make them angry.

If someone in the United States who is old enough to be in college and does not recognize that the N-word is one of those words for African Americans, then they have a serious sort of problem. I suspect that there are words that you could say to him that he could find offensive and he is no different from anyone else. If the person is to respond it is just a word, he would say, ‘no it is not just a word, what you said hurt me, offended me,’ so all that it is a defense and a denial that what he said was offensive.”

BP: The University released a two-part response, the first to Tasneem Osman’s tweet of the video and the second included a message stressing the importance “to recognize that freedom of expression comes with responsibility.” Do you find this response satisfactory, and if not, what should the university do or say in order to provide solace to the community?

KENDI: As I have mentioned to university officials, they should have been much more specific about the process that this student is going to undergo as a result of the Student Code of Conduct, as well as the potential outcomes of what could presumably happen in this situation. It would have actually demonstrated that the university is doing something, and there are people who clearly believe that the university sweeps

these things under the rug and doesn’t do anything.

So the university needs to be very public and clear and specific after these types of incidents about what it’s doing.

BP: On the topic of freedom of speech, there is much debate about how this fundamental right plays out in a university setting. What does “freedom of speech” mean to you and are campuses being “too sensitive?

KENDI: Free speech in recent years has been used to defend racist and other forms of bigoted speech. In our society, if a child says something demeaning to that child’s mother, if a students says something demeaning to that student’s teacher, if a worker says something demeaning to that worker’s supervisor, they can’t claim free speech and expect to not be punished. But somehow when it comes to people expressing bigotry, they feel they can defend themselves by claiming free speech to escape punishment. To me, this [situation] is not an issue of free speech.

BP: People have been saying that the student was not given the opportunity to explain himself, and was instead cut off and shut down, so do you think that campuses are too sensitive?

KENDI: Yes. Because if not the case, any student on this campus can say whatever they want, to whoever they want and get away with it. As I have mentioned, if a student comes to class and berates the professor, there is probably going to be a punishment and a consequence, and no one is going to think there is a problem with that. And professors and administrators will laugh in that student’s face if he claims or she claims free speech. In many other areas on this campus and other campuses, people do not have the ability to say whatever they want, to whoever they want, to whomever they want. But when it comes to bigoted speech, particularly racist speech, we somehow are giving these people a pass.

BP: On social media, the video sparked a contentious debate with some saying that it is hypocritical that Black people can use the word, but that white people are “not allowed to.” Why do you think this discussion is still occurring? And is this premise hypocritical?

10 KENDI: I think that this is a defense mechanism.

White people are used to having dominion over everything, over every space, over every institution, over every word. They want to have the power to speak, to say, to do, to dominate whatever they want whenever they want. And to me, African Americans have made it crystal clear that there is a red line, and one of those red lines is the N-word, and so to me this is not about what’s fair, this is about power. And white people want to have the power to say the N-word. The excuse that ‘well Black people say it why can’t we’ is used to justify their ability to exercise that power.

BP: In classes like AUx, which work to advance conversations around power, privilege and inequality in the college community, people of color face the discomfort of teaching their peers about their experiences as marginalized people. Do you think classes like these are beneficial to having difficult discussions about social issues, or are they placing a burden on students of color to educate others?

KENDI: I’m not super familiar with the program and I have not seen the classes, but I have certainly heard critiques, and I think that the critiques that I have heard if they are true, [suggest] that, essentially, AUx is a space for white students to feel free to express their bigotry on the premise that they need that safe space in order to sort of free themselves from that bigotry. At the same time, students of color have to sit there and listen to those ideas and don’t see the instructors checking those racist ideas. If that’s happening, then clearly that’s a problem because I think that no space that is geared for students of color should have white students.

BP: To that point, there has been a petition going around on campus to support Black students to have their own safes spaces so that they can process these issues amongst the community, but also to have a space for other students of color to meet, especially at a predominantly white institution such as AU. Do you support that?

KENDI: Yes. And I think that anyone who does not support Black students and other students of color having their own spaces where they can form solidarity with those who have similar experiences, similar backgrounds and similar cultures, anyone

to me who is not supportive of that is stating that ‘you are not going to have any space on campus that is formal that is for you, and that is for people like you. And that you have to constantly maneuver these foreign alien spaces and that is supposedly good for you.’ At the same time, you and other students like you are trying to focus on your studies, and I do not think that [those combined obstacles] are best for students of color. I do not think it is segregation or separation, because if it is, that means that a fraternity or sorority is a form of separation or segregation. Any club that has been formed around any interest area can be regarded as segregationist or separatist, but we don’t do that. It’s only when Black students or students of color want to formulate spaces and programs around their interests that we call that segregation or separation. All of these other groups whether based on gender, or place of origin, whether based on specific interests or topics, that’s supposedly fine, so yes, I am supportive of Black spaces.

BP: Following this racial incident and the others that have preceded it here at American University, what should we take away, as a college community, from this situation in order to foster a safer and more inclusive campus?

KENDI: I think that every situation is different.

So you have situations in which this type of racial or racist incident happens because you have this very bold and very racist student, and that is sort of the origin of it. In other cases, it is a response to something antiracist that is happening on campus.

Like the election of the first black woman president in AU’s history. Typically when you have antiracist successes, there is going to be a racist reaction. Or even the unveiling of the mission of the Antiracist Research and Policy Center, of course there was a reaction to that. So I don’t necessarily [think] it’s the result of racism at AU, I think it is a reaction to anti racist achievements at AU.

