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(11/13/18 4:55am)
By Nadir Roberts
Arts & Entertainment Editor
Students, friends and other guests of the College made the Energizer Bunny look like a measly little ball of fur when the effervescent and lively crowd hopped into the Recreation Center ready to fist pump and dance to American electro house DJ Steve Aoki on Friday, Nov. 9 at the College Union Board’s Fall Concert.
Aoki makes remixes and original music with everyone across the musical spectrum –– he has worked with big name artists including The Chainsmokers, Kid Cudi, Daddy Yankee, Desiigner, Lincoln Park, Travis Barker and many more.
“Steve, Steve, Steve, we want Steve,” the crowd shouted shortly after DUCKWRTH’s opening performance.
To add to the EDM and techno vibe of the night, foam flashing LED sticks were thrown to many people in the crowd, illuminating the black sea of the audience with spurts of white.
Granting the crowd their wishes — Steve Aoki finally appeared. His long hair bounced as he ran through the long platform in his yellow and black track suit and faced the crowd.
“What’s up New Jersey!” Aoki shouted.
To kick off the bass-filled night, Aoki started his performance with “Shakalaka,” an EDM song with a mariachi twist, that electrified the crowd.
With strobe lights that were flashing at an extremely incredible rate, the crowd revelled in the sensory stimulation.
Aoki kept the hype and excitement going the whole night as the crowd waited for the climactic bass to burst with increasingly loud sirens.
“I wanna make sure that we go crazy all the way till the end,” Aoki said.
He stood at his DJ booth with was split by a screen on the lower half, but was still synchronized with the a screen behind him, creating the perfect jumbotron-esque display that screened an array of spectacular visuals.
Getting the crowd involved for his next song, “Plur Genocide,” which Aoki teamed up with Carnage for back in February of this year, Aoki instructed his fans to wave in the indicated direction when the chorus of the song began.
“When I say north side we go up,” instructed Aoki. “South side we go down!”
“Plur Genocide,” which included a deep thrusting bass that streamed through the crowd’s veins, was amplified even more by the synchronized hand movements of the audience.
“Oh shit, we on the West Side/Oh shit, we on the East Side/Oh shit, we on the North Side/Oh shit, we on the South Side,” were the lyrics the crowd waved to, as per Aoki’s instructions.
Since he felt warmly welcomed at the College, Aoki debuted a new song, “Why Are We So Broken” that featured the likes of Blink-182, which has collaborated with Aoki in the past.
Aoki wasted no time getting down to business and invited a few people to join him onstage –– the iconic cake throwing was about to commence.
“Alright who wants to get caked tonight?” Aoki asked.
Aoki was even asked for an encore of his head banging, heart throbbing and fun loving music.
DUCKWRTH, a South Central LA rapper who brought a lot of raw uncut verses to the stage, opened for Aoki.
He performed a song called “LOWRIDR” from his 2016 album “I’m Uugly.” The song detailed the a glimpse of his life as a kid growing up in California, riding around the city on his bike with his friends.
“We cruise down the block/Sk8 hi Vans and some thick scrunch socks/Ice cream man let me get a double scoop/Then I ride off in my Lowridr drop,” rapped DUCKWRTH.
With his mic stand at the start of the walkway, fans were at the forefront of the immersive experience as he interacted with the audience during the show.
“See I need everybody in here shaking ass,” the rapper said. “I understand not everybody in here is fluid and shit, but I need everybody in here shaking ass.”
He played songs from his 2017 mixtape, “An XTRA UUGLY Mixtape,” that included “TAMAGOTCHI” and “BUMMER / 2BUCKS.” He even played his latest single, “SOPRANO.”
Covered in cake fragments and sweat, concert goers left the Recreation Center with their ears ringing, hearts pumping and heads spinning after Aoki’s high-energy set.
(11/06/18 5:13am)
By Nadir Roberts
Arts & Entertainment Editor
The acoustics of Mayo Concert Hall reverberated with the sound of classical music as part of the Department of Music’s “Tuesday Afternoon Recital Series at 12:30 p.m. on Oct. 30. Enchanted with the variety of musicianship, campus community members lent their ears to the music of a different era.
First up was Matthew Schlomann, a sophomore music education major, who was accompanied by staff pianist Stefanie Watson. Schlomann sang “Weep You No More Sad Fountains” by Roger Quilter (1877-1953). The song is described as a melancholy English ballad that also has metaphorical lyrics as it talks of sadness and how easily it comes and goes in one’s life.
“Weep you no more, sad fountains/What need you flow so fast?” sang Schlomann in his bass- baritone voice. “Look how the snowy mountains/Heaven’s sun doth gently waste.”
Next to take the stage was flutist Amandalis Barrood, a junior music education major. Barrood was accompanied by Kathy Shanklin, another pianist in the department.
Barrood played a Flute Concerto Opus 17 piece by Bernhard Romberg (1761-1841). Filled with melodic progressions, the performance was played at andantino grazioso, which is a slightly faster rate than a normal piece.
Steven Plattman, a junior accounting and music double major, was up next with his trumpet in hand, ready to put on a show. Accompanied by Shanklin as well, Plattman played, “The Hollow Man” by Vincent Persichetti (1915-1987).
For the second half of his performance, Plattman reached to his left to grab a trumpet straight mute. The musical device is usually meant for brass instruments and it simply lowers the volume and alters the tone quality of the instrument or its timbre. It gave the trumpet a nasally sound as almost if it were congested, with a harsher sound to it.
Another flute performance was given by Emma Schell, a sophomore music education major. Schell played “Density 21.5” by Edgar Varèse (1883-1965).
The piece also incorporated a technique that Varèse and other 20th-century composers were known to incorporate into their pieces called “key clicks.” A key click is a playing technique that gives off a almost a flat tapping sound. For a key click to happen, the musician must properly slap the necessary key, it can be done with or without playing the flute itself. The incorporation of the key clicks gave a transition from the normal pitch of Schell’s playing.
The last performance of the afternoon was by Alexis Silverman, a junior music education major, who played a bass clarinet for the recital. She played a ballad by Eugene Bozza (1905-1991), and the number was also accompanied by Shanklin.
“I liked the bass clarinet performance a lot, it was a good way to end the show,” said Rakieer Jennings, a senior engineering major. “Not often do you see someone play that instrument … It’s not in our everyday music.”
(10/30/18 3:44pm)
By Nadir Roberts
Arts & Entertainment Editor
Spooky season was in full effect on Friday, Oct. 26 for CUB Alt’s Halloween-themed Student Band Night. CUB collaborated with the College’s Association for Music Production and Discussion to give the night an eerie atmosphere.
