C Magazine Arts & Culture
April 2017 Vol. 5 Edition 5
BREAKING DOWN THE BAMBOO CEILING
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LETTER FROM THE EDITORS Dear Readers, As our final production cycle as editors, we are incredibly proud to see this edition in print, but also sad knowing it is our last time handing out the magazine as editors. With that being said, we are more than confident in the leadership team that will be managing this upcoming edition as well as this coming school year. In our food section, “Back to Our Roots” explores the growing farm to table industry, highlighting the importance of local produce and small farms. In “Art Lifting,” staff writers Rosa Schaefer Bastian, Hannah Darby and Lara Nakamura feature Art Lifting, an organization that curates and helps sell homeless and disadvantaged individual’s art. This edition's cover story, "Breaking Down the Bamboo Ceiling," provides insight on the invisible ceiling that hinders Asian Americans in obtaining leadership roles, specifically in tech companies throughout Silicon Valley. Though it is a complex issue, the article explains why this barrier exists and how corporations and individuals are taking steps to address the problem. Also be sure to check out “Why do Kids Stop Loving School?” in the Culture section! In this article, staff writer Alexis Pisco interviews students and professional psychologists to better understand why students lose their love for school. As our final edition as editors, we want to say thank you to all of our readers and sponsors for their continued support. We are so proud of the direction C Magazine is headed in and we are confident that next year’s leadership team will continue to produce content you will enjoy! Happy reading,! Reilly Filter, Ahana Ganguly, Katie Passarello and Sarah Shapiro Editors-in-Chief
PALO ALTO HIGH SCHOOL, 50 EMBARCADERO RD. • WWW.CMAGAZINE.ORG • @C__MAGAZINE
FOOD
Perfect Picnic Vegan Pastries Spring Recipes Back to Our Roots
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CULTURE
Prom Asking Advice From a Lifetime Stag Blast from the Past: Prom Lessons from the Little AAR Projects: The Real Deal
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Self-Care Guide C Mag Perspective: For Katelyn Art Lifting COVER: Breaking Down the Bamboo Ceiling
ARTS
C Mag Simplifies: Neuroscience of Music How to Make Your Own Corsage C Mag Film Club: Coming of Age Movies DIY Pins Why do Kids Stop Loving School? What the Ghost Ship Means for Other Artist Collectives Artist of the Month: Matthew Woon Rain Works
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Editors-in-Chief • Reilly Filter, Ahana Ganguly, Katie Passarello, Sarah Shapiro Managing Editors Jasmine Abeyta, Atusa Assadi Design Editor Emma Staiger Creative Director Teddie Stewart Creative Illustrator Jordan Schilling Copy Editor Rima Parekh Social Media Hannah Darby Web Editor-in-Chief Nicole Li Business Manager Ally Scheve
Staff Writers Chiara Biondi, Maddy Buecheler, Hollie Chiao, Gabe Cohen, Stan de Martel, Lhaga Dingpontsawa, Ryan Gwyn, Amanda Hmelar, Fe Hmelar, Darrow Hornik, Katie Look, Olivia O’Farrell, Lara Nakamura, Mattie Orloff, Alexis Pisco, Julianna Roth, Talia Stanley, Rosa Schaefer Bastian, Yashvi Tibrewal Illustrators Yoonjung Cho, Chloe Patterson Adviser Brian Wilson
Perfect Picnics A guide to your perfect picnic TEXT BY TALIA STANLEY • DESIGN BY MADDY BUECHELER PHOTO BY MADDY BUECHELER
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What to bring: To start your perfect picnic off on the right foot, remember to bring some key materials: a soft and cute blanket that you don’t mind getting dirty, a picnic basket stocked with your favorite snacks, and some fun activities! Sketchbooks, watercolors, string for friendship bracelets or sports equipment to play a pickup game of wiffle ball or volleyball are some of our favorite picks!
Set-up: Decide with your friends on the perfect spot — this may vary depending on what kind of a day it is. If it’s super hot and you have a lot of time on your hands, heading to the beach to cool off may be your best option. If you have plenty of time but it’s not as sunny, choose Foothills Park or another scenic spot. Have a busy schedule but want to get outside for a picnic? There are numerous local parks around Palo Alto. Once you’ve packed your basket and arrived at your perfect picnic location, lay out the blanket with your food and fun activities. If it’s cold, bring a thermos with hot cocoa. If it’s hot, don’t forget the lemonade!
In the act: Once you’ve set up, dig in and enjoy! Enjoy talking about life or current events with your friends, or do one of the many crafts that you’ve brought. We chose to go to Lake Lagunitas on Stanford campus because it was warm out and we were excited to soak up some sun after all of the cold and rainy weather. We brought fruit, chips, and peanut butter and jelly sandwiches to snack on. We also brought friendship bracelet string and henna to do. It made for the perfect picnic experience and was a great way to de-stress with friends while enjoying nature!