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“White people are used to having dominion over everythinG” -DR. IBRAM X. KENDI

ARIEL GÓMEZ 12

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ARIEL GÓMEZ 14

ARIEL GÓMEZ AS TOLD BY ZSHEKINAH COLLIER When choosing a college, high school seniors often make their decision by focusing on academics, financial support, social life and atmosphere of the school. For many college-bound students of color, their pros and cons lists will include safety, being accepted and organizations or clubs that allow them to express and celebrate their identities.

At American University the Latinx and American Student Organization, commonly known as LASO hopes to be a home away from home for Latinx students across campus. “We strive to serve as a vehicle through which Latinx students can meet each other, amplify their voice, and celebrate their shared and diverse cultures,” says Executive Director and President of LASO, Ariel Gómez.

LASO acknowledges the amount of diversity in the community at AU in the form of events that focus on different identities within the Latinx community.

“We have hosted various events throughout my time focused on the Afro-Latinx identity and have brought multiple poets who identify as Afro-Latinx. I’m happy to say that we have been able to explore this identity,” said Gómez.

Incidents of hate towards Latinx bodies that occur on campus and are not addressed by the university, in addition to representation and inclusion, are what Gómez lists as the main issues Latinx students face on campus. “Our community sees a real lack in representation among faculty and staff, a lack of representation in the speakers and artists brought to campus, and a lack of representation in the academic offerings surrounding Latinx Studies,” said Gómez.

“Don’t forget who you are and where you came from”

The Journalist and Student-Leader identifies as Latinx and SalvadorianAmerican and first joined LASO in Fall of 2015, during his freshman year.

He served as the Communications Director until he became the head of the organization in Fall 2018. With the help of his Executive Board, Gómez was able to completely rebrand LASO by developing a brand that allows them to continue to celebrate their culture, but to a larger audience. The rebranding of LASO enforced their motto, “Latinx is Beautiful” and established staple events that celebrate Latinx students and culture at AU such as Latinx Fest, Latinx Voices and Noche Latina.

Gómez explains that the Latinx community at AU is very diverse which often leads to division among the population, but he says, “LASO is the one place where I feel that we really encourage all Latinxs to come together.

Black, Asian, Indigenous, White all are identities that exist under the Latinx umbrella.” He also expresses, “There is no one image for what it means to be “Latinx.” And we celebrate this fact and it is at the core of our organization.”

He elaborates by explaining that LASO has attempted to work with AU to bring famous Latinx speakers to campus, but their efforts are constantly turned down. Gómez said, “We were told we lacked infrastructure, training, and money and that we should partner with AUSG and go through those channels. Except AUSG was also not all that interested in making it happen.” Gómez recognizes that there is some progress, but expresses that it’s difficult to create change with a lack of funding and support from the university.

The graduating-senior hopes to continue to do creative work, but mainly creative work that empowers the Latinx community. His advice to Latinx Undergraduates and incoming freshmen is “You belong here. Don’t let anyone else tell you otherwise.

And don’t forget who you are and where you came from. Wear it like armor.”

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SEHVRINE LEZEAU 16

THINGS MI MADRE TOLD ME

BY CAMILA CISNEROS

If you have a Latinx mother, chances are that you grew up hearing an abundance of proverbial sayings in Spanish. At the moment, they probably sounded completely crazy and made zero sense. As you grow older, you start to see the truth behind these sayings. Here is a list of sayings our madres have told us at one point or the other in our lives: Dime con quién andas y te digo quien eres Translation: Tell me who you hang out with, and I’ll tell you who you are.

This is what your madre tells you when she sees you hanging out with a group of friends that she doesn’t like. This is her way of telling you that you become whoever you surround yourself with, so be sure to choose wisely.

A mal paso darle prisa Translation: Hurry up a bad step.

If your madre ever sees you dreading something, this is what she will tell you. It is similar to being told to just rip off the bandaid. The quicker you do it, the quicker you get over the pain.

El viejo sabe más por viejo que por diablo Translation: The old man knows more from being old than from being a devil.

Madre knows best, and she will never let you forget it. That’s why she will always force you to take her advice, insisting she knows more because of experience.

Calladito te ves más bonito Translation: You look better in silence.

This was basically your madre’s way of telling you to be quiet. If you ever talked back, or if you said something downright dumb, you were most likely told this.

Para ser bella tienes que ver las estrellas Translation: You have to see stars to be beautiful.

If your madre ever pulled your hair into a ponytail too tight, or burned your ear while straightening your hair, chances are this was her reaction to your cries of pain. Beauty is pain...or is it?

Mala hierba nunca muere Translation: A bad weed never dies.

Your madre’s cynicism would come out when she says this. It’s her way of saying that people don’t change.

Of course people could change, but once someone wrongs you, it’s hard for your madre to change her mind about them.

Cara vemos, corazones no sabemos

Mejor sola que mal acompañada

Translation: We can see the face but not the heart.

Translation: Better to be alone than in bad company.

This was a warning from your madre to not judge people based on their appearance. Someone may look trustworthy, but you don’t know their true intentions.

Conversely, someone may look menacing but could be kind. The point is, there’s more to what the eye can see.

