Chosen in part for its connection to the newly released “Wicked” movie and the nostalgia of “The Wizard of Oz,” the theme set the stage for the event. A yellow brick road lined the entrance, leading to a packed room filled with colorful decorations and a photo booth designed to mimic the magical world of Oz.

“Miss Asia is an important tradition as people have come to associate Miss Asia with the same high quality each year, yet the challenge is constantly improving on the baseline and making it even better each year,” Calvin Chang, a gala chair for VSA and a sophomore majoring in business administration, wrote in an email.

Upon entering, attendees received goodie bags filled with ramen and snacks from sponsors LMNT, Vifon and Yami. Each guest also received raffle tickets for a chance to win prizes including matcha, a tablet and a television. Dinner was catered by Mein Bowl, featuring fried rice, white rice, orange chicken and teriyaki chicken, with drinks provided by Moshi and other sponsors.

The pageant opened with a flag walk. Contestants Joy Lin, Miss China and a junior majoring in biology; Amy Jung, Miss Korea and a junior majoring in biology; Simran Singh, a junior majoring in biology; representing Miss Punjab; and Catherine Guevarra, Miss Philippines and a junior majoring in global public health, took the stage holding their countries’ flags, signaling the beginning of the cultural showcase.

Serena Le, a gala chair for VSA and a sophomore majoring in nursing, explained what organizers look for when selecting contestants.

“Most of all, I feel like we look for commitment, of course, because it is a hard process,” said Le. “Just preparing so many performances in a short amount of time and being there consistently to practice with VSA and with the board. But also their cultural pride — I really love learning about their different cultures, and I feel like a lot of the contestants like learning new cultures.”

The cultural portion gave contestants the chance to showcase traditional dances from their respective heritages. Miss China performed a graceful traditional Chinese dance, while Miss Korea began her performance with a large drum before transitioning into a fan dance. Miss Punjab performed a traditional dance with two background dancers as rainbow lights filled the room and the audience clapped along. Miss Philippines also performed with background dancers, highlighting her country’s dance traditions through an energetic routine.

Attendees played mini games, including “Tornado Twister Trials” and a guessing game to find a “magic charm,” between rounds to keep the audience engaged.

The talent segment allowed contestants to express their creativity and individuality. Miss China performed a cheerleader-inspired dance in her country’s colors, joined by a background dancer who recreated the viral KATSEYE routine to Kelis’ “Milkshake.” Miss Korea showcased three dance styles, including a hip-hop number to Kendrick Lamar’s “HUMBLE.” Miss Punjab performed a Caribbean-style dance with two background dancers, while Miss Philippines sang “Beaches” by beabadoobee as the audience illuminated the room with their phone flashlights.

For the costume round, contestants embraced “The Wizard of Oz” theme. Miss China appeared as Dorothy, walking out to “Somewhere Over the Rainbow” and tossing candies to the audience. Miss Korea dressed as the Cowardly Lion and danced to “Confident” by Justin Bieber. Miss Punjab dressed as a flying monkey, while Miss Philippines embodied Glinda the Good Witch, lip-syncing to “Popular” from Wicked. Audience members voted for Crowd Favorite, Best Costume and Social Media Favorite throughout the event.

In the final walk, contestants wore formal dresses and sashes featuring the names of their represented countries before taking part in the “Ruby Slipper Reflection,” where they shared what Miss Asia meant to them.

Lin, who represented Miss China, described how the pageant allowed her to grow beyond her comfort zone.

“Some of you know me — I was one of the quietest of my high school graduating class, and for me, getting up here today, it’s a very big challenge for me,” Lin said. “I think I’m really glad to have Miss Asia as a platform for me to showcase myself and to meet so many wonderful friends I’ve made along the way.”

Jung, representing Miss Korea, reflected on the deeper meaning behind her performance.

“I personally wanted to do Miss Asia because I know that Korean culture is known today as K-Pop or publicly known snacks,” Jung said. “But obviously, our culture has a deeper root than that and a lot more history, so I showed my Korean traditional dance today. And I also wanted to come out of my comfort zone, and thankfully, I was able to be given the gift of being able to dance and use my body in that way.”

Guevarra, who represented the Philippines, discussed colorism within many Asian cultures. Growing up, she was taught to straighten her natural hair to better adhere to these beauty standards. In her presentation, she wanted to draw attention to “all the unique parts of ourselves.”

The event concluded with the announcement of audience-voted superlatives. Best Costume went to Miss Punjab, while Social Media Favorite and Crowd Favorite were both awarded to Miss Philippines. Finally, Lin was crowned Miss Asia 2025, marking the end of an evening that celebrated culture, creativity and confidence.

Lin took a moment to express her gratitude toward those who supported her journey.