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vegan pastries sweet treats for the animal-free
TEXT, PHOTOS AND DESIGN BY NICOLE LI
Miss soft, spongy cakes and creamy, baked goodness? Or are you just looking to treat yourself to an animal-free delicacy? Look no further! Below are some of the best locations to get scrumptious vegan baked goods! photo: Whole Foods vegan donuts
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Chocolate Coconut Vegan Donut With delicious chocolate glaze and flaky coconut shavings, this Whole Foods pastry is sweet but not overwhelmingly so. The soft cake base tastes remarkably like a “real” donut with eggs and milk, but it is a vegan masterpiece. Just big enough for an indulgent treat, the donut can be yours for just $2 and would pair nicely with milk or coffee. Whole Foods also has many rotational vegan specialties such as chocolate loaves and scones. Whole Foods Market 774 Emerson St, Palo Alto
Vegan Lemon Poppyseed Muffin Calafia’s $2.50 vegan lemon poppyseed muffin is a quick, satisfying treat. The crunchy, sugar-crusted top protects the spongy center. Lemon zest dispersed in the muffin base ensures that no part of the experience is dull. Enjoy the tea-time delicacy with coffee or hot chocolate. Calafia Cafe & Market A Go-Go 855 El Camino Real, Palo Alto
Vegan Red Velvet Cupcake $3.75 for a cupcake is a bit much, but Sprinkles’ gourmet vegan red velvet is a must-try. The coconut cream frosting is incredibly sweet, almost to the point of hurting your throat, but the “cake” part is on point. Fluffy, moist and soft, the pastry’s lack of dairy and egg is unidentifiable. The warm, pocket-sized store is a welcome destination on a rainy day, and the service is as sweet as the cupcakes. Sprinkles Cupcakes 393 Stanford Shopping Ctr, Palo Alto
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spring recipes Make the most of what spring has to offer using seasonal produce from the stands at Palo Alto Farmers Market TEXT AND DESIGN BY CHIARA BIONDI AND ROSA SCHAEFER BASTIAN PHOTOS BY AMANDA HMELAR • ART BY ROSA SCHAEFER BASTIAN
Apricot Jam Ingredients: • • • •
2 ½ pounds of apricots 3 cups of granulated sugar ¼ cup of water Juice of one lemon
Directions: • Remove the pits from the apricots and cut into small cubes. Depending on how smooth you want the jam, you can also put the apricots in a food processor. Add the cubes to a large pot. • Add sugar to the pot and stir to combine. Pour in water and bring to a boil. • Once the jam is boiling, lower the heat to a simmer and let it thicken for about 15 minutes. • When the jam has finished cooking, add lemon juice and ladle into jars. The jam is best in the first two weeks, so eat up!
Pea Salad Ingredients: • • • • • • •
1 pound unshelled peas 6 cups washed and trimmed arugula ¼ cup chopped mint 1 ½ tablespoon lemon juice 1 tablespoon olive oil ½ teaspoon salt ½ cup goat cheese
Directions: • Bring about 2 cups of water to boil in a saucepan. Shell peas and add to saucepan to cook for 1 minute. Drain, then place cooked peas in an ice bath for less than a minute. Drain once more. • Combine the peas, arugula and mint in a large bowl. Mix in lemon juice, olive oil and salt. Top with goat cheese — or substitute with feta or pecorino.
Strawberry and Blueberry Crumble Ingredients: • • • • • • • • • • •
1 small box blueberries 4 cups of strawberries, hulled and halved 1 ¼ cups granulated sugar 1 ½ teaspoons orange zest 1 tablespoon cornstarch ½ cup freshly squeezed orange juice 1 cup all-purpose flour ½ brown sugar ½ teaspoon salt 1 cup quick cooking oatmeal 12 tablespoons butter
Directions: • Preheat the oven to 350° • Combine and toss the blueberries, strawberries, ¾ cup granulated sugar and orange zest in a bowl. • Dissolve the cornstarch in the orange juice and add to the fruit mixture. • For the topping, use an electric mixer to combine the flour, ½ cup granulated sugar, brown sugar, salt and oatmeal. Add the butter and mix on low speed until the mixture creates a crumble. • In a large baking dish, pour the fruit mixture on the bottom and then cover with the crumble. • Bake for one hour. Serve warm with vanilla ice cream for an added touch of sweetness! 9 | FOOD
TEXT AND DESIGN BY HANNAH DARBY AND RYAN GWYN ART BY TEDDIE STEWART • PHOTO BY RYAN GWYN An exploration of the farm-to-table movement and how its impact has affected society
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S
urrounded by a constant buzz of the positive health benefits locally sourced restaurants bring to our Palo Alto community, the farm-to-table movement proves to be more than just a “trend.” In the past, most of the food that Americans consumed came from within 50 miles of a restaurant. However, as cities developed and the demand for food increased, many local food sources disappeared. Technology and interstate highways allowed our food to come from farther away, which led to the reliance on processed food. Farm-to-table restaurants are taking restaurant-goers back to their roots and away from the convenience of packaged food. People have begun to seek healthier and more environmentally friendly alternatives to the processed foods that dominate local grocery stores. Although easily accessible, processed foods are high in fat, sugars and chemicals that are not healthy additions to diets. Farm-to-table restaurants offer organic, locally grown foods that are healthy. The origins of the farm-to-table movement are close to home. In 1971, Alice Waters, a Berkeley based chef and activist, opened her flagship restaurant Chez Panisse. What set this restaurant apart from others of its kind was the vision behind it — Chez Panisse strives for locally sourced, non-GMO, seasonal food. This establishment was the first domino in a cascade of pop-up farm-to-table eateries around the Bay Area and nationwide. In the wake of her culinary success, Alice Waters became a leader in the world of farm-to-table. Since the 2000s, farmto-table establishments have spread rapidly and the vision is now one of the most popular ways to eat, with many restaurants sourcing as much as they can from local, respected farms.
Allison Edwards, founder of Dirty Girl Produce in Santa Cruz, has watched the farm-to-table movement grow over the past 20 years. From it, she has gained insight on the importance of quality food. Working with restaurants such as the Slanted Door and Boulevard, the farmers at Dirty Girl Produce are able to recognize the importance of maintaining constant communication with the chefs. “The chef and the restaurant owner know the growers and producers and have relationships with them,” Edwards said. “They choose their menu and the produce based on the information that they get from those relationships.” The knowledge of origins of the fruits and vegetables allows for a higher quality of food that is enjoyable for the customers of the restaurants. “It was so satisfying how much the restaurant owners who bought food from us appreciated the quality of the food,” Edwards said. Although today it may seem like the farm-totable movement is everywhere, there was a time when people believed that it would not flourish. “When I started farming at the beginning of Dirty Girls, people told us there wasn’t enough room for another small farm, and they were completely wrong,” Edwards said. “There are so many more outlets for small farms and restaurants that are buying directly from growers. If anything, the movement is still growing and we are establishing a new food culture in Northern California.” As the farm-to-table movement remains in its early stages, locally oriented restaurants will continue to establish themselves in the Bay Area and nationwide.The way we eat is ever-changing, and there is much ahead for the activists behind the farm-to-table movement.