Have you ever brought a significant other home that your madre simply did not like? Or have you ever vented to her about your relationship issues too much? She will try to reason with you that it’s better to be alone than with someone who isn’t good for you or brings you happiness.

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NADIA BATCHELOR 18

19

ALEXIS ARNOLD 20

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SPRING

2019 PLAYLIST

22

TE ROBARE (NICKY JAME & OZUNA)

DINERO

SECRETO (ANUEL AA & KAROL G)

(JLO & DJ KHALED & CARDI B)

EPA WEI (DANNY OCEAN)

MIA

HEY MA

(PITBULL & J BALVIN & CAMILA CABELLO)

(BAD BUNNY & DRAKE)

BIPOLAR

(CHRIS JEDAY & OZUNA & BRYTIAGO)

LUZ APAGA

(OZUNA & LUNAY & RAUW ALEJANDRO & LYANNO)

JALEO

(NICKY JAM & STEVE AOKI)

REGGAETON (J BALVIN)

NO ME ACUERDO (THALIA & NATTI NATASHA)

MIAMI

ADICTIVA

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(DADDY YANKEE & ANUEL AA)

(KALI UCHIS & BIA)

ESTA RICO

ESTAMOS BIEN

(MARC ANTHONY & WILL SMITH & BAD BUNNY)

(BAD BUNNY) MONEY

PA OLVIDARTE

(CHOCQUIBTOWN & ZION & LENNOX & FARRUKO & MANUEL TURIZO)

CALYPSO

(CARDI B)

PA MI

(TORY LANEZ & OZUNA)

(LUIS FONSI & STEFFLON DON)

UNFORGETTABLE

)

(FRENCH MONTANA & J BALVIN & SWAE LEE)

LA

MODELO

(OZUNA

&

CARDI

BAILA BAILA BAILA (OZUNA)

B)

LA ROMANA (BAD BUNNY & EL ALFA)

WHAT A BAM BAM (AMARA LA NEGRA)

*Due to design limitations we recognize that accent marks are missing from several names and song titles.

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SIEMPRE BRUJA

SEHVRINE LEZEAU

BREAKING BOUNDARIES WITH AN AFRO-LATINA LEAD

Many of us spend hours binging telenovelas, with their dramatic twists and unique characters. But how often do we think about their diversity? Well, diversity is no issue with the new Colombian Netflix original “Siempre Bruja” (“Always a Witch”.)

The show’s main character, Carmen, played by Angely Gaviria, is an Afro-Colombian witch from the 17th century who travels to the 21st century to rescue her lover and slave master’s son, Cristobal, who is played

by Lenard Vanderaa.

When the series was released on February 1 it was expected to be a staple for Black history month, along with the annual airing of movies like Roots, Friday and Drumline.

Fans were eager to enjoy a series starring an Afro-Latina that provided a platform to the untold stories of witches and healers.

However, many viewers were let down upon their realization that much of Carmen’s actions revolved around Cristobal.

Fans were deterred by the idea of Cristobal teaching Carmen about her magic, because it portrays her as a damsel in distress.

Carmen at a slave auction.

The two begin a secret relationship, having rendezvous in a “secret garden.” Her life appears to revolve around him, and she travels to the future with the sole intention of saving the man who purchased her.

As the tweets above state, there is a dire need for more writers who are women of color in media. Despite the explosive backlash on Twitter, the creators and producers of the show have yet to respond.

Latin America has one of the highest growth potentials for Netflix and creating a show like Siempre Bruja would attract a large wave of viewers. In addition, the intersection of Columbian and African heritage in Carmen’s character could possibly attract an even larger audience.

“ THE delivery of their stories often neglects the true complexities of their lives.”

Many fans took to twitter to express their opinions. “I thought the reboot of charmed or siempre bruja would be different, but I was so wrong about both of them,” said Twitter user @Velour. “Imagine having a white man teach you about your magic when you’re a woc (Woman of Color) or being written into a master/slave romance.

This is precisely why we need more woc writers.”

“Watching #SiempreBruja and I see exactly why a lot of this was kept out of promo,” another fan @_inthenova tweeted. “I don’t even feel comfortable with this plot Y’all love making slaves fall in love with their masters.

And y’all knew EXACTLY what y’all were doing not putting any of that in the trailers.”

In the pilot episode, it’s revealed Cristobal’s family owns Carmen. In fact, Cristobal himself purchased

Stories in entertainment featuring Black and Latinx witches are rare and when they do receive representation, the delivery of their stories often neglect the true complexities of their lives.

Tibuta, one of the most famous witches of color, was a Barbados and South-American Native, who in 1692 was accused of practicing witchcraft during the Salem witch trials.

Ever since, her story has been used in supernatural plots, not giving her the justice she deserves highlighting her solely in a negative light.

She has been featured as an ancestor of Queenie’s on American Horror Story: Coven, and appeared in Arthur Miller’s The Crucible and its 1996 film adaptation.

Outside of this, supernatural shows like “Charmed,” “Teen Wolf ” and “The Vampire Diaries” tend to feature predominately white cast, sometimes containing a few token people of color.

We got our hopes up, only to be let down. But we can only remain hopeful and optimistic that representation matters. Always.

BY: MACKENZIE GALLOWAY

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26

Silhouette

By Monique Rickenbacker I’m just a body.

A female form.