The first floor of the Art & Interactive Multimedia building was decorated with festive favorites like black cats, thick cobwebs and string lights that accented the tables filled with goodies and accessories just in time for the upcoming holiday.
The fog machine and the laser lights projected onto the wall behind the stage filled the room with Halloween vibes, which set the tone for the upcoming performances and helped the bands captivate the attention of their audience members.
Round 2 covered many songs often heard at parties, such as “Stacy’s Mom,” by Fountains of Wayne, “Holiday,” by Green Day, “All Star,” by Smashmouth and more. With each guitar riff and high note, the band made sure the crowd was feeling the music –– they were bobbing their heads and tapping their feet to the rhythm.
The band then switched their set’s tempo up and played “Misery Business” by Paramore. The crowd loved every chorus the band members belted.
“But God does it feel so good/cause I got him where I want him now,” the crowd began to chant, “And if you could then you know you would/cause God it just feels so good.”
Before the set closed, the audience started to shout for an encore. The band granted its fans’ wishes, reaching into its arsenal to whip out a blast from the past turned 21st century hit –– “Africa” by Toto, to which the intimate but enthusiastic crowd sang along to every word.
(10/30/18 4:36am)
By Nadir Roberts
Arts & Entertainment Editor
When students, alumni, parents and other guests of the College walk through the lobby of Trenton Hall, they are now greeted with pieces of history that have been incorporated in the new “Our Trenton Roots” exhibit.
The campus community celebrated the exhibit’s grand opening on Friday, October 26, at 3 p.m. both outside and inside Trenton Hall. The opening included many speeches about the progressive nature of the College, the inspiration behind the new exhibit and what is in store for the future.
Remarks were given by several College administrators and faculty members, including College President Kathryn Foster, Vice President for College Advancement John Donohue and Chris Fisher, an associate history professor and the co-chair of the exhibit’s production. It was made clear that this is just the beginning for the everlasting relationship the College hopes to forge with the surrounding community.
The exhibit consists of 12 instillations that tell the story of a historical event, person or moment in time that relates directly to the College. The panels included information about the College’s first president (then referred to as a principal) William Phelps, student protests in the 1960s, LGBTQ+ activism at Trenton State College and an image of The Signal that depicts the news of Trenton Hall’s 2017 name change from Paul Loser Hall.
The exhibit shows a significant expression of identity by describing the school’s personal and institutional growth. The panels recounted the College’s origins and 163-year evolution into a diverse and prosperous institution that holds itself to high standards for academic excellence.
Secondly, the exhibit is a expression of learning, representing the highlights of the College’s educational opportunities. Lastly, it is a expression of engagement, inspired by a community of engaged citizens on and off campus.
“People can envision ‘Our Trenton Roots’ as a intentional engagement, sharing it with all of our circles,” Foster said in her opening remarks.
Fisher explained the process of trying to successfully put the exhibit together and comply with time constraints. An 18-member commission, which consisted of four faculty members, four students, five students and five community members, worked together to design the exhibit.
The project began back in February of 2017. Former College President R. Barbara Gitenstein wanted a report to be produced by the end of the fiscal year, which Fisher said only gave them about five months to work with.
The main idea of the exhibit was that it had to align with the goals and messages of the College. The exhibit had to be consistent with the College’s mission, consistent with resources they had available and speak to collective memory and their identity.
“It had to be related to what we do best, and that is educate people, we produce leaders,” Fisher said.
Art and interactive multimedia Professor John Kuiphoff helped with the technical aspect of the exhibit — from the concept, to the design, to the installation itself. He said that the exhibit will be updated regularly.
“The exhibit includes remastered film from the College from the 1930s - 1950s,” Kuiphoff said about one of the exhibit’s features.
The commission plans to remain dedicated to promoting a more inclusive environment on campus, and the “Our Trenton Roots” exhibit is just one step in trying to improve race relations and emphasize social justice within the campus community.
(10/10/18 12:21am)
By Nadir Roberts
Arts & Entertainment Editor
CUB Alt went full throttle with a lineup of bands that had students jumping, shouting and dancing to the rhythm. On Friday Oct. 5, Cicala and Toy Cars zoomed into the Brower Student Center Room 225 to open for OSO OSO.
Once Toy Cars left the stage and OSO OSO began to set up, the crowd instantly doubled in size.
The emo / indie rock band hails from Long Beach, New York and is signed to Triple Crown Records. The band is very intimate with the audience and has sentimental lyrics that reach listeners on a deep level.
Playing a mix of songs from their debut album, “Real Stories of True People, Who Kind of Looked Like Monsters” and 2017 project “The Yunahon Mixtape,” the band encouraged fans to sing along, while introducing new listeners to their music.
“I can’t believe I thought I was safe in my most crooked shape, most vulnerable place … and all that time I was hangin’ on your shelf, I was just running away from getting to know myself” sang out lead singer Jade Limitri.
The rolling theme of the night seemed to be jokes about the College that had the crowd laughing nonstop.
“Everytime we play a college show it’s in New Jersey, it’s a scholar state,” Limitri said. “That’s what they call NJ right? The education state?”
Cicala, a band from South Carolina kicked off the show in high fashion with a set comprised of climactic riffs and transitions that had the crowd yearning for their songs to never end. Some songs like “A Diner in Poughkeepsie” combined graphic lyrics with a soft approach.
“And I will bleed out of my mouth, and I’ll never talk again,” whispered Quinn, Cicala’s lead singer.
In between songs and sets, each band killed the awkward silence of setting up for the next song with jokes and appreciation.
“Thank you to The College of New Jersey for having us,” Cicala said. “Thank you to hummus too.”
Cicala met through the music scene a couple years ago and has been together ever since. The band, which has a record coming out this spring, gets inspiration from the likes of Big Thief, Ryan Adams and Bruce Springsteen.
Next up onto the stage illuminated in purple was Toy Cars, a band from Asbury Park, New Jersey. The group kicked up the tempo and brought out high energy and a lot of movement.
During the middle of its set, the band took a moment to sell merchandise, and announced that 100 percent of proceeds went to victims who lost their homes in the California wildfires.
Toy Cars, who did not leave much time in between songs, kept the ball rolling the whole show with fast paced hits accompanied by aggressive vocals. The band executed suspenseful transitions between verses and then lowered the volume to deliver descriptive melancholy verses.
In the band’s closing song, lead vocalist Matteo DeBenedetti sang, “Despite what you may think, everything good must come to an end.”