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Prom Asking Advice from a Lifetime Stag TEXT BY NATHAN ZEIDWERG DESIGN BY JORDAN SCHILLING PHOTO BY DARROW HORNIK
With prom around the corner, many are feeling the pressure that comes with the askings. Here are some suggestions on how to guarantee a “yes” The Sign With a Surprise: Instead of boring your prospective date with a corny sign held by their close friends, surprise them with a corny sign held by all of their exes. It’s a surefire way to show them you’ve done your homework and that you have a clear concept of boundaries. The Secret Admirer: Nothing excites people more than a little mystery — here’s how you use it to your advantage. Spray paint your asking on their car, but don’t sign it. Just let them enthusiastically discover who it was from! They’ll be sure to love it, and don’t doubt their ability to trace it back to you — the police are surprisingly good at that sort of thing. The Serenade: There’s nothing that people appreciate more than being singled out publicly. Fulfill this desire by making a scene and performing a song, regardless of talent, in front of a large group of people. If you want a definite “yes,” interrupt their class without telling the teacher first.
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The Promposal: Have you been dating someone for a while but still don’t know how to ask? Don’t sweat it! Just show up at their house unannounced, preferably during a rainy night, and get down on one knee in front of their family. Then, reach for your pocket, and take out a small note with your asking on it! It’s simple, and their family will be sure to react positively. The Tattoo: Are you ever worried that a sign wouldn’t properly convey your dedication? Worry no longer! Just tattoo your asking on your bare chest and show them when nobody else is around. It’ll get the point across while also insinuating that you’re just a cool, down-to-earth person who they can feel comfortable around. The Back-up Plan: Let’s be honest, there are a few of us out there who are reaching a little higher than they should. Have no fear — with an asking like this, rejection will be a thing of the past. Just prepare your asking for the intended person, but bring an extra poster for their mother or sister if they say no. It’ll guarantee you a date without any conflict or drama.
Blast From The Past: Prom! TEXT BY DARROW HORNIK AND MATTIE ORLOFF DESIGN BY DARROW HORNIK
We got a chance to ask some of our favorite teachers about their experiences at their high school proms. Who did they go with? What did they wear? Did they regret anything about their prom experience? Read ahead to find out more about Palo Alto High School teachers’ promenades. Let’s see if you can figure out which teachers are in these pictures!
A
“That’s my 18-year-old mustache. I tried so hard to grow that thing.”
“My junior year in high school, I had it in my head that I wanted to be really tan for the prom, so I waited until the Sunday before, when my family was out of town, and I stayed home and sunbathed in my backyard. I had to go to the emergency room with second degree burns.”
C
B
“He spilled his coke all over my dress at dinner!”
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A. Prom King Mr.Tolentino B. Ms. Stemple C. Ms. Chute
LESSONS FROM THE
LITTLE TEXT AND DESIGN BY YASHVI TIBREWAL AND JASMINE ABEYTA • ART BY TEDDIE STEWART
ARE YOU EXCITED TO BECOME A TEENAGER?
I am excited to become a teenager ‘cause then I’ll be able to have my own computer, my own iPad, and my own phone and call my own friends. - Natalia, 8
Yes. Because 13 is my favorite number and teenagers are 13. - Flo, 7
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I don’t know, not really. People are really annoying and weird and moody in ninth grade, so no thank you. I’ve heard a lot from my sister. - Mateo, 12
What DO YOU THINK MAKES UP A HAPPY AND SUCCESSFUL LIFE?
You do what makes you happy, and not because it makes good money. Studying, and having good grades. Since my mom is a high school teacher, she usually tells me about high school stuff.
- Mateo, 12
- Shanley, 9
Have friends and family, play with your friends and do fun stuff. - Alex, 8
What is the best advice you would give to your FUTURE self?
I could say ... Never be so hard to yourself. Nobody told me this advice, I just made it up myself. - Shanley, 9
I would try and take a little bit of a breath and think of stuff that makes me happy so I’m not as stressed. - Flo, 7
To be confident … and don’t think it’s gonna be scary if there’s a hard test you have to do. (or to do work and feeling tired) I would say, “Come on, wake up Alessia!” - Alessia, 8
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AAR:The Real Deal TEXT AND DESIGN BY ALLY SCHEVE ILLUSTRATION BY CHLOE PATTERSON
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o you have a passion for subject matter beyond what is taught in the typical Paly classroom? Many students are pursuing their passions by taking Advanced Authentic Research (AAR), a class that enables students to research a unique project of their choice. AAR recently won the Glenn W. Hoffman Award which celebrates school programs that significantly impact student success in Santa Clara County. AAR invites students to explore ideas that authentically intrigue them in a low-risk environment. With the help of a mentor in their field of interest and a teacher advisor, any 10th through 12th grade student can act on their intellectual curiosities. Over a hundred Paly students are currently working on AAR projects as varied as an investigation into sports team chemistry to the genetic mutation of cancer genes.
A look at two Paly students’ Advanced Authentic Research projects and their implications in the Bay Area community
Emily Tomz: Team Cohesion Emily Tomz, an avid soccer player, used her AAR project as a means to answer a question about what variables seem to be associated with a player’s satisfaction with her team. Tomz, who plays both Palo Alto High School Girls’ Varsity soccer and club soccer, has had different experiences with both teams. “I was interested in what different factors correspond to team cohesion and the satisfaction of players within the teams, and if it was different between high school and club levels,” Tomz said. AAR has allowed her to explore this question over the past year by completing a number of milestones, beginning with developing a research question with her mentor. The mentor helps guide the student in their research project and is able to give expert advice. “It has
been a really good experience to be working with a mentor,” Tomz said. Currently, Tomz is working to analyze the raw data she has collected from soccer players from various teams all around the Bay Area to identify what variables seem to be associated with player contentment and team cohesion. “One thing I have noticed as I have started to look at the data is that your relationship with your teammates and your coach seems to be associated with your overall satisfaction on the team,” Tomz said. Furthermore, Tomz hopes to use her data in the future to create a curriculum for club coaches to implement into their practices to see if it could help player satisfaction in general and teams work better together.