Who’s going against all norms, And refusing to conform the belief That I must cover up That I must not say out loud That I wanna fuck Or my luck with a guy is not certain I must save myself for a man’s curtains.

NO.

See, I am this walking belief That I can be a free woman and do Whatever I want.

YEABSERA MENGISTU

My ostentatious behavior will continue to Haunt, Fragile male egos Toxic societal stigmas centering around women Like me, Who can’t just be without being seen as A woman with no morals.

Whose mother did not teach her class, She’s a trashy girl lost in this modern world, She’s carrying on this way because her father wasn’t present in her life.

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With all of my might.

I will continue to fight, Break down And crush these NEGATIVE stigmas about women.

Some will continue to think that my behavior is an omen I will continue to mentally, physically, socially and this is the best part, sexually liberate myself And some will continue to think That what I’m doing isn’t heartfelt, I’m just seeking attention.

I don’t have morals.

This is immortal thinking that’s deeply rooted in y’all heads Please get fed by these words coming out of my mouth I was Never Ever Preaching for clout.

I’ll do all that I will to make y’all realize That I’m starting a revolution and it will not die.

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SUMMER 2019 This summer is all about you living Capricorn. All of your dreams, ambitions and crazy thoughts can finally be put into fruition, with lucky Jupiter in your boundless twelfth house. Be the wildest version of yourself and don’t hold back as this is the perfect time to embrace your quirkiness and individuality.

This summer, keep an eye out for your soul mate. This year, the total lunar eclipse will be in your partnership house, as it has been since January 21st. Use this opportunity to seek that near-perfect partnership with someone who is open and willing to accommodate to your fastpaced lifestyle.

This summer will give you hope, allowing you to ditch the hopeless romantic title. This summer for you will be all about making friends that could turn into potential relationships. Growing your friend group and taking things slow will be most beneficial for you this summer, while you will be engaging your own personal development matters.

This summer is going to be a very positive summer for you. Physical recovery will be a large component to this, allowing you to revive any of your energies that have been expunged. July’s eclipse could proclaim financial stability leading to a grand and beneficial purchase. With Mars’ strength in August, you will experience immense sensual and romantic energy.

BRANDON SIU

With Jupiter in your eighth house until December 2, the cards are in your favor. You will head into summer with more confidence than ever. With a clear and strong mind, you can finally progress the relationships that you have been struggling to manage. Specifically, your romantic relationships.

This summer is the time to expand and diversify your love life. Explore your likes and dislikes in a partner, and remember that opposites attract.

Jupiter is spending most of its time in your commitment zone. Try seeking someone who is from a different part of the world and has a culture that is completely different from your own

9 ASTROLOGY Forthright Saturn and intimate Pluto continue to co-lead through your Capricorn and committed relationship houses this summer 2019. Be wary of relationships, as 2019 is not the fluffy and gushy year for your love life. Casual relationships could turn serious quicker than you intend, especially with July’s eclipse.

This summer your romantic and adventurous ventures will blossom.

2019 is your year for these two aspects of your life, as Jupiter glides through your energetic fifth house. Cupid’s arrows will be flying everywhere towards you, from all directions, so don’t be afraid to explore romance from all areas.

Cupid will sneak up on you this summer, whether you are ready or not.

With a Capricorn eclipse in July, meeting your soul mate or getting in a serious relationship with someone who finally matches your energy is bound to happen to you this summer. You are done with playing games and are ready to either start something serious or live that single life because you are definitely not with the drama this summer.

This summer holds romantic success for you, as planets cluster in Capricorn and your fourth house of security and roots. With this, your conscience is very clear, which imperative decision making will be easypeasy this summer. You will definitely want to spice up your relationship and try some new things with your partner and career endeavors since experimental Uranus in your erotic eighth house, .

Learn to appreciate the “little things” this summer. Find the light in the simpler aspects of life, things and people that you once perceived as mundane and boring might actually turn out livening up your summer.

This summer is the perfect opportunity to indulge in your creative work.

No more “Keke do you love me?” this summer. This is your summer of self-love. With your ruler, live-out-loud Jupiter shining its expansive beams in your sign all year long, your sense of security, drive and independence will be so strong that love will be one of the last things on your mind Summer 2019.

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AN ODE TO...

“ONE DAY

“One Day at a Time” was a game changer during a time that needed the game to be changed. The feelgood power of the show was captivating to its audience, allowing them to feel a welcoming sense of comfort as it walked them through the intricacies of a Latinx family. A character to be highlighted is Penelope Alvarez, who was portrayed by Justina Machado.

Penelope is a first generation Cuban-American nurse and army veteran. She is a single mother of two teens, Alex and Elena.

Penelope starts going to a therapy group of female veterans to help her work through her anxiety and depression. Her representation of the pressure of being a first-generation American, a woman veteran, and having mental illnesses, to name a few, give representation to an unspoken population of the Latinx community.

All the characters display a form of unspoken or rarely spoken topics of the Latinx community.

Lydia’s character, Penelope’s live-in mother, represents the “old school” and machista mentality, Elena’s character represents the LGBTQIA+ community, activ-

ism and feminism in a Latinx environment. Alex represents Latino men who grow up with a machista mentality but are in the process of thinking more progressively, with the help of his sister Elena.

The variety among the characters provides a wide range of representation to a multitude of groups who are not accustomed to having it. Which is why ODAAT touches and resonates with countless lives.