“I’d like to thank my friends who never stopped believing in me and encouraged me to go the whole way,” Lin said. “There were nights where I felt like I wasn’t able to pull through and wanted to give up.”

“But I want to say for anyone who is scared to step outside the box or be on stage next year or in the spring, don’t hesitate, just do it,” she continued.

The film follows Cameron Cade, played by Tyriq Withers, a rising star quarterback who has dedicated his whole life to football. After suffering a career-altering brain injury, Cam’s dream seems to be withering away until he gains the opportunity to train with his hero and quarterback of the San Antonio Saviors, Isaiah White, played by Marlon Wayans. From there, the story focuses on what it takes to truly become the greatest of all time.

Directed by Justin Tipping, the cinematography and lavishly abstract scenery truly made “HIM” a standout film visually. While it may be easy to lose the plot of the story as sudden scenery takes over the film, it definitely doesn’t mean this film is boring — in fact, it might just be a work of art. While only 96 minutes long, the film is sectioned to mimic Cam’s days at Isaiah’s training camp, with each day focusing on a specific theme.

The use of defining day one as fun and day two as poised outlined certain aspects of the movie that drew the audience’s attention, ultimately coming together to reveal the question Isaiah consistently asked Cam throughout the film — what are you willing to sacrifice to be great?

This question, woven in each scene, tied the viewer back to the plot of Cam learning how to be the best from Isaiah, who was the most recent “GOAT.” But his peculiar ways of teaching exemplify the lengths one must go to be the greatest.

This movie raised an interesting question about the parallels of life we currently face. The obsession people have with not caring too much and being nonchalant about things they should care about creates a loss of passion.

By not caring deeply about the things that once mattered, do we lose all sense of the passion that once existed? And if all passion is lost, then what should people care about?

The thing about feelings is that while they can be intense, they can also create inspiration from within. Anger can be turned into art, and sadness can create a beautiful song. This intensity characterizes our generation, who will do whatever it takes and care more than anyone else to be one of the greats. “HIM” exemplifies that feeling through hallucinations and psychological scenes to portray Cam’s mindset.

Isaiah’s insane training methods, like hitting a player in the face with a football to help Cam deal with distractions on the field, are just the beginning of increasingly strange and horrific actions during training. Blood becomes a recurring image within the movie to portray the chaos that Isaiah exudes.

Additionally, mascots of the San Antonio Saviors repeatedly appear throughout the film, representing how haunting football becomes to Cam. These motifs underscore a question he must grapple with — if it took becoming so insanely obsessed to the point of putting football above everything else to become the greatest, would he do it? This obsession is encouraged by the film’s characters, as Isaiah only tells Cam he is proud when he becomes so intense on the field that he injures another player.

The ending, while seemingly out of place, touches on the cost of fame in American culture. “HIM” portrays the aspects of power, obsession and sacrifice, depicting a reality many athletes face on their path to fame, like sacrificing everything, even yourself, and pushing beyond normal limits to reach that level of greatness.

But if you’re not actively considering these themes throughout the film, it can be easy to lose sight of what the plot is actually about. As scenes become progressively more chaotic and shift away from the football aspect of the movie, you’re essentially watching beautifully choreographed scenery of Cam hallucinating and partying.

Regardless of what you may see, the soundtrack makes up for what you hear. Artists like Denzel Curry, Tierra Whack and Gucci Mane contributed to the music that made this film so captivating. The alternating sounds of adrenaline-pumping rap music during Cam’s training montages and the quietness that mirrors his hallucinations draw you inside his mind, giving the film an added layer of complexity.

Justin Tipping’s creativity throughout “HIM” is unmatched, and while the film might not click with everyone, that is exactly what makes it so interesting. It’s weird, bold and might leave you walking out of the theatre with more questions than you walked in with, but it will definitely get you thinking, and that’s the whole point.

RATING: 4/5

An array of multicultural organizations tabled to share their missions and communities, including the Juvenile Urban Multicultural Program, Society of Hispanic Professional Engineers, Henna Club and the Bangali Student Association.

Alyssa Soto, the president of the Caribbean Student Association, student manager of the Multicultural Resource Center and a senior majoring in psychology, described what she hopes students gain from this event.

“I hope to see people connecting with the community,” Soto said. “I think this event is a way for students on campus to see what we have going on on campus if they weren’t able to attend UFEST. So it’s just another way to connect and get to know people and resources on campus. We’re one of the resources on campus that allows students to come and have a safe space, whether it be for meeting new people or just for you to study or to try out new things.”

E-Board members represented their missions and shared ways students could get involved on campus. QR codes and GroupMe forms were available for students to scan alongside club decorations, with organization logos visible from every table. Additionally, students received cards upon entry, allowing them to collect stamps for visiting tables, which could be exchanged for food provided by the multicultural organizations.