Sarah Sundermeyer: Child Literacy The Social Justice Pathway (SJP) has teamed up with AAR over the past year to enable SJP students to create research projects that address a local social justice issue. Students research the causes that impact the social justice problem and propose a possible solution to this problem. Sarah Sundermeyer, a Palo Alto High School senior and member of SJP, decided to pursue a research project on the variables that affect literacy development among K-3 students. “Junior year in the Social Justice Pathway, we do an internship with a local non-profit,
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and I ended up doing my internship with this non-profit called Reading Partners,” Sundermeyer said. This internship led Sundermeyer to become interested in child literacy, especially with children who are low-income minority students. To address her social justice issue, Sundermeyer created a program at Laurel School in Menlo Park called Book Buddies, which works with the Laurel School after-school program to promote increased reading outside of school. Each week this semester, Sundermeyer has been creating a handful of themed
book bags that contain several books of the same theme but at different reading levels, along with a stuffed animal that fits the theme. Five different students get to take a book bag home each week. All of the students involved in the Book Buddies program are invited to take a weekly survey which asks if they had a chance to take home a book bag or not in the past week and how many books they read at home that week. “My goal is to try and figure out if the Book Buddies program is actually increasing the amount of books they read each week,” Sundermeyer said. The best part for Sundermeyer has been working with the kids. “They are so excited about the program — they are really excited to be able to bring home the animals, and they’re all waiting for their turn to bring them home, so it has been fun to work with them.”
Self-Care Guide Check out these nine easy ways to de-stress! TEXT, DESIGN AND ILLUSTRATIONS BY JULIANNA ROTH
Get Clean
Cleaning and organizing can help distract you from stress and give you a sense of control over one part of your life. Set a timer for 10-30 minutes to organize and dust off one part of your room or house. Cleaning is something that most people put off, so you will feel accomplished and proud of yourself if you set aside a few minutes to clean that neglected area in your room. Most people hate cleaning, so even just doing the laundry that has been stuffed under your bed for a month can make you feel better.
A change in scenery might be exactly what you need to feel more relaxed. A few great ways to achieve this include going for a walk, run or hike. There are many beautiful trails and nature preserves to explore locally, and it is proven that spending time in nature and releasing endorphins from exercise can reduce stress levels and increase happiness.
Namaste
Go Outside
Yoga and meditation are great ways to center yourself and focus on your body and breathing. When searching for a relaxing yoga class, look for a class called restorative or yin yoga that incorporates simple poses and meditation. There are also many online yoga and guided meditation websites that allow you to do yoga in the comfort of your home.
Since most entertainment nowadays is concentrated online, people forget the value of a good book. Reading is a relaxing activity that can transport your brain into a different world. If you do not want to invest the time in reading a book, read a short story or magazine to give yourself a break. Even if you just look at a picture book, that still counts for something!
Be Creative
Read
Painting, drawing and sculpting are relaxing ways to make something beautiful and alleviate stress. Therapeutic coloring books are available for purchase at bookstores or art centers. Coloring books have become very popular in recent years for the calming effect they have on the mind. Don’t worry if you’re terrible at art! All you have to do is color inside the lines.
Laughter is the best way to take yourself away from your troubles. Watch an uplifting comedy show that will make you smile and laugh. Some of the most popular shows are New Girl, Friends, Seinfeld, Parks and Recreation, The Office and Modern Family. There are many other shows you can browse on Netflix or on your TV. Nothing like some stupid Schmidt humor to brighten your day!
Cook Up a Storm
Watch and Laugh
Cooking and baking can be therapeutic activities that result in a delicious meal or snack. They can help take your mind off the challenges of everyday life and allow you to create something beautiful. Making a huge mess that someone else has to clean up will definitely boost your mood!
The best way to practice self-care is to give yourself a confidence boost. Try and find things you love about yourself and say them out loud. Over time, you will start to believe them and become more comfortable and happy with yourself.
Love Yourself
Write It Down When life gets people down, it is easy to lose perspective and get wrapped up in the negativity. Try putting aside 15 minutes to write in a diary or a gratitude journal. A gratitude journal is specifically meant for writing down everything you are grateful for or things that make you happy. Remember, you do not need a journal with sparkles and a little lock and key to write down your feelings (although sparkles never hurt).
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c magazine perspective:
for
katelyn
18 years ago, my family faced a tragedy that has, to this day, had an influence over my family’s health and medical needs.
M
y sister, Katelyn, who would have been two years older than me, died when she was 17 months old after receiving the DTaP vaccination, which is meant to immunize children below the age of seven from diphtheria, tetanus and pertussis. It is earth-shattering when something that is meant to keep you healthy ends up causing so much pain, but tragedies that are not meant to happen inevitably will. People have asked my family how it is that this could have happened — how it could have been avoided — but the only thing that can answer these questions is that nothing really could have been done. It was an accident, and accidents happen. What my family has learned from this experience is as follows: When something as protective as a vaccine is the subject of such deep skepticism to you, it is important to look upon the subject by evaluating the consequences and benefits of certain immunizations in order to choose the best plan for your health.