(10/09/18 11:12pm)
By Nadir Roberts
Arts & Entertainment Editor
After four years of developing and finessing their artistic abilities, the seniors of the art department can finally reap in their success of their efforts. Their use of a variety of mediums, themes and visual aids made for an exhibit that captivated its viewers.
The first session of the senior solo exhibits was presented on Oct. 3 in the AIMM building. The exhibit was open to the campus and local community, and gave the two presenting artists a chance to reveal the culmination of their artistic journey during their time at the College. Their work represented aspects from the artists’ personal lives and daily experiences.
Olivia Brand, a senior visual arts major, based her series around the people and places that made her who she is today. Brand incorporated her hometown of Pittstown, New Jersey’s landscape and family members into her pieces, all of which intertwined with her titles, “With The Clouds,” “With Them” and “With Him.”
Above Brand’s work were the coordinates of Pittstown, 40.5829° N, 74.9585° W, which highlighted how she keeps her town close to heart.
“These are landscapes of my town that shape me,” Brand said. “I wanted people to know about it.”
Brand’s portion of the showcase featured six photographs, which were all taken on a 35mm film camera and displayed on a 44 x 66 canvas.
Each photo, printed in black and white, provided viewers a glimpse of the landscapes around her hometown. Whether it be the detail of winding roads or the clouds that painted the sky, the film gave a more intimate view of everyday sights that people would otherwise take for granted.
Brand was intentional about her choice to use film photography over digital photography for the project.
“I always loved film,” Brand said. “I knew I wanted to do this.”
Danielle Rockowski, a senior fine arts major shared her collection titled “Transcendence.” All of her pieces were self portraits that incorporated long exposures and single source lighting.
Rockowski experimented with exposures to add depth to her portraits. Blurred neon stripes also enhanced her pictures. Her artist’s statement describes “Transcendence” as a self metamorphosis.
Each portion of the collection slowly transitioned into the next, evoking emotions that floated from picture to picture. The transformations of Rockowski’s portraits forced viewers to observe and interpret what is real and what is not.
“These self-transformations undergo a wrestling between the tangible and intangible — the outer surface and my internal fears, thoughts and feelings,” Rackowski wrote in her statement.
The 12-piece collection featured visual juxtapositions that made the eye drift from the background, which displayed parts of Rockowski’s facial features to the brighter designs that she manipulated in the foreground.
For example, in the picture “Fear/Yearning,” Rockowski’s face is partially visible and her nose, eyes and glasses are the focal point, but Rockowski is surrounded by a spiraling rainbow.
Her titles, which included names like, “All in / All Out,” “Lifted,” “Can’t See the Outside” and “Hiding,” were named spontaneously in a process similar to her creative journey.
“They were kind of predetermined, kind of not,” Rockowski said. “I just wanted the idea to come to me.”
(09/25/18 3:44am)
By Nadir Roberts
Arts & Entertainment Editor
My favorite film is “5 to 7,” a romance movie starring the late actor Anton Yelchin. He plays a young American journalist in New York who falls for a married French woman who he is only allowed to see from the hours of — you guessed it — 5 to 7. He ends up falling for this mother of two and the journey of their love begins. I’m not going to spoil the movie, but by the end, you’ll simply say, “Wow.”
The thought of love can be both scary and exciting –– an emotional rollercoaster all around. For hopeless romantics, love is inevitable. They will always believe that there is someone out there, sent to them from heaven. Many people believe that being a hopeless romantic is pretty bad, but I don’t think so. I think it can be a good thing.
Love and romance are very different from what people see in movies and in real life, and that’s where the confusion comes. There’s either always a female who is fresh out of heartbreak and then a Prince Charming who sweeps her off her feet. Not enough movies show the true ups and downs of relationships. False representation of love through films have people believe that love is structured and similar in every instance when, in fact, romance is situational –– every person you share a connection with will bring a different side out of you.
We (yes, I include myself as a hopeless romantic) don’t lose hope. We will eventually find someone who loves us, just as much as we love them. No matter how many times your heart gets broken, it seems as though we just learn from it and keep searching. I’ve gotten my heart broken on a couple occasions, but one time before I started college, I got it broken really badly. However, years later, I’ve saddled up on my high horse ready to ride off into the sunset to find my woman.
I like to call it passion. With this passion comes value, as a hopeless romantic you tend to value everything good that comes your way. You don’t take the details and the little things that people do for you for granted, everything holds some sort of importance. This goes beyond romantic relationships, and extends to how we evaluate people in general.
Being a hopeless romantic makes you a better person overall. You tend to see the good in people and let it outweigh any wrong they’ve done. Yes, that sounds a little naive and gullible, but you learn to forgive and forget, which is an important rule of thumb. You don’t burn bridges, and you learn that people can change.
I truly believe that everyone is scared or frightened of love even though it’s a great feeling to have. If people were less cynical toward love, it would shift today’s culture drastically. Life is surrounded by love. You can love your parent, siblings, friends and many others.
Until then, people will ruminate in hookup culture with apps like “Tinder,” but eventually, people will realize that casual hookups are nothing and will want something more. Someone will eventually want you for more than just your body. They will crave your mind, soul and energy, and when that happens, I’ll be rooting for you.
(09/18/18 9:13pm)
By Nadir Roberts
Arts & Entertainment Editor
If you haven’t explored Soundcloud, Audiomack or even YouTube to search for new artists, then you’re doing something wrong. If you haven’t heard Noname’s music yet –– and not just her many features –– then you’re also doing something wrong. The 26-year-old rapper and poet released her second studio album, “Room 25,” on streaming services on Sept. 14.
The whole album was produced by Phoelix, an American multi-instrumentalist and vocalist based in Chicago. He has worked with the likes of Saba, Smino and his own projects. He provides the chorus on the album’s the ninth track, “Part of Me.”
In her hometown neighborhood of Bronzeville in Chicago, Noname shares the same musical prowess as other artists gaining a bigger following like Saba, Mick Jenkins, J.I.D and more.
The 11-song tracklist runs for 35 minutes (but you’ll want to have it on repeat) and expresses her many thoughts on sex, politics and her personal life.
After her debut album, “Telefone,” which was shared with fans in July of 2016, Noname continued to blaze any feature she was on. She worked alongside artists such as Jeremih, Smino and her long-time friend Chance The Rapper. Chance and Noname first collaborated back in 2013 on Chance’s song “Lost” from his Acid Rap project. She also worked with Mick Jenkins that same year on his “Trees & Truths” mixtape in the song “The Truth.”