Newer organizations, like the Mexican American Student Association, also tabled at the event. Jennifer Vivar, the historian of MASA and a junior majoring in business administration, explained the organization’s mission and what they hope to share with the student body, after being established last semester to build a stronger community on campus.

“We try to bring awareness to what it is to be Mexican,” Vivar said. “Our culture overall and our values, our morals and our struggles, our weaknesses, stuff like that. How the world portrays Mexicans, but [we] bring some spotlight to that, and try to show other people what we are, beyond a little message that they know about.”

Among many cultural organizations, professional and career-oriented organizations were also tabling at the event. The Society of Hispanic Professional Engineers centers around supporting students of Hispanic culture to connect with alumni in the engineering field, while also sharing a sense of cultural community.

Luis Ramón, the president of SHPE and a senior majoring in computer science, shared how this organization affected his time at Binghamton since joining SHPE his freshman year.

“It got me more oriented around campus and having a set of community here, and I think overall, all of my experiences, whether professional [or not], they stem from this organization,” Ramón said. “So it did really help me out, especially the alumni who graduated — they really did make an impact on me.”

Soto also shared advice for new students on campus looking for ways to get involved and find their community at Binghamton.

“It’s important in college to try to connect in a different way because you’re away from your family, you’re away from home and now you have to try to find new ways to connect with your community,” Soto said. “You can try to connect with your culture or look into different cultures, try different things, try new things. It’s important to try to get out of your comfort zone.”

Following 37 hour-long episodes of enthralling text messages, juicy challenges and messy re-couplings, season seven’s cast reappeared in New York City to come together and discuss the most anticipated questions following the season’s finale.

While season six ended with the top four couples spending their final moments on arranged dates, hopelessly in love, season seven definitely didn’t follow that narrative. Season seven’s finalists included Iris Kendall and Jose ‘Pepe’ Garcia-Gonzalez, Huda Mustafa and Chris Seeley, runners-up Nicolas Vansteenberghe and Olandria Carthen, and season seven winners Amaya ‘Papaya’ Espinal and Bryan Arenales.

Season seven’s finale was definitely unusual, as one of the final couples, Mustafa and Seeley, broke up in their last date of the show. However, their placement as the third-best couple, above Kendall and Garcia-Gonzalez, made fans pause. Was this really a show about love, or a popularity contest?

Hosted by Ariana Madix and Andy Cohen, the pair asked the previous islanders some highly anticipated questions regarding their time in the villa and their lives outside of it.

Mustafa, last seen with a new partner, Louis Russell, at the “Weapons” world premiere, was asked about her new relationship outside the villa. Her shocking answer that she was unable to discuss her relationship due to an agreement with Netflix left Cohen stunned, as photos of Mustafa and her new man have been seen all over the internet.

Taylor Williams finally addressed his feelings within the villa after choosing Clarke Carraway over Carthen in a coupling ceremony. His famous words, “I pick Clarke,” blew up on the internet as a meme. But beyond the humorous quote, Williams revealed that he was very torn about his decision between the two women. He later stated he felt he owed Carthen an apology about the situation and apologized on air.

One popular topic that had circulated as “Love Island USA” episodes were airing was whether Ace Greene and Chelley Bissainthe had actually known each other previously, and if their coupling was pre-planned. After being asked about this conspiracy, Greene and Bissainthe finally cleared the air, discussing their initial meeting outside a New York club.

After exchanging social media accounts, Greene stated he will always show love and support to people he follows on social media, addressing the receipts of Greene liking and commenting on Bissainthe’s posts before entering the villa. The couple has made appearances together outside the villa on multiple occasions, meeting fans at Disneyland. Later, they later shared with Madix and Cohen that while they may not be official yet, Greene is in love with Bissainthe.

Season six’s reunion had its humorous moments spaced between the chaos of the islanders arguing back and forth, such as winner Kordell Beckham falling asleep amid heavy conversations. This time around, Zak Srakaew, a Casa Amor bombshell who briefly coupled up with Espinal, made an appearance on a Zoom call and was seen lying across a couch, asleep after he defended accusations from Arenales that he was only with Espinal for popularity.

A crowd favorite, Austin Shepard, had the islanders laughing the most as he zoned out and gave poor answers to co-host Cohen. Shepard and Jaden Duggar, a Casa Amor bombshell, were seen exiting the villa together in a strong re-coupling.

But an introduction to the outside world shocked Duggar and fans. Duggar mentioned how she had previously reached out to Shepard, telling him that she didn’t mind if he saw other girls, but to at least let her know. However, she claimed Shepard disregarded her texts and left her in the dark, bringing unresolved tension to the room.

Safe to say, season seven’s reunion addressed viewers’ unanswered questions and revealed shake-ups following the finale.