My parents understood that abstaining me and my little sister, Natalie, from immunizations entirely would be unwise because of the risk of contracting a disease as babies and young children. Nevertheless, certain immunizations were indisputably necessary for us, including the polio, diphtheria and tetanus vaccines because of the severity of the illnesses. Some vaccines were abstained from because of the risk of any adverse side effects. Among these was the DTaP vaccine. Evidently, this vaccine introduced a very sensitive topic to my family, so when it was time for me and Natalie to receive this vaccine, my parents proceeded with caution. The DTaP vaccination was subjected to experimentation during the 90s whereby the pertussis immunization component was changed. The change was prompted to reduce adverse reactions caused by the initial vaccination formula in hopes that the new vaccine would be safer and more effective. The uncertainty of the pertussis immunization dissuaded my parents from
treating me and my sister with the DTaP vaccine as a whole. This decision was difficult to make, however, because pertussis, or whooping cough, is fatal for infants. Despite this, my sister and I were never at high risk of contracting pertussis, and we did not receive any pertussis immunization as infants. It is important to understand that certain decisions have repercussions, even if the decision is not entirely wrong. Once Natalie and I were both old enough to contract pertussis without it being fatal, we had never been immunized against it, and we had been in elementary school for a few years. This meant that we were especially susceptible to contracting pertussis if there were an outbreak. Consequently, when a strain of pertussis spread through our elementary school, we both caught it. Although the illness was unpleasant, it wasn’t until several years later that we ultimately received the pertussis vaccination for future immunization. Soon after Katelyn passed away, my parents searched for closure through research, hoping to better the health
TEXT AND DESIGN BY AMANDA HMELAR
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“If I had a do-over with Katelyn, I wish I could have educated myself more procedures that Natalie and I would one day receive. about vaccinations The Vaccine Adverse Event Reporting System (VAERS) works in conjunction with the Center for Disease Control instead of blindly and the Food and Drug Administration to collect information from and for the public about side effects from vaccinations following the doctor’s that are on the market in the United States. Parents, guardians and doctors voluntarily report adverse reactions to vaccinarecommendations. tions so that people are aware of risks, but because events are voluntarily reported, not every event will be accounted for if a Even though I may parent, guardian or doctor chooses not to report it. My mother chose to report my sister’s death to VAERS, still have followed the where she also found that other people had experienced adverse reactions caused by the same lot, or batch, of the doctor’s suggestions, DTaP immunization. According to VAERS, four people, whose average ages were about a year and four months old, at least I would have were admitted to the emergency room after having received vaccinations from the same batch number that my sister understood the effects received. This was not uncommon among other batches of the vaccinations administered from 1998 through 1999 which of vaccinations, which I caused multiple hospitalization and ER visits and over eight reported deaths. am very aware of now.” However, databases like VAERS are not meant to steer people away from vaccination usage, but rather to aid adults and doctors when choosing how to treat children with vaccinations so that they can make informed and safe decisions. Dr. Rick Lloyd, my pediatrician, helped my family conduct research and personalize an alternative vaccination plan for me and Natalie that my parents could be more involved in. He encouraged my parents to look through the lens of not only parents, but also consumers, who had the right to monitor what they were consuming rather than allowing a doctor to lead them through a process they did not fully understand. As a result, I have just recently received vaccinations of the 15 immunizations and boosters that children are supposed to receive in their first 15 months because of my alternative immunization schedule. However, as Natalie and I get older, my family’s growing awareness of the risk of some diseases, like bacterial meningitis, has inspired more of an appreciation for the benefits of vaccinations. My mother said: “If I had a do-over with Katelyn, I wish I could have educated myself more about vaccinations instead of blindly following the doctor’s recommendations. Even though I may still have followed the doctor’s suggestions, at least I would have understood the effects of vaccinations, which I am very aware of now.”
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Michael Rogan
Clyde Horn
Ingrid Shu
Clyde Horn
ART LIFTING TEXT AND DESIGN BY HANNAH DARBY, LARA NAKAMURA AND ROSA SCHAEFER BASTIAN PHOTOS BY JORDAN SCHILLING AND RYAN GWYN
Art Lifting is an organization that works to empower artists who are homeless or are struggling with mental or physical disabilities by creating a digital marketplace to sell their artwork
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Photos courtesy of Clyde Horn
W
hether it be someone who is combating mental illness, or someone living in darkened alleys hidden between streets, people who are homeless or struggling with disabilities are financially, and at times physically, limited to the vast opportunities many are able to take advantage of. A common coping mechanism to break through this wall of inequality is creating art. Through photography, oil pastels, watercolor and other mediums, disadvantaged individuals have the opportunity to abandon stereotypes and delve into a state of relaxation and relief from anxiety. In a society filled with talented artists, it can be difficult to find success in such a competitive industry. Art Lifting, an organization started by Liz Powers in 2013, works to empower artists struggling with disabilities or homelessness. Finding inspiration in the art created by
homeless people in shelters she volunteered at, Powers decided to start a program that would help the homeless profit from their beautiful art. She believes that being at a physical or situational disadvantage should not discredit someone’s ability to sell their artwork. By creating a digital marketplace to connect them to a larger audience, Powers has created a path toward financial stability for these individuals.
Clyde Horn: Clyde Horn, a decorated Vietnam War veteran and former psychotherapist struggling with Post Traumatic Stress Disorder (PTSD), explains how his experience with Art Lifting has affected his ability to heal. As a result of the fight, flight and freeze reaction adopted when soldiers are under attack, war veterans with PTSD develop a chemical imbalance in the back of their brain.
“With PTSD, if you truly have it, that chemical doesn’t turn off. It stays on all the time. So you’re in a hyper state of arousal, virtually [for] the rest of your life,” Horn said. Having art as an outlet has allowed him to refocus his energy and direct his struggles into art. After meeting with numerous therapists, Horn was eventually connected with an art therapist who helped him discover a passion for photography, which increases his ability to alleviate stress. Horn’s photography is used as a calming mechanism and a way for him to interact with nature. “Not only is nature beautiful, but it is not necessarily a respecter of everything; if it wants to wage a storm, it will. It doesn’t care if you’re a child or senior citizen or anything else. But then again it also takes care of itself in ways that we need to learn from,” Horn said. He believes the lessons he has learned from nature can reach anyone who is able to find meaning in his photography.