The monotone yet still soulful first track off the album is “Self” in which Noname touches on sex, religion and politics in just two verses. This track is somewhat of a subtle flex of her talent even though many people have still yet to discover the rapper. She acknowledges her underrated status as a female rapper a couple times in the song, rapping “And yall still thought a bitch couldn’t rap, huh.”
Coming fresh off the two-year hiatus from her first studio album, Noname has shifted gears in her musical approach and her friends have been the influence. After her move from Chicago to Los Angeles, she developed a close-knit group of comedic friends that do stand-up on the West Coast. Fellow artists, Saba and Smino, who have been seen a lot with Noname recently, collaborate and completely set the studio ablaze on the eighth track, “Ace.”
On her darker moments in the album, she gets deep and let listeners feel the hurt in her heart. On the fifth song in the album, titled “Don’t Forget About Me,” she opens up and gets down to the nitty gritty with a flow so distinct and simple.
“Your momma at the table crying, all her hair gone / Feeling fishy finding Chemo, smoking seaweed for calm,” Noname raps.
Noname has a flow about her that gives her music an overall chill vibe and smooth sound. She describes her music as “lullaby rap,” and it’s a pretty accurate description. Her soft whispery voice and wordplay comes like second nature to her and is widely unprecedented. The music she makes and this album specifically make you feel like you’re in a low-lit jazz night club with live instruments and perfect cadence.
The album has many quotable lyrics that you’ll just have to listen to for yourself. Instead of trying to compare her other female rappers like Cardi B or Nicki Minaj, people should give a nod to her underrated musicianship and rap.
(08/29/18 7:50pm)
By Nadir Roberts
Arts & Entertainment Editor
Houston native Travis Scott released his third studio album, “Astroworld," on Aug. 3. The album has potential to rank up against other projects in 2018, but compared to La Flame’s other work, “Astroworld” falls a little short.
The album’s name is inspired by the Six Flags amusement park in Houston that shut down in 2005. Sprinkled with ill-advised beat changes, the album has many sections and parts –– almost like a real amusement park.
The first song from the album, “STARGAZING,” is a two-part introduction to what Astroworld is made up of –– drugs, Houston references, Kylie Jenner and how Travis is ahead of the rap game.
“‘99, took AstroWorld, it had to relocate / told the dogs I’d bring it back, it was a seal of faith,” Scott rapped in his second part of “STARGAZING.”
One of the selling points of the album, and one of the reasons why the album wasn’t a full disappointment, were the features. Leaving it up to fans to figure out who was on what song, Scott didn’t reveal the features on his tracklists. Just so you have a little taste, features included the likes of Frank Ocean who provided some auto tuned high notes for “CAROUSEL” and 21 Savage who slaughters “NC-17.”
Another one of the hidden gems of the album would have to be “COFFEE BEAN.” This song ends the album in a way that makes the listener value the time and effort Scott has put into his music and being an artist. In the song he repeats “this is all, this is all” in the background. He lets fans know that he put his blood, sweat and tears into this project.
Considering that this is the same La Flame who made bangers such as “3500,” “Mamacita,” “Upper Echelon” and many more, the hype songs on this album don’t quite cut it. The many fans raving over “SICKO MODE” are bound to kill it quickly.
Another follow up that isn’t as hyped but that has a superb flow is “YOSEMITE.” Assisted by Gunna and Nav, while also having a well organized guitar riff in the background, “YOSEMITE” is a solid song. Yosemite, which means literally “those who kill,” is a fitting title as the three talk about how they’re killing the game right now. Filled with catchy lyrics about expensive taste and travels, it is a top song from the album.
“Astroworld” is a good example of artistic expression. Through Astroworld, Scott was more open and lyrical than usual. Scott, who’s known for being an auto-tune-heavy artist, really allows himself to get deep with this project. Of course after the birth of his first child Stormi, and rumors swirling around if he is really her father (he confirmed in January that he is the father), he had no choice but to answer fans’ questions.
In the song, Scott touches on the fragile subject of his relationship with Jenner and gets very personal. He raps, “your family told you I’m a bad move / plus, I’m already a black dude.”
The Kardashian family has been very concerned with public image for quite some time. The family was worried that Scott’s lifestyle would interfere with the family’s goals or reputation.
Overall Astroworld is an interesting project / experiment. I’m not a wholehearted fan yet, but I also don’t think Scott totally struck out. The rapper’s career is still somewhat young, so let’s see what he cooks up next.
(04/24/18 5:06am)
By Nadir Roberts
Reviews Editor
Those who chose to stop by Traditions for dinner on April 17 were in for a treat as student musicians took the stage for CUB Alt’s Student Band Night at 8 p.m. Packed into the Traditions Lounge, audience members enjoyed an intimate show from three bands.
The first band, Sun Tunnel, captivated the audience with their ’90s shoegaze-esque sound. Hailing from Gloucester County, New Jersey, the band enchanted the crowd by playing songs from their 10-track LP, Sun Tunnel, released this February.
Jared Poehlman, a junior psychology major, brought together bassist Dan Panus, guitarist Keith Cook and drummer Alex Bierman for a time-bending experience. Some listeners were captivated by their post-rock, experimental metal sound.
The band was inspired by the likes of Mogwai, This Will Destroy You, Have A Nice Life, Giles Corey and Deafheaven.
Sun Tunnel’s self-titled album can be found on bandcamp.com, where their gloomy, yet bittersweet sound can be heard free of charge.
“If I could just hear your voice, I could hear you sing,” Poehlman cried out in “Your Voice,” with a faint guitar riff in the background.
Next to perform was Lagniappe, a student band formed at the College.
“We sound like your dad’s favorite music reimagined with an angsty twist,” said Dylan Sen, a senior biology major and the band’s lead guitarist and vocalist.
The rest of the band consists of senior communication studies major Chris Moncada on bass guitar and backup vocals, junior interactive multimedia and marketing dual major Jillian Festa on violin, senior biology major Alisha Basak on rhythm guitar and junior electrical engineering major Derek Arnheiter on drums.
The band covered well known songs like “In Bloom” from Nirvana’s 1991 album, “Nevermind” and “Bulletproof I Wish I Was” by Radiohead on their 1995 album, “The Bends.”
One of their last covers was another classic, “White Room” by Cream from the band’s 1968 album, “Wheels of Fire.”
The band’s favorite song of the set, and an audience favorite was the band’s cover of “Kashmir” by Led Zeppelin.
The song features a violin solo that caught some off guard and wonderfully changed the dynamic up.
Last to perform was The Airy Duo, a dynamic two-person band from Ewing, New Jersey. Lucia Gardiner, a freshman art education major, and Anthony Garcia, a freshman journalism and professional writing major, finished off a night of rock and metal with a smooth set.