One of the most prominent yet most stigmatized topics is mental health within the Latinx community. Many Latinx people experience discouragement from seeking professional help when it comes to mental illnesses.

Covering issues like this is why Penelope, along with the creators and writers of the show, deserve a round of applause. Not only is the show persistent on talking about mental illnesses, but it preaches the importance of not pushing it away. Rather, it emphasizes seeking professional help and finding a strong support group.

The show’s portrayal of what anxiety attacks can look like deserves a prize, whether it be an Oscar or a No-

31

Y AT A TIME”

By Camila Cisneros

bel. It gives validation to the experiences of those who are constantly invalidated by those close to them.

tion is important, just not important enough. For the reasons aforementioned, it is imperative for “One Day at a Time” to be picked up by another network and The topics covered on “One Day at a Time” can be continue airing. The show has already proven to be a heavy and very loaded, such as the addiction and cultural movement, with the hashtag #ODAAT trendcolorism, but it’s delivery ensures the overall feel-good ing on Twitter globally after the announcement of its ambiance. The tactical presentation of the subjects with cancellation. Those without representation need to be a happy ending allows the audience to walk away with given their voice, now more than ever. a warm feeling. The arc of a happy ending may seem like a cliche sitcom move, but it comes off differently. It expresses that no matter how hard the moment might seem, with love and support you will make it through.

Their emphasis on family, whether it be blood-related or not, shines a light on one of the strengths that Latinx culture carries: la familia sobre todo lo demás, family over everything.

For these reasons, the cancellation of “One Day at a Time” is not only a tremendous loss, but a slap in the face given to all by Netflix. Netflix’s tweet announcing the cancellation implied that intersectional representa-

SIMIN MA

32

My mother like her mother, and the women who preceded them both, revolves her life around my father. Cultural expectations placed on her, teaching her from youth that her worth was trapped in the gaze of a man. Trauma passed down by a mother who forgot to teach her how to love herself, the same way she forgot to teach me.

My dad is 55 and still learning how to love. He lived to be the man who never learned to let anyone in, in fear that those whom he loved would eventually leave. The result of a mother who never stayed long enough to love him, and a father who was too occupied in the first place . So he never let anyone in, and if he did never let them stay there for long.

That’s why at 21 I couldn’t tell you my dads favorite color, because he kept me out too.

Misplaced judgement on whom a man should be, my father has spent his life, trying to be the man he thought he should have been. With parents whom life har already dealt a hard hand at birth, they raised me through a storm of emotions they never worked through. Cursing me with chains, I recently just found on my heart.

Forgiveness begins with empathy they say. The ability to realize that those who hurt you, didn’t mean to. And hurt me they did, to this day the love of my parents still feels foreign to me.

To call them mom and dad still tastes bitter, because they were more like guardians who just didn’t know how to do their job.

But to say they didn’t love me would be unfair, even though I never felt it. When I was thirteen I wrote a suicide note. My dad couldn’t look me in the eye, and I saw my mother cry for the first time. They couldn’t say it at the time, but I guess they did love me. I know my dad somewhere to this day still has that letter.

At 51 and 56, they’ve lived through the storms of life. And maybe at 21 it’s time to forgive, but how do you move on when the scars are burned into your skin. My body is littered with scars from a house that felt more like a war zone than a home.

And in me I see them and it scares me, because we promise ourselves to never become our parents but end up like them anyway.

So here I am trying to finally learn how to love myself. Fighting the cultural boundaries that have chained me to ideologies that were never mine

Untitled

BY OFONIME IDIONG

to adopt. I am trying to learn love after years of survival. And it’s hard, some nights the silence is the only friend I have, as my tears seep into my pillowcase.

But I tell myself freedom is worth it, that as generations of pain purge through my body, this is the only way to be the woman, eight year old me would be proud of. I reclaim the power that was stolen from me. I will build my story, break the narratives that dared to chain me to the same prison, my family could not break out of.

My healing will rewrite our script. So I fight on because my children and their children deserve a better home than I had.

But most importantly I deserve more, I deserve to finally exists in light. I forgive my parents, because

they need healing too. Remove the guilt that their scars have become mine. So when they go, it doesn’t stay on their heart.

They deserve a mother who loves herself, and has worked through her trauma. They deserve to come into this world showed in love. I cannot put them through what my bloodline already had to endure.

This work must be done.

I am the key, cause maybe I can free my parents too. Let them know that I am not ruined, and they can forgive themselves.

I understand.

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EL MAL QUERER TORi B POWELL Rosalía Vila Tobella de Barcelona ha lanzado su segundo álbum muy anticipado en 2 de noviembre 2018. El proyecto se llama El Mal Querer y tiene once capítulos/canciones. El título está derivar de la novela anónima y histórica se llama “La Romancia de Flamenco” siglo 13 que fue escrito en occitana originalmente. Los temas de los dos proyectos se centran en las relaciones abusivas y cómo pueden afectar la salud mental.

La cantante flamenca, quien viva en Los Ángeles cuando no esta de gira, ha ganado mucha popularidad con su sencillo del álbum, “Malamente”. Algunas celebridades como Kourtney Kardashian y Halle Berry publicaron esa canción en sus redes sociales cual ganó mucho reconocimiento para Rosalía. El video músico de “Malamente” y la otra sencilla del álbum, “Pienso en tú Mirá”, recibieron mucho reconocimiento también.