Since the arrival of her second album, “Bewitched,” Laufey has been inseparable from soft jazz ballads and string ensembles. Her albums were once like entering a dream, a calming and wistful retreat from the everyday for her listeners.

“A Matter of Time,” however, is different. Rather than leaning into that warm sound, Laufey allows herself to get lost in the unknown, interweaving moments of rage, heartbreak and confusion into the sweetness that has long been a hallmark of hers. The contrast makes this album more complex and, in many respects, more accurate in its depiction of romance.

The theme running beneath the album is sewn into its title — time and its inexorability to change. Laufey explores how time marks relationships, personas and emotions. Far from merely imagining love as a fantasy, she presses on into the fleeting high, the bitterness and the feeling of loss that lingers.

The album glides effortlessly, with songs like “Cuckoo Ballet (Interlude)” serving as wicked but haunting segues. The brief bits add a theatrical quality to the record, much like a stage performance with different acts. On earlier records, interludes disrupted the flow, but here they are turning points, easing the progression from sunny optimism to darker, more somber territories. It’s an elegant but compelling transition that shows Laufey’s growth as a storyteller.

“Silver Lining” is the album’s emotional highlight. It gets the contrast of love, weakness and gentleness perfectly without ever feeling forced. The lyric “When you go to hell, I’ll go there with you too” distills Laufey’s knack for developing a line that’s real, stinging and instantly memorable.

At the other end of the spectrum, “Tough Luck” is an introduction to a new side of her art. It’s snappy, snarky and arguably her most honest breakup song yet. That eagerness to go outside of her comfort zone makes the album courageous and prevents it from being too formulaic.

The album reaches an emotional head with “Sabotage,” the closing track. It’s a showy, orchestral number that accelerates in intensity. The brutality of the song’s words about self-ruination and uncertainty is painful and liberating. To conclude the album in this manner makes the argument better that Laufey is diving into genuine emotion.

Where the experimentation in “A Matter of Time” makes it a thrilling leap forward, it may not resonate with every listener. Some longtime fans who have been with her from the start may miss the cozy jazz atmosphere of “Bewitched,” where every track was a string-beautiful lullaby. But here, the emotions are less delicate and sometimes jarring, showing Laufey’s evolution rather than repeating the same formula.

Ultimately, “A Matter of Time” is an album about growing. It acknowledges that love is complicated, heartbreak is inevitable and time changes everything, regardless of whether we like it or not. Laufey’s willingness to make her music honest about these truths makes the album very relatable.

“A Matter of Time” embraces vulnerability and confidence. It has the same dreamy comfort as her earlier work, but it offers a sense that change, though difficult, can be equally beautiful.

Rating: 4/5

Although “Weapons” is classified as a horror-mystery film, fragmented storytelling is really the main character. The “horror” mostly comes from the film’s early flurry of jump scares, which do their job for the first 30 minutes of the movie. As for the mystery aspect of the movie, the audience is taken along multiple characters’ perspectives, each promising to answer the big question of what happened to the 17 missing children who vanished overnight.

But honestly, the uncredited genre might be comedy. From characters making blatantly obvious mistakes — “Yes, let’s try to break into the taped off house, what could go wrong?” — to the cartoonishly bizarre Aunt Gladys, suspense in the theater was often replaced with laughter. Safe to say by the end of the movie, no one was ‘glad’ she was there.

Set in the small town of Maybrook, Pennsylvania, the film opens with a child’s eerie narration following the chaotic scene. Picture this — a third-grade teacher arrives at school to find every single one of her students missing, except timid little Alex, who instantly earns the audience’s pity. With suspicion pointing straight to the teacher, Justine, played by Julia Garner, we see the story begin to unfold, following her side of the story.

The title “Weapons” is misleading enough to make you wonder before even watching the movie — is this going to be a school shooting commentary? Could these “weapons” be guns? But besides the fleeting image of a gun hovering above the suspected house, the weapon used to explain the missing kids is something much less alarming. A simple personal belonging seems to be the weapon causing harm and chaos in their town.

But ultimately, the question everyone is asking is, “Where the hell did these kids go?” The answer begins to take shape as evidence is uncovered using the families’ home cameras. At exactly 2:17 a.m., the children are seen leaving their house in unison, running into the darkness with arms stiffly pinned behind them as if they’re playing airplanes. From here, the movie shifts from a crime drama into something far stranger, suggesting psychological manipulation or even the supernatural.

The mystery unravels slowly, with fragmented storytelling dropping hints that force the audience to play detective. The puzzle-piece structure works most of the time. But then come the distractions, like Justine, the accused teacher, and her romantic involvement with Officer Paul Morgan. Although meant to build character depth, these scenes just might make you forget what movie you’re watching.