The Airy Duo played a mix of original songs and covers. Both members contributed to the success of the performance by passionately playing and singing.
The Airy Duo’s sound is a mix of folk, blues and jazz. They covered classics including “Jackson” by Johnny Cash, “Where did You Sleep Last Night” by Leadbelly and “Maybe” by the Ink Spots.
Fans can find more music by The Airy Duo on the band’s Soundcloud page. The band is expected to release a new project at some point this summer.
(04/16/18 9:41pm)
By Nadir Roberts
Reviews Editor
On those days when we just can’t find the right words, we have help, and they’re right at the click of a button or tap of the screen. The gif is one of the most impactful additions to technology and how we communicate.
While gif users are divided down the middle on the pronunciation of these animated clips, they are extremely helpful in communicating to people when words just aren’t enough.
Drake said it himself, “Three dots you thinking of a reaction still,” and a gif would be the perfect way to go for that reaction.
The variety and availability of gifs make it much easier to choose something that specifically fits your needs. Apps like Twitter break it down even further for you, so you don’t have to type in the name of the gif since they are separated by reaction.
Gifs make it easier to communicate with parents or other family members. I find myself trying to teach my mom how to properly use emojis more times than I would like. Getting a misplaced smirking emoji accompanied by “I made the mac n cheese” from your mother could never be worse.
What makes gifs even funnier is how they’re used on social media. The experience is much more fruitful if you know how to properly use gifs and memes when interacting online — it’s a language in itself.
In Apple’s iOS 10 update, the addition of gif search for iMessage was introduced. Although not as extensive and plentiful as the Twitter variety, it’s still a start and should be appreciated.
Thanks to Giphy, an online database and search engine that allows users to search for and share animated gif files, gifs are more accessible now than ever.
A gif, or its extended name, graphic interchange format, is an extension for an animated raster graphics file. Surprisingly, the GIF is the second most common image format used on the internet after JPEG.
Gifs provide visual aids that help those who are visual learners. They help in anything from describing a cycle or chain of some sort, a machine’s main function and more. Gifs have use in almost every way, we just haven’t appreciated them enough to realize.
The great Donald Glover even changed music and made the cover of his “Because the Internet” album a gif in which he distorts his face into a inkblot Rorschach test.
What makes gifs so cool is that you can make anything you want into a gif, even yourself. A funny video? Gif it. You trying out a new recipe? Gif it. You getting your weekend started early? Gif it.
The possibilities are endless with gifs, and they should definitely be recognized and appreciated more — a world without gifs is a world with more boring texts and ill-advised emojis.
(04/10/18 4:27am)
By Nadir Roberts
Reviews Editor
Energized and ready for a two-hour adlib extravaganza, many packed into the Student Recreation Center ready to count the “M’s” in their bank accounts and rap about the no longer endangered, but still vulnerable panda. 2016 XXL Freshmen 21 Savage and Desiigner took to the stage for the College Union Board’s Spring Concert on Tuesday, April 3.
Trying to see where his true fans were, 21 Savage played “Dip Dip” from his 2015 mixtape “Slaughter King,” then his 2015 single from his “Free Guwop” mixtape, “Red Opps.”
Through the many waves of pushing and falling concertgoers, the crowd managed to stay hydrated thanks to the generous amount of water bottles being tossed to the crowd, but not comparable to Fall Concert guest Lil Yachty, who supplied a boatload.
The crowd did not need a mosh pit to go into “Savage Mode” when the Slaughter King said “Ain't no loyalty, these niggas all for self, all these fuckin' stripes, I shoulda been a ref.”
Savage electrified the crowd by performing a variety of songs, not only from his discography, but also some tracks on which he is featured. He rapped over his verses in “Rockstar,” “Gucci On My” and “Sneakin.”
His set included other hit songs like “Ghostface Killers” and “My Choppa Hate Niggas” off of “Without Warning,” a collaborative album with fellow Atlanta rapper Offset. The appropriately titled surprise collaborative album from 2017 kept the energy going.
Reading his audience properly, Savage began to play “Bartier Cardi,” instantly getting female fans in the function jumping.
Next, the crowd took out their shared anger on their failed previous relationships by screaming along to “X,” a 2016 single that features Metro Boomin and Future from the album “Savage Mode.”
“I’m just stuntin’ on my ex bitch,” the crowd sang out.
Finally, ending on the highest cloud, fans heard the iconic guitar riff to Savage’s “Bank Account” from his 2017 debut album, “Issa Album,” and went berserk. The crowd started jumping as he let the audience sing along and yell out the catchy chorus, “I got one, two, three, four, five, six, seven, eight M’s in my bank account.”
To many people’s surprise and ultimately their disappointment, Savage finished his set a half hour early, closing up around 10:30 p.m.
Desiigner, a Brooklyn native, got the crowd ready for 21 Savage with an introduction that did not disappoint.
“New Jersey, make some motherfucking noise!” Desiigner shouted at the crowd.
Immediately the audience’s screams in response rang through the Recreation Center.
As seen on television, Desiigner’s energy was unmatched and sky-high, making him a great opening act. His performance made 21 Savage’s laid-back style seem much less overwhelming in comparison, but both still were genuine.
Desiigner amped up the crowd as much as possible, even taking off his shirt at one point. The fog machines made the crowd peruse the stage trying to find the jubilant rapper. Coming into the light, he would occasionally stand on the speakers and lean into the crowd, getting up close and personal.
The rapper soon began to crowd surf through the pool of students amassed in the Recreation Center. The front of the crowd was used as a floating device as he dapped up students and blurted out an insane number of his iconic adlibs. “GIT, GIT, GIT” and “GRRRAAHHHH” were heard throughout his whole set.
Once he got back from the crowd, he let the crowd come to him. A few lucky people were able to dance, take Snapchats and run across stage before he started to play his 2017 single “Up.”
As he neared the end of his set, Desiigner said, “Everybody put your middle finger in the air!”
Then he proceeded to hype up the crowd by playing the two songs that placed him in the hip hop scene back to back.
He started with “Timmy Turner,” the 2016 hit that Desiigner first shared in his 2016 XXL freshman freestyle.
His 2015 super hit “Panda” — the debut that put the 20-year-old on the map — ended his time on stage perfectly and made the crowd ready to see the Slaughter King himself.
Speculation rose after the sudden drop of “Timmy Turner” whether or not Desiigner showcased some new music at the concert and gave fans a sneak peek at his material still in the works.