“Pienso en tú Mirá” trata sobre una relación tóxica donde el abandono y los celos se cantan en la narrativa en tercera persona. Ella canta sobre el abandono y celoso en la persona tercera narrativa. Rosalía cuenta la historia de una mujer que es la víctima de un hombre posesivo. El hombre en esta relación no solo es abusivo físicamente sino también mentalmente y no le permite salir. La video musical muestra cinematografía creativa que representa estos temas profundos mientras honrar los componentes tradicionales del flamenco.

El video y los mensajes para “Malamente” son semejante la “Pienso en tú Mirá”. El tema oscuro está presente en las letras. La canción es sobre un presentimiento mal sobre las intenciones de un hombre cual probar verdad. “Malamente” es el primero capítulo/ canción porque lo predice el futuro de los eventos para las demás del álbum. En el video, hay elementos iconográficos como una referencia de las corridas de toros. Con esto, “Malamente” tiene raíces innegables

en flamenco, pero un mensaje contemporáneo.

El estilo de Rosalía combina flamenco tradicional, el pop urbano, y el hip-hop. Muchas personas tienen problemas con la mezcla de géneros y no creen que flamenco debería ir a la corriente dominante música.

Otras personas piensan que ella practica apropiación cultural. Flamenco se origina en Andalucía con el pueblo Romaní, pero Rosalía es de Cataluña. Escritora y periodista, Silvia Cruz Lapeña, quien especialista en flamenco considera el álbum “una falta de respeto, debido a que la cantante solo toma la parte estética de la historia: los aretes, el cabello...” según The New York Times Sin embargo, Rosalía deja claro quiere celebrar la música flamenca. “La cultura judía, la cultura española, la cultura africana, la cultura gitana: esta mezcla hizo del flamenco lo que esta música no tiene que ver con la raza ni con territorios”. Rosalía dijo. Para Rosalía, su música es una innovación a las tradiciones que abierta las puertas para jóvenes.

El Mal Querer ha ganado mucho éxito mundialmente después de su la lanzar incluido cinco Grammy Latinos. Antes del álbum lanzó, “Malamente” ya tuvo cinco nominaciones de los Grammy Latinos y “Pienso en tu Mira” tuvo uno para Los Premios de Música del Reino Unido. Sus videos musicales del álbum han recibido cerca de 70 millones de visitas solo en YouTube.

El álbum recibió más de 2 millones escuchas en el día de su lanzamiento en Spotify y sus sencillos eran en el clima de las listas de éxitos frecuentemente. Muchos celebridades y críticos famosos han dado El Mal Querer revisiones buenas también.

El Mal Querer ha abierto las puertas para el futuro de flamenco moderno y con esto álbum solo, Rosalía ha cambiado la escena musical latina siempre.

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the bad wish TORi B POWELL Rosalía Vila Tobella from Barcelona released her wildly anticipated second album on November 2 2018. The project is called “El Mal Querer,” or the bad wish in English, and has eleven songs that Rosalía calls chapters. The title is derived from the the thirteenth century novel, “La Romancia de Flamenco.” I was originally written in the Occitan language. The themes of both works focus on abusive relationships and how they can affect mental health.

Los Angeles based flamenco singer, Tobella gained popularity after the release of her single, “Malamente” which is the second chapter/song featured on “El Mal Querer.” Celebrities like Kourtney Kardashian and Halle Berry put the song on their social media which garnered her plentiful recognition and popularity. The music video for “Malamente” and her other single, “Pienso en tú Mirá” was also well-received and went viral.

“Pienso en tú Mirá” is third-person narrative about a toxic relationship with feelings of abandonment and jealousy. Rosalía tells the story of a woman who is the victim of a possessive man. The man in this relationship is both physically and mentally abusive. He threatens her and doesn’t allow her to leave. The music video demonstrates creative cinematography that represents these deep themes while also paying homage to traditional components of flamenco.

The dark video and messages seen in the “Pienso en tú Mirá” music video are similar to the ones seen in “Malamente,” a song about a bad premonition about the intentions of a man which Rosalía feels will definitely come true. “Malamente” is the first chapter/song because it predicts the future of events for the rest of the album. She even includes the word “augurio” in the song’s title which translates to “omen” in English. In the video, there are iconographic elements like a reference to Barcelona’s iconic running of the bulls. With references like these, “Malamente” also has undeniable roots in historic flamenco but revitalizes its tradition-

alism in a new and contemporary way.

The style of Rosalía combines traditional flamenco, urban pop, and hip hop. However, some dislike the mixing of genres and don’t believe that flamenco should be in mainstream music.

Others think that she practices cultural appropriation.

Flamenco originated in Andalucia with the Romani people but Rosalía is from Cataluna. Writer and journalist, Silvia Cruz Lapena, who specializes in flamenco, wrote a review in the New York Times. She considered the album “a lack of respect, because the singer only takes the aesthetic part of the story: the earrings, the hair…”

However, Rosalía makes it clear that she wants to celebrate all the components of flamenco music. “Jewish culture, Spanish culture, African culture, gypsy culture: this mix made flamenco what this music is.

It isn’t about race or territories,” Rosalía said in an interview featured on the New York Times. For Rosalía, her music innovates familiar traditions to many that ultimately open doors for a younger generation.