That is, until the principal is shown running with his hands behind his back, the same position the kids were last seen running in, in broad daylight. His charged efforts to attack Justine, not to mention his bloody face and bulging eyes, bring the audience back to the plot of the movie. And the unanswered question that the whole audience is wondering begins to come to light as all attention turns to the home of the only student left in the classroom, Alex.

We’ve seen the typical scary grandma story play out multiple times in horror movies, but a scary aunt? This movie might take the cake for a peculiar aunt who took over the town with a wooden stick and vibrant hair. The mystery unveils itself as witchery appears at the scene of the crime, explaining where these children went — straight to the basement of the expected, newspaper-covered house.

Overall, “Weapons” is definitely not your average horror movie that will have you hiding behind a blanket, anticipating constant jump scares. But if you’re in the mood for a thriller and some comedy, then “Weapons” might just be your next watch. Just be sure not to leave any hair lying around or you might become Aunt Gladys’ next target.

Rating: 3.5/5

There’s something ritualistic about the whole thing: the spontaneous pregames at someone’s dorm, the trek across campus in the cool night air. But what really stands out? It’s the reason we all do it. The thing we chase, the thing that’s become synonymous with “fun” in college — alcohol. It’s the magic liquid that can turn the quietest person into a social butterfly and make the most reserved person want to dance or yell or do something they wouldn’t normally do. It’s that liquid courage that pushes you to talk to the person you’ve been wanting to approach all week, or maybe just to enjoy the night with your friends.

Alcohol has been a part of college culture since at least the 1940s. It’s how many students unwind, celebrate or just find a reason to leave their dorms. But what happens when you choose not to partake? When you don’t drink, does that mean you’re stuck watching Netflix on a Friday night while everyone else is downtown blacking out?

I’ve been the one standing at the sidelines, sober, and I’ve learned more about the college party scene than I ever expected. The culture surrounding drinking is intense — it’s practically unavoidable. “I can’t wait to blackout tonight” is something I hear at least once a week. But on the nights I’ve gone out sober, I’ve started to question whether we’re really having fun or if we’re just escaping reality. Are we using alcohol as an excuse to let go of everything, to just check out for a few hours and lose ourselves in the chaos? If that’s the case, is it even partying anymore, or just stumbling through the night while friends keep a watchful eye to make sure you make it home safely?

The more I observe, the more I realize that drinking doesn’t really come in moderation in college. A single or double drink might be considered “sober,” but anything less than blacking out feels like a waste. There’s this deeply ingrained mindset — what’s the point of drinking if you’re not going all the way? And it makes me ask myself, if I’m not drinking, what am I even doing here? Is it the music? The atmosphere? The people? What’s the real draw of going out?

I realized that the best part of going out has always been the people. If I’m surrounded by friends who can enjoy themselves without needing to be blackout drunk, the night instantly becomes more enjoyable. But there’s always that underlying pressure to match their level of looseness, that desire to feel as carefree as they do. Watching them glide through the night with that liquid courage makes me wonder if I’ll ever be able to find that same sense of freedom without alcohol.

And then there’s the dancing — or, should I say, the lack of dancing. We’ve lost the art of actually dancing. There’s less free-spirited movement like you’d see at parties in the ‘70s or ‘80s. Now, it’s all about mosh pits and frat flicking. Social media and modern rap music probably have something to do with it, but I think the music itself plays a huge role in this shift. Disco music had soul, it had funk, it made you want to move. Rap — while fun to vibe with and sing along to — doesn’t inspire the same kind of dance. Instead, it makes you want to hype up your friends, to jump around and get rowdy, but not really to dance.

But maybe it’s not that college is broken — it’s just built differently. Maybe it’s not even about dancing, but about drinking. And I used to think this was just how it was supposed to be. But then I spent a summer in London, and I saw a completely new approach to party life. There, live music filled the air, and people were dancing, not because they had to, but because they wanted to. The energy was contagious, and this time, it wasn’t fueled by shots — it was just pure, unfiltered fun. That’s the kind of energy I could get behind.

Still, I get that this comparison isn’t entirely fair. College students and people in their late 20s and 30s aren’t exactly the same. Maybe we’re still figuring it all out. Maybe blacking out is just a phase, and a few years from now, we’ll look back and laugh at how we used to think this was the only way to let loose.

But then again, do we even want something different? If we did, wouldn’t we already be trying to break out of this culture? Or is it just easier to fit into the blackout mold? If I could create my ideal college party, it would be one where people actually dance, where the music moves you in a way that doesn’t need alcohol to make you feel alive. Drinking would be optional, not essential.

Ashley Dua, the general manager of the Co-op and a senior majoring in political science, shared her inspiration behind the event.

“I thought of the flea market a year ago when I was sustainability coordinator,” Dua said. “I was working with the Sustainability Hub in a clothing swap, and we weren’t getting a lot of people, and I realized it’s because people just love to shop and buy clothes, and student fleas have kind of taken off in the University, so I wanted to make sure we hosted one at least once a semester.”