The rapper is planning to release one album, and one mixtape, leaving fans waiting for his debut album “Life of Desiigner” and a follow-up mixtape, “New English 2.”
When asked “Before I bring 21 Savage out, y’all gonna get turnt as fuck right?,” the audience wasted no time in screaming out their response, “Yes!”
21 Savage’s performance was a little different and somewhat rogue. He didn’t have an entourage or any of the Slaughter Gang accompanying him. He simply had one other homie with him on stage throughout the night.
“If y’all had a good time, Imma need y'all to scream 21,” the rapper said and counted down. “One, two, three!”
The crowd repeatedly shouted out “21,” as the rapper thanked the College for having him and complimented us on how “lit” the crowd was.
(04/03/18 3:42am)
By Nadir Roberts
Reviews Editor
The end of March proved to be a musical goldmine of new releases. New tunes came from the likes of Harry Hudson, Rich the Kid, DJ ESCO and the most awaited, Abel Makkonen Tesfaye — better known as The Weeknd.
Ironically, The Weeknd released a six-song EP on a weekday, Thursday, March 30, titled “My Dear Melancholy,.”
From the title alone, fans could tell that Tesfaye was drifting away from his “Starboy” pop-esque radio vibes and digging deep to where he once was in music. The grungy vivid lyrics about drugs, love, lust and pain that once captivated and moved his fans are now back.
This is the first EP by the Weeknd, and fans were disappointed by the brevity of the project. It is just 22 minutes long, but this also makes it easy to break down the lyrical content and pick up all of the Selena Gomez shade. This new project is clearly a breakup EP that lays out the personal ghosts that have been haunting him.
The EP begins with “Call Out My Name,” a track that plainly details the relationship of Tesfaye and Gomez.
Shockingly, The Weeknd sang out “I said I didn’t feel nothing baby, but I lied, I almost cut a piece of myself for your life” in the first track.
Gomez, who suffers from Lupus, an incurable systemic autoimmune disease, needed a kidney for a transplant during the summer of 2017. Fortunately she received the kidney from her best friend and “Bring It On” actress, Francia Raisa.
The project is great for getting the listener to think deeply. The sadness creeps through with every synth, high note and lustful lyric.
In the closing song, “Privilege,” Tesfaye talks about his relationship with Gomez as well as his drug use. In the chorus, he sings in his synthesized voice, “I got two red pills to take the blues away.”
Though short and simple, it is a perfect line with a double entendre. It references the red and blue pills from “The Matrix,” in which Neo takes the red pills to stay in the Matrix, then describes the red pills as antidepressants to keep the “blues” away.
French DJ and Techno artist Gesaffelstein was featured twice in the six-track project. Gesaffelstein has worked with many popular artists, including Kanye West and Lana Del Rey.
Featured on both “I Was Never There” and “Hurt You,” Gesaffelstein’s presence is known. The intro to “I Was Never There” resembles the same high pitched siren-esque sound that was present in Kanye West’s song “Send it Up,” on his album “Yeezus” which he also helped produce.
Tesfaye starts off “Hurt You” by sounding a bit hurt himself. He says, “And now I know relationships my enemy, so stay away from me, I’m warning you.”
Clearly, this is Tesfaye telling the next girl he is with that she cannot expect too much from him, and that he simply does not want to hurt her, most likely because he is not over his previous girl.
Similarly, the intro to “Hurt You” has strong “I Feel It Coming” vibes, which makes sense because Daft Punk member Guy-Manuel de Homem-Christo helped produce both songs.
The content of “My Dear Melancholy,” provides the lyrics that longtime fans have longed for — and are still craving — from the 2012 Weeknd they loved. However, the EP lacks variety. Since two of the six songs to sound quite similar to previous works, it comes off repetitive, especially since the the tracks are ordered back-to-back on the EP.
Overall, the project is a good dose of The Weeknd to hold fans over until he comes out with a more developed studio album.
(02/20/18 2:01am)
By Nadir Roberts
Reviews Editor
Before fans were able to see the highly anticipated and critically acclaimed “Black Panther” film, they were gifted with “Black Panther: The Album.” The 14-song soundtrack was made with love, seasoned with Lawry’s, then slow cooked with culture — and it came out perfectly.
The project features several members of Kendrick Lamar’s Top Dawg Entertainment record label, a variety of A-list artists and some lesser known artists, creating a dark, mystical sound that musically encaptures the essence of the “Black Panther” universe.
Lamar, the album’s curator, puts his best foot forward in this album, showing off his versatility as an artist by incorporating a range of musical tastes.
The album includes western flows from TDE artists like Ab-Soul and Schoolboy Q, as well as well-versed southern trap music from Future and Travis Scott and the melodic vocals of Khalid, The Weeknd, Jorja Smith and SZA. More obscure artists featured on the album enhanced the music to its fullest extent, making listeners feel as if they were living in Wakanda, reveling in their technologically advanced lifestyle.
The combination album and soundtrack to the movie was released Feb. 9, giving fans a solid week to bump to their favorite tracks before the movie came out on Thursday, Feb. 16.
The album sonically represents what the movie theatrically showcases — a surfeit but appreciated amount of cultural references, black love, black struggle, black excellence and most importantly, black royalty.
Lamar opens the album with “Black Panther,” with lyrics full of references to characters and plot points from the movie.
The album’s first song tells the story of the power and status T’Challa has, as Lamar puts it, the “king of the shooters, looters, boosters and ghettos poppin’, king of the past, present, future, my ancestors watchin’.”
Lamar rapped the lines from the point of view of T’Challa. The album goes back and forth between T’Challa and Killmonger, the antagonist of the film.
The track “King’s Dead” tells the story of how Killmonger challenged Black Panther’s kingship from Killmonger’s perspective.
“Who am I? Not your father, not your brother, not your reason, not your future,” Lamar rapped.
It is also possible that Lamar was rapping about the idea that he is the king of rap in the first track, which could be true, given his impressive run at the 2018 Grammy Awards.
After Lamar won five out of seven nominations including best rap song, best rap album and best rap performance, Lamar was chosen to curate this incredible album, and he did so masterfully.
For Ryan Coogler, the director of “Black Panther,” selecting Lamar must have been a no-brainer. Lamar is one of the biggest names in not only hip-hop, but within the black community and American society in general. It makes sense that Lamar should lead the melanated march of any moviegoer that listens to the soundtrack on the way to the theatre.
For one to truly understand the many concepts, messages and meanings in “Black Panther: The Album,” they must see the movie. The movie and soundtrack go hand-in-hand and complement each other perfectly, tying up any loose ends that the listener had while scrutinizing each track prior to seeing the film.