“El Mal Querer” has been globally successful after its release and has won Rosalía many different awards including five Latin Grammy’s. After the album was released, “Malamente” already had five Latin Grammy nominations and “Pienso en tú Mirá” had one for The Awards of Music in the United Kingdom. The album’s music videos collectively have received around 70 million views on YouTube alone. The album received more than 2 million listens on the day it was released on Spotify and her singles consistently were at the top of charts. Many celebrities and famous critics have also given “El Mal Querer” good reviews.

Despite differing opinions, it has opened the doors for the future of modern flamenco and with this album alone, Rosalía has changed the Latin music scene forever.

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REDEFINING SUCCESS IN

MINORITY COMMUNITIES

BY TAINAYA NASH

As a first-generation college student, I was always told the key to success was to get an education and become a doctor, engineer or even a lawyer. I didn’t heed to that advice. I decided to become a journalist and it is one of the best decisions I’ve made.

But this made me question why communities of color often encourage those around us to leave our community, get a college degree and never look back.

Natives of a community know its needs better than anyone else. I learned this while participating in a service learning trip to New Orleans. Minority communities across the U.S. suffer from an array of disparities ranging from education to housing, yet the people within these communities that have power to enact change are pushed away.

This is because of how success is defined within these communities. Success is often defined by income, not impact. By moving up, not building up.

While I was in New Orleans, I had the opportunity to volunteer at a number of organizations, but the one that left a lasting impression on me was The Boys and Girls Club. The group I was with mostly consisted of people of color, and at the time I didn’t realize how significant that would be.

New Orleans is a diverse city with a high population of African-Americans in addition to a number of HBCUs and other universities. Yet the unit director, Connie Smith, expressed to me that we were the first group that consisted of mostly minority students to come and volunteer.

This astonished me. In a city as diverse as New Orleans, not one predominantly minority group had volunteered.

It’s as if minority college students are told once you “make it out” of these communities you don’t need to go back. This is a systemic issue that we have created from within. This mentality that you need to “make it out” and that success means to never go back. Worst of all, many first-generation college students buy into this rhetoric.

When you’re first-generation you’re often not going to college for yourself, you’re going to college for your family. But first-generation college students are not a pot of gold waiting for you at the end of the rainbow, we are a resource that can bring prosperity and growth when used correctly. If first-generation college students were encouraged to go to school to be teachers and entrepreneurs imagine how much our communities would benefit.

But going to college to become a teacher means accepting that you may never have a six-figure salary. As unappealing as a lower salary seem to some people, it should not be the defining factor of success.

All change comes with a sacrifice and we cannot expect low-income minority communities to progress without being given adequate resources. Within these communities, people tend to believe it is the government’s responsibility to enact change, not their own. I agree that the government has some responsibility to support disadvantaged communities, but how can we expect an institution that was not created with our best interest in mind to supply us with the tools to succeed? If we held the people from these communities who attain college degrees to the same standards as the government we will likely see more results.

I saw myself in many of the children in New Orleans, and I know that I did not make it where I am today on my own and I cannot expect them to achieve their dreams on their own either. It took dedicated teachers, principles, counselors and many other people to get me where I am today. I am forever grateful that they did not base their success on a salary, but on the impact community support leaves on children like me.

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UBER HORRO

I was in my lyft trying to get to my bus to take me back home. The guy immediately starts talking (it was very early in the morning). He first asked me basic life stuff like where I went to school and how old I was.

And I told him, not thinking anything about it. But then he asked me if I had a boyfriend, and I immediately knew this was going in the wrong direction. It’s a longer story but in the end he said he would give me a free ride and Ethiopian food if I took his number down. Which I did, and then blocked. - CL This isn’t necessarily a horror story, but it is a pretty memorable experience. My Uber driver picked me up in front of Kogod and asked if I attended AU. I replied that I did, and he said that he used to study in the library back in the ‘80s, but now there’s too much security. I wasn’t quite sure what he meant by that, but he went on to explain that ever since the Bush and Clinton families staged 9/11, security in general has gotten much stricter. He then began talking about how we’re in this situation because we’ve strayed from our Biblical teachings, and that women need to be subservient to men. What followed was a brief moment of silence and a much needed break until we passed the Embassy of Israel. He asked why there were so many Secret Service agents, and I explained that they were security for the embassy. He asked what country the embassy belonged to, and I told him that it was Israel, to which he responded, “Good to know.” All in all, the ride was probably 10 minutes at most, but I’ve never been so excited to get the hell out of an Uber. -SS I requested a Lyft to a shopping mall in Los Angeles after I got off of work. I had a pleasant conversation with the driver, who asked what I was up to. I told him I was going to see the movie 8th Grade. He then proceeded to try and invite himself as my date and asked for my number. At this point, I was pretty angry. You don’t ask a woman if you can have their number and date them when you just met them and they’re in a car where they are stuck and can’t go anywhere. You don’t. Additionally, he knew where I lived, which is even more creepy. Why just why? - LG

OR STORIES

Freshman year, during welcome week, me and two other girls were heading to a party in Bethesda. As we were getting closer to our location, we noticed that our Uber driver kept on making a lot of turns. When we asked if we were getting closer, he kept on saying “We’re almost there, don’t worry.”