Paintings courtesy of Michael Rogan “I try to look at the micro part of nature as well as the macro part of nature and portray that, and in a lot of ways it expresses my emotions, my feelings and my need for ongoing healing,” Horn said. With his love for photography, Horn was able to profit and foster his own selfworth by selling his art through Art Lifting. “I love being part of a program that addresses the disenfranchised of society because, whether people embrace those who are homeless or those who are disabled, the majority of the population doesn’t,” Horn said. Having an accredited organization with a top-of-the-line art gallery allows public praise for the artist’s work. “I don’t particularly care about whether my art sells or not. What I care about is that I get a message out — that veterans have ways of speaking and expressing themselves,” Horn said. “I can’t think of another organization that does what Art Lifting does for artists that are overlooked and compensates for them,” Horn said. “So I am very proud to be part of this organization and help however I can.” Artist Michael Rogan also uses art as a relief from his long lasting struggle with
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Michael Rogan: PTSD. Through the Art Lifting program, he sells his watercolor paintings as a way to cope with anxiety and rage. After returning from the war in Vietnam, he went straight into junior college and spent years suppressing his feelings of shame. “My life pretty much fell apart in 1984,” Rogan said. “My wife and my children left and I just went to hell. I was actually afraid of the way I was behaving around my own family. I was acting out of anger. I was afraid for them; in a way I was glad to see them get to somewhere safe.” At the time, PTSD was not considered a real disorder. People did not understand that trauma could leave a person with an invisible scar. “In 1986, they finally put out the psychiatry institutions that established post-traumatic stress as a disorder, and it was about that time I went to the Veterans Administration (VA) and I told them the stuff that had been going on in my life,” Rogan said. Connecting with Art Lifting and receiving art therapy through the VA helped
Rogan broaden his perspective and meet new people. “I have been able to move from the VA culture, which is a bunch of other vets basically, to the community here, and now I’m hooked up with some folks in Los Gatos. I’m in the co-op gallery there, Gallery 24, and I am also involved with the art club. I am meeting other artists and they are very accepting,” Rogan said. Rogan understands and accepts that he will never be able to live a life without treatment. However, he has found an alternative route to the conventional methods that people use and has started releasing those feelings of shame and guilt through his paintings. Rogan’s art, either created on location or referenced from photos he has taken, is painted in the back of a small studio. Rogan sends his work to Art Lifting where it is converted into prints to be sold. “I don’t sell a lot through them, but every month when I get a little check, it tells me that what I’m doing is worth something… that there are people out there that want what I have to offer, and that does a lot to your selfesteem, especially when you’re beating yourself up for your history,” Rogan said. Through this program Rogan feels that a whole new
world of possibilities have opened due to the community of people he has connected with.
Ingrid Shu: Ingrid Shu, an artist who suffers from lupus disease, recently joined Art Lifting after being connected through Abilities United, a Palo Alto-based organization that focuses on services for people with disabilities. Lupus is a chronic disease that restricts your body’s ability to tell the difference between viruses and healthy tissues, resulting in healthy tissue being destroyed. This causes inflammation, pain and damage in various parts of the body. All the profits that Shu makes from her paintings are donated to Abilities United to help educate people about lupus disease and how it affects individuals like herself. Through Art Lifting, Ingrid has been able to spread knowledge about the seriousness of her disease through her online bio, a unique feature incorporated by Art Lifting, to give artists the opportunity to talk about their circumstances.
“I’ve just recently joined [Art Lifting] but it’s a great project because everything is posted on the Internet, so we will have a larger group of people…and then we promote the sales of our paintings and broaden the scope,” Shu said. She is thankful for Art Lifting since it has
“I love being part of a program that addresses the disenfranchised of society because whether people embrace those who are homeless or those who are disabled, the majority of the population doesn’t” - Clyde Horn introduced her to a group of people that buy and sell her paintings. Shu likes that it is run by young and energetic people that are passionate about the subject of homelessness and disability. Shu’s paintings focus on nature landscaping
and the use of bright colors. “I usually paint at home, but I did take some art classes from Palo Alto Art Center,” Shu said. “I just paint whenever I have the energy. I’m not a regular painter [so] I do it whenever I have free time.” Painting has given Shu the opportunity to escape from all of life’s worries. “It’s very relaxing,” Shu said. “I went through a lot, and art is a great tool for a lot of people. For people with genetic problems or a mental illness, the pain will go away for the time being.” Even though Shu is new to the Art Lifting community, she is grateful for her experiences. “I am very happy that this organization exists, and it’s going to be a wonderful relationship we just started,” Shu said. Art Lifting is a program that offers artists with an array of disabilities more than just an opportunity to make a profit — it serves as a platform for them to build a community and pursue their passions. Art Lifting has created a place where they can relieve their stress in a way that is beneficial to their mental and emotional health. Paintings courtesy of Ingrid Shu
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breaking down the bamboo ceiling TEXT AND DESIGN BY RIMA PAREKH, AHANA GANGULY, LHAGA DINGPONTSAWA AND HOLLIE CHIAO • ILLUSTRATIONS BY CHLOE PATTERSON, RIMA PAREKH AND AHANA GANGULY
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START
The intersection of Eastern and Western cultures in Silicon Valley has brought to light the nuanced, tangled issue of Asian-American representation in leadership. —T H E I S S U E —
“P
FINISH CEO
assion is one of those things that people can express in different ways,” Mikaela Kiner recounted. “I might not be physically jumping out of my chair, but that doesn’t mean that I’m not passionate about something. I think what she had was a sort of quiet and serious affect, and they couldn’t interpret that as passion.” Kiner, the founder and CEO of a consulting company in Seattle called uniquelyHR, recalled an experience that stood out to her when she was working in recruiting several years ago: The company was in the process of interviewing a woman for their new project in China. Jessica, whose name has been changed, was more than qualified, but the board of white, male interviewees didn’t think she was demonstrating enough “passion.” Kiner tried as hard as she could to advocate for her, but she was never hired. Jessica’s story seems to be playing out across Silicon Valley boardrooms and leadership teams today. Data show that Asian Americans face a barrier in advancing to leadership positions in the workforce. While many have heard of the glass ceiling, a term widely accepted to encapsulate the invisible barrier that millions of women face to further themselves in their careers, few have heard of the bamboo ceiling, a term that describes the
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barrier that many Asian Americans such as Jessica face. This lack of representation in leadership roles is shocking simply because of the large number of Asian-American professionals in the industry. According to a study conducted by Ascend Foundation, Asians represent approximately 27% of professionals in Silicon Valley-based companies — in an ideal world, this would mean that 27% of executives at these companies would be Asian Americans, but the reality is that only 5.6% of these high-level positions are held by this demographic. This can leave researchers and Asian-American employees wondering: Why is there a gap? There isn’t one clear culprit, but research shows that a number of major cultural factors perpetuate the disparity between Asians and their white counterparts. Sangeeta Relan, who is Indian-American, has worked in the tech industry in the Bay Area for 22 years. While Relan, a senior director at software company Nutanix, has never experienced explicit discrimination, she acknowledges that, as an Asian-American female in the workforce, she has faced cer-