Beyond providing affordable fashion, Dua emphasized the event’s role in introducing new people to the Food Co-op.

“We’re just trying to spread the good vibes on campus but also our message of eating well, locally sourced food, trying different things that are vegan or vegetarian,” she said.

Multiple vendors set up shop within the cozy confines of the Co-op, offering a variety of items ranging from racks of vintage clothing to handmade jewelry. Rummaging through racks, students could find vintage Harley Davidson pieces, Gucci jeans, dainty slip dresses and tops. Bins filled with $3 and $5 garments also showcased small clothing items, perfect for college students looking to score a deal.

Dua said that most of the clothes at the flea market come from personal closets, thrift shops and some handmade contributions and noted that events like this provide an alternative to the rising prices of secondhand fashion on platforms like Depop.

Aaliyah Hong, the co-op’s social media manager and a junior majoring in social work, helped bring the flea market to life alongside Dua. Her contributions included K4M Clos3t and Aaliyah’s handmade jewelry, two standout sections of the market.

Hung began making jewelry during her junior year of high school amid COVID-19, initially selling her creations on Depop. Now, five years into her craft, Hung continues to pursue jewelry-making as a passion and a business.

The flea market provided an opportunity for sustainable shopping while bringing people together in a shared appreciation for local artistry and secondhand fashion. Whether searching for a vintage gem or simply soaking in the artsy and lively atmosphere, students left with not only their purchases but a sense of connection to the vibrant community at the Food Co-op.

The Student Association Programming Board’s Underground Music Committee welcomed the band Hello Mary for a nostalgic and raw performance in the University Union Underground Cafe this past Thursday. Opening the show was student band Mall Goth, whose grunge-inspired sound allowed students to transcend time.

The space was transformed into a small concert-like setting with a dark atmosphere lit up by blue and red lights that shone onto the stage. The doors opened at 8 p.m. and the openers took the stage at 8:30 p.m. Mall Goth consists of five members — Ella Kasper, a senior majoring in psychology, on vocals and bass; Thomas Finney, of Ithaca, on drums; Peter Lukach, of Endicott, on lead guitar; Val Lasster, of New York City, on keys and backing vocals; and Cheston Huczkl, on guitar.

Mall Goth takes inspiration from ‘90s rock, 2020 indie bands and headliners Hello Mary to create a blend of laid-back grunge and indie music that can be classified as slacker rock. Their performance included previously released original songs and a Pixies cover that got the audience grooving and singing along. The band’s sound featured cool dynamics, with intense instrumentals and the lead singer’s soft voice. Lukach wowed the crowd with his lively electric guitar lick. They ended their set with a couple of unreleased originals that are soon to be released on an upcoming EP.

Kasper described how their band came together as students from BU.

“We bonded over our love of the band Plum Tree in the movie ‘Scott Pilgrim’ and sat together in music theory class and decided to start jamming and started playing shows,” Kasper said. “We’ve gone through a few different lineups and members, and this is where we’re at right now.”

Around 9 p.m., Hello Mary took the stage, and students began filling in the crowd after the opening set. Hello Mary is a Brooklyn-based band made up of three members — Stella Wave, 24, on drums and vocals, Helena Straight, 20, on guitar and vocals and Mikaela Oppenheimer, 20, on bass.

Straight and Oppenheimer became friends in middle school and began jamming together. Wave was later introduced to their band through the organizer of their first show, as they were lacking a drummer. They have played together for six years.

Wave carried a lot of weight with her punchy drumming and jarring vocals, creating an edgy and true heavy metal sound. Straight’s delicate voice was a pleasant contrast to their alternative rock instrumentals. Their setlist consisted of original songs from previously released albums, including their hit “Ginger,” which has over 1.4 million streams on Spotify. Their sound was playful, with Oppenheimer simultaneously playing ominous backing tracks of muffled voices that blended with their songs.

Raissa Bellucci, the BUMP chair and a senior double-majoring in classics and English, played a key role organizing the concert. She shared why Hello Mary was selected to perform.

“I was introduced to Hello Mary’s music through a friend and instantly it was like I could transcend time and setting listening to them,” she wrote. “They were a wonderful vibe and I knew many Binghamton students would love to have that feeling — especially at the height of stressful finals.”

As their set continued, Wave unexpectedly engaged the audience, running off stage and started screaming “I don’t know” and “fuck you” multiple times while also using her microphone to hit the drums.

Wave’s improvisational act amped up the crowd and brought the energy that the audience had been anticipating. In true metalcore fashion, the band’s hard vocals and laid-back attitude reflected the common culture of rejecting musical and societal norms.