My friend pulled her phone out and noticed that we were close by, but our driver was making turns away from the spot, so we told him to pull over and drop us off. We walked the rest of the way and the party sucked. - TT While in a Lyft, the driver asked if I was “diplomatic and political” I hesitantly said yes and he starts trying to convince me that Martin Luther King Jr committed genocide and MLK day should not exist. I asked him how and he said it’s because MLK sent his people into situations without weapons and the blood of those killed during that time are on his hands.

I told him genocide is an intentional and violent act and MLK believed in non-violence resistance and civil disobedience, that’s why he didn’t promote weapons. The driver then says “Ok, but if I leave my car at the top of a hill in neutral and a town is at the bottom, if it rolls down and kills the whole town is that not genocide??” I said, “well kinda because you intentionally let your car roll down the hill and you’re at fault so it’s definitely a form of murder.” He says “ Exactly, that’s what MLK did to the Black community.” After that comment, I stopped talking and stared out the window for the rest of the ride and he kept rambling about things.-ZC While in an uber with my mom, the driver was playing extremely loud Kanye and driving like he was a character in an action movie... so living his best life I guess? -NR

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THE MARATHON MUST CONTINUE

ARTWORK BY EDWARD OFOSU

BY ALEXIS FOSTER

47 A father, artist, community leader and hero to the Black community was gunned down on Slauson and Crenshaw. Neighborhood Nip was murdered in Crenshaw, Los Angeles, the same community he sought to revive. Ermias “Nipsey Hussle” Asghedom died with “slauson boy” tattooed across his back in front of his store, Marathon Clothing.

No matter how it’s phrased, this loss hurts. Family, friends, Los Angeles, and the Hip Hop community are shedding tears over the end of Hussle’s marathon to unify his neighborhood. A 33 year-long race ended over a senseless act of gun violence.

The pain is boundless, as gun violence is destroying communities across the nation. Black and brown men and women are falling to the concrete from targeted and stray bullets. Black parents are snatched from their children. Everyday. Neighborhoods are left with blood stains and wounds so deep, neither policy nor reform, but only unity can heal.

Hussle invested in the same streets that led him to create his Grammy-nominated album “Victory Lap”.

Opening numerous businesses, employing formally incarcerated people, investing in STEM education for youth, and refurbishing basketball courts. Nipsey Hussle gave hope to his South Los Angeles community.

He used his rap lyrics and experience as a previous gang member of the Rollin 60’s Crips to speak on issues concerning marginalized communities such as his own. The Los Angeles native planned to meet with the LAPD to discuss gang violence—only a day after he was gunned down.

We need a Neighborhood Nip on every corner, a mentor for the youth, a Black entrepreneur investing in the community, a Black voice in the mainstream. The truth is there are leaders, grassroots organizers, and heroes in every neighborhood, but their lives often come with a price-a bullet with their name on it.

The rate of Black homicides is four times the national rate. 85 percent of these homicides are committed with a gun, according to a 2018 study by the Violence Policy Center. Our leaders are being assassinated, future visionaries robbed of legacies to premature death sentences.

Nipsey’s murder is not an isolated incident, and we cannot treat it like one. While his community mourns the loss of a fallen hero, we cannot lose sight of the national emergency—gun-related deaths reaching a national high of nearly 40,000, and even greater heights in marginalized communities. Efforts to combat gun violence must stay alive. Someone must fill Nipsey’s empty chair at the LAPD meeting on gang violence.

This year Congress passed a bill on universal background checks. The house also addressed gun violence as a “public health emergency” in a hearing, calling for more federally-funded research. While these are steps in the right direction, they are a bit overdue in the Black community. Gun violence is too urgent of an issue to wait on bills or statistics.

“City council meetin’, they got Hussle speakin’ / Billion-dollar project bout to crack the cement / So, one of our investments had become strategic . . . We done took a dream and turned it to a zenith / Anything I want and everything I needed / Gotta pace yourself, it’s all about yo’ breathin’ / You can have it all, it’s all about your reason / I done took my name and carved it in the cement.”

Hussle raps about uplifting his community one investment at a time, on “Blue Laces 2” in his Victory Lap album. The “Billion-dollar project” he speaks of is Vector 90—a co-working space he created in the Crenshaw district to promote entrepreneurship and STEM education for youth of color.

These are the investments necessary for suppressing inner-city violence. Tangible knowledge, job opportunities, and creative outlets are tools to overcome the systemic oppression that prevents many youth from making it out of neighborhoods like Crenshaw.

While Nipsey’s route to inspiring and empowering his people ended on an abrupt note, he left behind a blueprint for communities to follow. His death inspired gangs across Los Angeles to organize a unity walk down Slauson and Crenshaw, which will soon be renamed in honor of Hussle. We must continue marching for Black lives without stomping on the roses. The marathon must continue.

SPECIAL THANKS TO

EDWARD OFOSU AWAIS AHMAD SEHVRINE LEZEAU MARLIN RAMOS SIMIN MA YEABSERA MENGISTU BRANDON SIU MONIQUE RICKENBACKER ARIEL GÓMEZ

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STAFF

TAINAYA NASH ZSHEKINAH COLLIER CAMILA CISNEROS ROMAN HABIBZAI COURA FALL ALEXIS FOSTER TORI B. POWELL MACKENZIE GALLOWAY OFONIME IDIONG

#STAYWOKE @THEBLACKPRINTAU WWW.THEBLACKPRINTAU.COM