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tain barriers in moving forward during her career that relate to interpersonal relations and communication. “Throughout my career, some of the relationship-building which required people to socialize and have common interests — I was a little different in that sense. My focus
“One of the core values we’re brought up with is to work hard, study hard. We did not learn the skill of presentation or connection-building.” - Sangeeta Relan, senior director
was to get things done … versus going and playing golf and going out for drinks. That definitely was a barrier.” In India, Relan states that the belief was that hard work would be rewarded with success, and this has held true to a certain extent
for many Asian Americans. When it comes to income, Asians have fared significantly better than the rest of the American population; while the US national median income is $49,000, the national median income for Asians is $66,000. In fact, Martin Carnoy, a professor of education at Stanford, believes Silicon Valley is very welcoming toward Asians. “It seems that Silicon Valley has somewhat of a preference for Asian Americans. There are higher, larger numbers of them, and it isn’t that they’re hired with lower salaries — their salaries have gone up, relative to white males.” However, when it comes to higher management positions, meritocracy is less emphasized, while people skills and Western leadership ideals become far more important. Unfortunately, the preference for these traits often deter Asian Americans from becoming executives simply because of the cultural and educational values instilled during their upbringing. “Coming from an Indian background, one of the core values we’re brought up with is to work hard, study hard. Results will automatically come — let the work speak for it-
self. We did not learn the skill of presentation or connection-building or the importance of working on that,” Relan said. Janet Wong, one of the authors of the research paper conducted by Ascend, is a board director of a publicly traded company, and from her research and experience, communication and relationship-building are skills Asian Americans have to work harder at improving. “Asians don’t always realize being smart and being the most technical person will not help you get to the top … We need awareness, [we need to] rely on relationships and social skills that will help cross-functionally,” Wong said. Differences in tolerance for risk have been shown to distinguish Asian-American and white employees as well. Carnoy believes that this disparity between Asian immigrants and Americans exists because of differences in education. The education in many Asian countries, specifically China, Japan and Korea, is highly driven by examinations, which may account for the general aversion to risk-taking among Asian-American employees. “[Eastern Asians] have not been taught to
take risks… I think it reflects that the education system simply got locked into teaching people to conform and behave in a particular way and to be completely focused on tests,” Carnoy said.
“If you got yourself into a steady job, that itself was a huge success. Taking risks was not part of the cultural equation only because that atmosphere was not part of the place they [Asians] grew up in.” - Rekha Pai, product manager
An Indian American and former product manager at Juniper, Rekha Pai explains that in Asia, emphasis is placed on following the most stable career path and ensuring financial security rather than taking risks. Coun-
tries like China, India, Japan and Korea have huge populations and large competition, therefore fewer jobs and opportunities are available, even for well-educated people. “It made sense to be a little more protectionistic about your career,” Pai said. “If you got yourself into a steady job, that itself was a huge success. Taking risks was not part of the cultural equation only because that atmosphere was not part of the place they [Asians] grew up in.” For many Asians, the desire to lead a stable life comes with a fear of failure. From her experience, Pai has felt that failure may be viewed as a formative, learning experience in Western society, simply because the infrastructure of the economy and the political system allows it to be so. In Asian cultures, however, the scenario is exactly the opposite. “There was not an entrepreneurial ecosystem where people who took risks were actually being rewarded,” Pai said. “There was sort of a negative discouragement; the environment they grew up in did not encourage people to take risks because the price of failure was huge. It would mean survival.” Along with risk-taking, a common thread
that seems to tie high-ranking officials European education systems, American sysAsian culture tends to instill the idea that in the tech industry and beyond is creativ- tems, give more flexibility on what they con- authority should be submitted to without reity. “I think to be a successful entrepreneur sider good academics,” Carnoy said. sistance far more so than in Western culture, you need creative skills — to think outside Growing up and finishing school in India, and this deference to authority also plays a the box and to actually think about breaking Pai had experiences that matched Carnoy’s role in constructing the bamboo ceiling. rules as a good thing,” said Joost Schreve, co- observations. When Pai came to the US, she Geert Hofstede, the founder of comparative founder and CEO of Palo Alto startup kim- noticed her lack of writing and creative skills, intercultural research, studies how culture inkim. which seemed to come more naturally to her fluences workplace values using what he calls But this seems to be another area in which peers who grew up in America. the 6-D Model, which uses six dimensions Asian Ameriof culture to procans are holding vide a compre“I think to be a successful entrepreneur you need creative skills — to think back. According hensive view of to Carnoy, this outside the box and to actually think about breaking rules as a good thing.” a country’s social is also a direct structure. result of the edPower dis- Joost Schreve, cofounder & CEO ucation system: tance, defined “There’s no time as the extent to to think creatively or to problem solve, and “I feel like we did not have such a good which “the less powerful members of instiyet they can solve very hard problems on the humanities education back in the country tutions and organizations expect and accept math test … When they come to a university where I came from,” Pai said. “I feel that that power is distributed unequally,” occurs that demands creativity, it’s hard for them to those specific [humanities] disciplines do at particularly high levels in Asian countries be creative. It’s not that they don’t want to be, give kids an ability to think critically, an abil- and is characterized by an appreciation for but it’s almost in their genes now.” ity to write persuasively, an ability to express hierarchy and a top-down structure in sociIn Western countries, however, Car- themselves … People who grew up in these ety and organizations. noy believes students are given more space [Asian] countries and then came here in their Pai recognizes this in herself, especially to think abstractly and creatively since the adulthood did not get those skills and were when considering her upbringing: “I came school environment is less test-driven. “The held back because of that.” from a culture where I was told to follow and
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listen and told to not question.” She took it upon herself to learn these skills when she realized it was holding her back in the Western workplace. “I had to teach myself to … be an owner, think like an owner of the problem. Instead of looking for other people to give me the solution, I taught myself to think independently.” Asian Americans in the workforce have had to overcome barriers that their peers may not have faced simply because of the cultural differences between Asia and the Western world, and ultimately, these differences have been shown to hold Asian Americans back when advancing to leadership positions. This brings up the question: Are all the Western ideals for leadership necessarily the most effective? In the book “Quiet: The Power of Introverts in a World That Can’t Stop Talking,” author Susan Cain argues that perhaps the traditionally Western leadership skills associated with individuality and extroversion are not the only valuable leadership styles. Rather, Asian cultural traits relating to harmony, hard work and “quiet persistence” are equally important for leaders to have.