Michael LoBiondo, BUMP’s vice chair and a junior double-majoring in philosophy, politics and law and Spanish, highlighted the uniqueness of the authenticity of both acts.

“It’s hard to pinpoint exactly what authenticity means, but I think ultimately it comes down to how well the music and performances resonate with an audience,” LoBiondo wrote in an email. “And there’s a reason we see such turnout for these acts, and I think it stems from their ability to reach people at an internal level. Both Mall Goth and Hello Mary are really special acts and have such a magical quality to their music and performances, and whatever that magic is, it speaks to a lot of Binghamton students.”

Editor’s Note (11/19): This article was updated to add the perspective of the Underground Music Committee’s chair.

The cinema department welcomed abstract filmmaker Saif Alsaegh, 33, of California, as he contrasted the life and landscape in Iraq and the United States during the 1990s. His viewings were a part of the Visiting Film & Video Artists & Speakers Series held in Lecture Hall 6 on Oct. 24.

Alsaegh attended film school at the University of Wisconsin-Milwaukee and uses his films to tell his fragmented and visual stories.

His work consisted of six short films, ranging between one to 21 minutes long, and took inspiration from poetry, surrealism and memories of his childhood. He explores the calm and disturbing manners of war through recreated landscapes of Iraq and California. The use of cross-cutting techniques was apparent in each video as Alsaegh flip-flopped scenes and sounds to convey the contrasting emotions of life during the war.

The first video, “Alazeef,” used simple visuals and poetic storytelling to portray the fears of an Iraqi soldier during a time of war. Alsaegh used a sandbox, toy figurines of soldiers and guns and printed pictures to portray the landscape of Iraq. A mix of Iraq-inspired and patriotic American music heavily influenced the contrasting scenes of the day-to-day reality soldiers faced versus the longing they had to visit America to escape the harsh reality of the war.

The second video, “Bezuna,” told the complications of fleeing one’s home country. The beginning dialogue listed items you shouldn’t pack as a split-screen of appealing visuals played side by side. The use of natural images of fish swimming together, a woman’s hand holding a cigarette and an animal lying down illustrated the peaceful feeling of moving away from war. Clips of a young child were also woven between scenes as natural sounds of water and the narrative of a woman’s childhood migration experience interchanged.

The third video, “Somewhere Nowhere,” uses a sped-up, first-person point of view of an immigrant strolling through the American suburbs. The peaceful music creates an eerie contrast to the disorienting trippy video.

The fourth video, “1991,” conveys the separation between a child and his mother after fleeing Iraq. The format of a recorded FaceTime call showed the mother and child reconnecting over the phone as he cooked a traditional dish. Alsaegh narrates the poor and deserted conditions his mother endured during her final stages of pregnancy in 1991 with few pauses, stimulating the audience to feel overwhelmed, a feeling similar to what his mother had experienced. However, the peaceful visuals of a cozy American cabin created a captivating difference.

“Bitter with a Shy Taste of Sweetness” contrasts the fragmented past of the filmmaker growing up in Baghdad with his surreal and current California lifestyle. Through poetic writing and jarring visuals, the film creates a calm and cruel sense of memory and landscape. “Bitter with a Shy Taste of Sweetness” opens with the drippings of coffee, a tradition in which mothers would tell their children their future based on the shapes formed. Alsaegh’s fragmented past was portrayed through the tilted screen — because although California was beautiful, it wasn’t his home. Green grass, blue seas and blonde hair, he describes, were noticeable features TV portrayed America as, as they weren’t available in Baghdad. The video contained little dialogue but utilized sounds of waves crashing, bells ringing and upbeat music through clips of California landscape.

The sixth and final video, “The Motherfucker’s Birthday,” took the audience back to Alsaegh’s home country Iraq. “It’s the motherfucker’s birthday, so the Iraqis must dance” was written in black letters behind a bright red screen. The comical title expressed the act of cursing out Iraqi dictator Saddam Hussein. Terrifying scenes of guns being shot and Iraqis dancing showed as the use of muffled noise created an uncanny feeling. Gentle music played as people were shown getting beat by soldiers. The audio ranged from old news broadcasts, muffled noises and upbeat music. “Sweet Caroline” played as soldiers were shown holding hands and dancing.

“A lot of what is shown on the screen is to try to visually convey a place —Iraq — where I can no longer visit,” Alsaegh wrote in an email. “So limitations of options always help me with my artistic vision for these works, for instance, how to talk about a place you can no longer see, how to share things, you can no longer touch or experience.”

The city of Binghamton brought members of the Hispanic community together to share their pride for Hispanic Heritage Month. The event was held to honor and celebrate the achievements of the Hispanic community with foods from different countries, lively music and dancing.