“Black Panther: The Album” captured the accuracy of the Marvel comics it’s based on and made it modern and culturally enriching. The film and soundtrack just hint at what is truly in store for 2018 for film, music and black empowerment.
(02/06/18 9:38am)
By Nadir Roberts
Reviews Editor
Due to a significant increase in requests for counseling over recent years, the College’s Counseling and Psychological Services has expanded its program to meet the needs of students, according to an email by Mark Forest, the director of CAPS.
According to Forest, CAPS has seen a 50 percent increase in staff since he became director in 2014. The new positions include clinical case managers, diversity and inclusion initiative coordinators and LGBTQ+ specialists.
CAPS, which in the past has typically specialized in short-term treatment, has begun to implement more resources and options for long-term mental health treatment. These services include the Community Counseling Collaborative, which opened in December on the fourth floor of Forcina Hall. While still in development, the program brings licensed mental health providers to campus for long term care at low costs for students.
The mental healthcare component of InFocus Urgent Care, Cavi, is another long term mental health program due to open in Campus Town this semester. The business is working to expand the number of insurance plans they accept, according to a campus-wide email.
The new Center for Integrated Health, Education and Learning, formerly known as the TCNJ Clinic, will offer training opportunities for students and local community members. Long-term health services will be limited this semester, but will expand by next year.
The new center, located on the first floor of Forcina Hall, will soon offer new physical health plans, massages and yoga.
“It’s going to be more holistically framed,” Forest said. “It’s sort of an integrated health model.”
CAPS has also developed a database with a growing list of mental health providers in the local community. The program filters information based on the qualifications of a patient’s insurance company and other specific needs of the client.
According to Forest, all 180 community providers have been screened, and are specialized to meet the needs of the students.
Ewing Township is a smaller community compared to neighboring areas, and there are not as many doctors, therapists or other healthcare providers near the College, which makes it harder to accommodate students or other residents of Ewing who have difficulty finding transportation.
The Community Counseling Collaboration allows for those living in Ewing, as well as students at the College, to use its services.
“The demand is so high and we’re trying to provide the most service to the most people as we possibly can,” Forest said.
Costs for treatment will vary depending on each student’s health insurance plan.
While there are more improvements currently in the works, CAPS has made many of its updates available to students seeking assistance.
(02/06/18 1:30am)
By Nadir Roberts
Reviews Editor
Donald Glover, or Childish Gambino, re-released his 2011 project entitled “EP” at the start of February. Glover has amassed a huge fan base over the course of putting out three studio albums and a multitude of mixtapes in the past few years.
After leaving the 2018 Grammy Awards with five nominations and one win for Best Traditional R&B Performance for his 2016 hit “Redbone,” the artist is now may be done with releasing material as Childish Gambino, the re-released EP is speculated to be the last work released under that moniker.
The five-track EP brings back a nostalgic era of Glover that many fans love and reminisce about. With the hit song “Freaks and Geeks” finally available for streaming on listening services besides Soundcloud and YouTube, fans are ecstatic.
Many thought that this album was new, but the young and “childish” bars that Glover raps about are pretty immature, but are a nice throwback to his earlier music career.
“Honestly, I’m rapping about everything I go through. Everything I’m saying, I’m super sayin’ like Goku” rapped Glover in “Shine.”
The release of the EP at this time, right after his Grammy performance and win, really allows people to see the evolution of Glover not only as an artist, but as a person as well.
The first song off of the EP, titled “Be Alone,” is able to express the loneliness that Glover felt when he started to gain a following. Although he always had people around him, he was still feeling lonely and unfulfilled.
“It seems the more I try to connect with the world, I am feeling more alone that I ever have felt before,” rapped Glover.
Compared to his other projects, this release was definitely needed and showed a different aspect of him that newer fans wouldn’t have seen before.
Considering his last release, 2016’s “Awaken! My Love,” gravitated musically toward R&B, fans have not had the chance to appreciate new rap music from Glover since he released his mixtape entitled “STN MTN / Kauai” in 2014.
The mixtape included songs like “Pop Thieves (Make it feel good),” “Retro (Rough)” and “Late Night in Kauai.”
Since Donald Glover is supposedly no longer performing as Childish Gambino, no one knows what he else he has in store for music, other than the speculated Chance the Rapper collaboration.
(01/22/18 12:59am)
By Nadir Roberts
Reviews Editor
Dave East, one of Harlem’s most talented artists, released his second EP, “Paranoia 2,” on Jan. 16. A 15-track mix of nitty-gritty street rap and New York lyricism, the album details East’s life in the city, his journey to adulthood and his role models.
With strong features from artists like T.I., Tory Lanez, Lloyd Banks and more, “Paranoia 2” is a solid collection of songs, and is exactly what fans were expecting from East.
When scrolling through the tracklist, fans saw a title that would make them even more excited for “P2” — “I Found Keisha” — which details (with exaggeration) the discovery and ultimately the death of a girl who robbed East in a previous song called “Keisha” on his 2016 mixtape “Kairi Chanel.”
The album is well-rounded, as East details the darkest, brightest, scariest and realest moments throughout his 29 years of life. Songs like “Powder,” “Violent” and “Prosper” recount the many struggles East had endure to get where he is today.
“Tryna understand what this pain about, half deaf in my left ear from them shots that them rang out,” rapped East in “Prosper.”
East uses his usual flow throughout the album with the exception of “Thank You,” the sixth song on the project. In 2012, East released a “Thank You” freestyle, which may be where he found inspiration to bring the song back and put it on an album. This song is clearly a jab at those who caused him hardship, in which he thanks his haters for making him stronger and motivating him to rise to fame and success.
“If you hating, I just want to say thank you, know you doing something right when they hate you. Running around telling people how they made you” East raps in the chorus.
“Thank You” is simply not his style, but no one can be upset about East trying to switch up his sound.
On the 10th track, “What Made Me,” East reminisces about how he was introduced to rap. He names rappers that influenced him like Jay-Z, Noreaga and his mentor Nas, who signed East to his Mass Appeal Records in 2014. East then signed with Def Jam Records in 2016.
“P2” stands out from East’s other projects. His previous EP, “Paranoia: A True Story,” was a taste of what East has been cooking in his lyrical kitchen. His most recent mixtape, “Karma,” was a teaser so fans can truly get excited for “P2.”
East has clearly mastered his sound with “P2.” His calm but serious demeanor and vocal delivery allows listeners to truly picture what he has been through in his life.