The event was held inside the Polish Community Center at 347 Prospect St., which was decorated with flags from different Hispanic countries. Large tables and colorful tablecloths invited community members of all ages to gather and share a meal. Attendees showed their pride in their Hispanic heritage by donating food and wearing traditional cultural outfits.

The event was spearheaded by Edward Marte, 27, of Binghamton.

“I originally came [up] with the idea when I was working at the American Civic Association, and I did that in 2022 when I was working there,” Marte said. “Of course, with the help of the local members from the community that make food and contribute to make sure this event happens.”

Marte, originally from the Dominican Republic, is an active representative of the Hispanic community in Endicott and Johnson City and teaches Spanish at West Middle School in Binghamton.

Community members entered at 6 p.m. and settled in. Honorary speakers took the stage to say a prayer of gratitude for their beloved Hispanic community and all they have been blessed with.

At 7 p.m., the festivities began. Everyone was encouraged to stand up and dance to lively music. Soon after, a large line for food quickly formed and wrapped around the inside of the venue.

A long row of tables appeared to be the center of attention as trays of food donated by local community members crowded the space. This included traditional rice and beans, empanadas, beef and potatoes and a taco station, along with a selection of desserts.

Volunteers from Binghamton University’s Dominican Student Association helped set up the event and handed out food to community members.

“Food and dancing is definitely one of the bigger [aspects of culture],” Marte said. “We also have special guests that came from the city that will be doing a performance to represent the Dominican cultures and the carnival.”

Local banks and organizations, like Empower Federal Credit Union, were invited by Marte to set up tables to represent their organization and inform attendees about them. Many of them sold raffle tickets.

The blend of cultural representation from a variety of Hispanic countries created an inviting and diverse event for community members. The atmosphere thoroughly symbolized the traditions that define Hispanic culture and history through inviting music and dance. As the event came to a close, attendees were reminded of Marte’s gratitude for the support and unity that the event had fostered.

A community of music enthusiasts gathered to experience an innovative and audience-engaging African-Caribbean jazz group led by Edgar Pagan of Syracuse and featuring five-time Emmy winner Emedin Rivera at the Schorr Family Firehouse Stage on Monday.

Located on 48 Willow St. in Johnson City, this firehouse-turned-performance center hosts a range of shows, from comedy acts to a cappella experiences.

Attendees were welcomed with a dark ambiance and an array of small tables with dimly lit candles facing the instrument-flooded stage. Pagan allowed for a new style of music to be heard, not only among the crowd but his own band.

“I look for people with a special spirit,” Pagan said. “They’re very open to improvisation and they’re comfortable in the moment. Some people aren’t. I’ve worked with musicians that like everything very structured. But you know, one of the things about jazz and the blues is that it leaves room for a lot of interpretation and just having some fun with it.”

The group consisted of Pagan, of Syracuse, on bass and vocals, Jerry Moore of Syracuse on flute and saxophone, Adam Fisher of Syracuse on guitar, Dan Pugh of Syracuse on keyboards and Rivera on percussion.

Pugh’s fluid piano skills set the foundation for a classic jazz tune while Fisher’s electric guitar solo wowed the audience as he added an edgy new sound. In true jazz fashion, improvisation, along with engagement from the audience, created a unique blend of the blues and Latin beats.

Percussionist Rivera, 73, of Landing, New Jersey, began the performance, slithering through the audience while banging a metal wheel that created a bell-like sound to symbolize a train conductor. The intro created a unique start to the setlist, filling the venue with laughter and instantly setting the tone for what the audience would be expecting from the group.

The performance was anything but typical, but the audience was able to see the music come to life one instrument at a time. Each musician brought their own personality to the stage. Rivera showcased his abilities when playing with a drumstick in one hand and his bare left hand to blend jazz and Caribbean percussion beats simultaneously.

Pagan told the audience one of the final songs, “La Musica,” was meant to symbolize how music is all around us in our day-to-day lives. From the simple sound of a handshake to a hug, every noise can become musical. Small hand percussion egg shakers were handed out to the audience to invite the crowd to groove along with the band, showcasing the true meaning of the song.

“I’m from Puerto Rico, you know, so the Latin rhythms, maybe they’re in the DNA or something, because my mom, when she was cooking, she’d be in the kitchen,” Pagan said. “I could hear her doing the rhythms with all the forks and knives and spoons on the table, and I kind of feel the music.”

The setlist came to an end as Michael Carbone, a former director of Binghamton University’s Harpur Jazz Ensemble, was brought out to accompany the band’s final song with his soulful saxophone solo.

“You could tell, the moments when we were like, ‘OK, where’s this going to go,’ but that keeps it exciting and on the edge and fun,” Pagan said. “This time around instead of doing a super polished show, because we weren’t really ready for that, let’s let the audience know and be honest with them. And it seemed like the reaction was nice.”