Many can tell 2018 is going to be a great year for hip-hop, and for music in general. A plethora of artists have alluded to or openly stated that they are going to release new music this year, including Drake, Migos, Earl Sweatshirt, Frank Ocean, Travis Scott and A$AP Rocky. Hopefully, East will continue to stand out amongst such giants in the genre with his affinity for lyricism and storytelling.
(12/05/17 11:17am)
By Nadir Roberts
Staff Writer
Students experienced some 17th century culture during this week’s installment of the English Department’s Close Readings Series, a recitation of Aemilia Lanyer’s poem “To the Queen’s most Excellent Majesty” by English professor Felicia Steele.
Those who attended the event on Tuesday, Nov. 28 in the Education Building enjoyed pizza and beverages provided by the English Department as they were enchanted by Lanyer’s words.
The event started off with a brief history of Lanyer’s impact on poetry both in her lifetime and to this day. Lanyer was born in London into a family of Italian musicians and became the first woman of the early modern age to publish a volume of poetry under her own name for public consumption, according to Steele.
“Salve Deus Rex Judaeorum” (Hail God, King of the Jews) is a religious poem that narrates the passion and the inequalities of the time period.
The line “To judge if it agree not with the text: And if it do, why are poor women blamed, or by more fault men so much defamed?” from “To the Queen’s Most Excellent Majesty” highlighted how women have always been held at a different standard than men.
The pieces were selected from Lanyer’s volume of poems, titled “Salve Deus Rex Judaeorum.”
Each poem in the collection was dedicated to Queen Anne and her court, which depicts a complicated picture of women as both readers and artistic patrons.
For those without a deep understanding of the subject matter during the reading, Steele as well as other English department faculty members provided an in-depth analysis of the content.
One of the underlying themes of the poem was Lanyer’s desire to be recognized as a poet, not just as an artist.
In line 34 of “To the Queen’s Most Excellent Majesty,” Lanyer wrote, “I humbly wish that yours may light on me: That so these rude unpolished lines of mine, Graced by you, may seem the more divine.”
Lanyer constantly changed her rhyme schemes and form throughout her poems to captivate her readers.
“Salve Deus Rex Judaeorum” showed how Lanyer verbally begged for the approval and recognition from Queen Anne and her court.
Despite Lanyer’s versatility and skill, the queen would not read her work, reaffirming the effects of the social hierarchy on women during this time.
Through Lanyer’s poetry, Steele highlighted deeply rooted gender inequalities and provided students with insight into 17th century culture.
(11/28/17 2:17am)
By Nadir Roberts
Staff Writer
Spectators sang and danced to three rock bands at CUB Alt’s Student Band Night on Friday, Nov. 18, in the Decker Social Space. Headlining the night was Garage Sale, a three-piece rock band based out of Manasquan, New Jersey.
The trio, which had the crowd pumped and energized, consisted of Joey Sigmund on guitar and backup vocals, Michael "DiHeelio" Diahy on drums and Dylan Lembo on bass and lead vocals.
“It’s going to be a good time and a lot of dancing, it’s all about fun,” Lenbo said.
What began as a spaced-out venue, quickly formed into a tight-knit crowd right in front of the band, who yelled jokingly, “Get closer to the stage so we can stage dive.”
Bobbing heads and tapping feet jammed along as Garage Sale played songs called “Socrates,” “Mike Tyson” and “Where’s Your Seatbelt?” The raspy and whimsical lyrics were accompanied by catchy guitar riffs and solos and crashing high hats.
Opening for the night was Satan’s Wifi, an alternative cover band based in Ewing.
The band’s humor had the audience laughing in between songs and kept the mood very light while the audience shouted the band’s motto, “Wi-Fi saved my life.”
The band covered popular songs — the Ramones’ “Blitzkrieg Bop” and Red Hot Chili Peppers’ “Californiacation” — to amp up the crowd.
The next band to blaze the stage was Paper Mills, an alternative rock band out of New Milford, New Jersey. When Paper Mills started its set, they brought upbeat energy that rippled through the crowd.
The dynamic between the group members was unmatched as they performed songs including “Euphoria” and “Summer’s Dream” from the band’s album "Head in Strange Places."
Each band provided the audience with energetic vibes along with laughs and entertainment.
“I thought it was cool to see my friends perform in front of people,” said Chris Mulqueen, a sophomore mechanical engineering major, “and it was a fun time altogether.”
(10/24/17 6:03am)
By Nadir Roberts
Staff Writer
There was an unexpected addition to this year’s Homecoming festivities.
At approximately 1:15 p.m. on Saturday, Oct. 21, students gathered in front of Trenton Hall to form a peaceful protest group and speak out about the marginalization of minorities.
As Homecoming attendees began to question what was happening outside of Trenton Hall, their questions were answered at 1:21 p.m., when around 50 people knelt to peacefully protest the injustices that historically marginalized individuals have endured.
At 1:26 p.m., everyone who took a knee rose their fist.
Leading the large, diverse crowd was Sam Serrato, a junior urban education and Spanish double major. Sarrato, who organized the event within the span of approximately two weeks, specifically put the peaceful protest together to show some of the disparities minorities face, not only in the world but on the College’s campus.
“We take a knee for our melanated community that has been deemed a threat due to misperceptions, stereotypes and fear,” Serrato said in his “take a knee” speech.
The peaceful protesters not only called for strides to be made for racial equality, but also for inclusion and acceptance of the LGBTQ+ community.
“We take a knee for the LGBTQ community who has been subject to many accounts of homophobia, transphobia and hate crimes,” Serrato said. “We take a knee for the necessity of diversity, inclusion and exposure that is needed to acknowledge and alleviate the hardships that minorities face.”
There has been recent controversy on what “taking a knee” represents. While some believe that kneeling is an act of defiance against President Donald Trump, participants of the Homecoming protest knelt to demonstrate their lack of acceptance for marginalizing minority groups.
“This is a reminder of where we need to go as an institution and where we’re going,” said Trahan Jr., the College’s director of diversity and inclusion.
Trahan plans to hold campus-wide diversity events such as Critical Conversations, a speaker series on diversity, to promote inclusion and acceptance of minority groups at the College.
Danielle Parks, a junior philosophy major and the vice president of Black Student Union, believes the event was fitting to occur during Homecoming to mirror the movement’s prevalence at NFL games.
“It represented the unspoken marginalized pain,” Parks said. “It spread awareness. These issues are alive and well, I didn’t want to miss it.”
Once the event concluded, participants gathered around Serrato and thanked him for organizing the event in a heartfelt moment. The peaceful protesters were happy to have raised attention to diversity and inclusion issues on campus and leave spectators with a clear message about what it means to take a knee.