Similarly, the Harvard Business Review calls on CEOs to understand the importance of being “uncharacteristically quiet” in their recent article “Bursting the CEO Bubble.” The article explains that even though CEOs are expected to be outspoken, if executives fail to learn the importance of listening and being quiet, they lower their chances of “encountering novel ideas,” which can either come from their peers or themselves. In fact, decades of social science research have shown that cultural diversity and diversity in thought vastly improve the creativity, innovation and problem-solving abilities of teams. As Relan said, “Having a diverse group of people working on any kind of project brings much wider and broader perspectives, and they can pinpoint issues and then build solutions before the fact rather than after.” And it follows that this increased innovation makes diversity an obvious incentive from an economic perspective. “In almost any company you can name, the customer base is going to be diverse, and people recognize that they’re just going to do better financially — they’re going to have better
solutions and better products the more they represent their customer base,” Kiner said. —ADDRESSING THE PROBLEM— Yin Ling Leung, Chief Strategy Officer and cofounder at Applied Research Works Incorporated, began to learn Western workplace ideals since she was very young. After her father died, her mother became the main source of income for the family. Watching her mother tackle cultural and language barriers all while ensuring her business was running smoothly — being a “boss lady,” as Leung put it — taught her how to navigate the Western world and helped her cultivate the values she would eventually employ in building her company. In leading her company, which is partially based in Asia, Leung embraces two ideals in cultivating her company’s culture: “truth over harmony” and “disagree and commit.” These principles come together in a marriage of collectivist and individualist problem solving that allows their workplace to be a “democracy of good ideas.” By thoughtfully constructing a setting in which the intersec
paly madrono 2016-17
tion of Western and Eastern cultures is accounted for, a “culture of truth and respect” can be established. In Kiner’s consulting work with her company, which sets up the HR infrastructure for companies that are getting off the ground, Kiner has witnessed the foundations of companies’ cultures forming. She believes it is essential for companies to keep diversity goals in mind right from the start. “Thinking about it [diversity] early is really important, because if you wait until you’re at 15 or 20 employees, you already have the culture, and you have the workforce,” Kiner said. “If you wait until then to hire your first woman or your first person of color, they may already feel that they’re not being represented at that company.” Without these kinds of goals in mind, companies can end up establishing impenetrable complexes, making it difficult for minorities to join teams. “The question that we hear so often is, ‘Where do we find people who are underrepresented, and how do we hire them?’ And the question that I think needs to go with that is, ‘How do we have a workplace where those people want to join us, and how do we retain them and help them be successful?’” Kiner said. By making
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sure that companies are representative of the workforce they’re hiring from, diverse teams can be added to and sustained as the company grows. Although she knows that there is value in these large-scale goals corporations commit to, Kiner sees the power in these smaller steps individuals are making. “I remember Jona-
“If you wait ... to hire your first woman or your first person of color, they may aready be feel that they're not being represented at that company.” - Mikaela Kiner, founder & CEO
than Sposato, who’s an angel investor, talking about a statement he had made a year or so ago that he wouldn’t invest in any companies that didn’t have at least one woman on the board. So he was taking this very individual stance, but you can immediately see the impact, and I think sometimes that is as effec-
tive — or more effective — as big programs.” Another individual effort Kiner remembered came from a stereotypically Western CEO, loud, male and fiercely confident, leading a discussion about executive presence. Western culture typically highlights executive presence to be powerful and immediate, but this CEO took time to highlight one of the quietest women on the team, making it clear that she had powerful executive presence despite the fact that her leadership didn’t present the same way his did. The bamboo ceiling, a complex, unwieldy product of this intersection of Eastern and Western cultures, has no single villain or victim. But if companies and leadership teams are to reach their full potential, it is essential that the definition of good leadership is broadened to include those who may lead with soft-power and “quiet persistence,” those who were raised with Asian cultural values, or those who simply identify with Jessica and her story. As Kiner said, “We miss out on these other forms of leadership, and I think it just takes education and conversation to help people understand what leadership and confidence can look like.”
Let us
paly madrono 2016-17
KNOW... The Madrono staff [you know, those guys ^] would love to hear from YOU: • Have an idea for something we should cover? Let us know! • Take a cool photo we might want to put in the book? Let us know! • Interested in joining us on the staff next year? Let us know! • Want to just see how the yearbook is put together? Let us know!
Stop by MAC 104 during 6th period and say hello! or email us at: madronoyearbook@gmail.com
C MAG SIMPLIFIES
neuroscience of music how music interacts with your brain and body
TEXT AND DESIGN BY NICOLE LI AND EMMA STAIGER art by Emma Staiger
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introduction Music is an essential part of our lives: it fills our time and our souls, it dictates our playlists, and it speaks to our emotions and innermost thoughts and feelings. Music motivates us to work, to play, to get serious, to be happy. Music has gripped humanity since the beginning of time — from lullabies and hymns, to prayers and celebrations, from dance halls and corner cafes, to night clubs and radio shows. Music has grown, evolved and revolutionized; it has rallied and influenced people and movements; it has sparked love and hate and everything in between. Now, music is a multi-billion dollar industry that extends to every corner of an increasingly globalized world. Undeniably, music is intrinsically tied to mankind and to the very core of living and existing. So, why does music have this influence?
what happens chemically?
what happens physically?
Part of the appeal of music comes from its chemical mimicry of pleasurable acts like sex and eating. Biologically and evolutionarily, listening to music can be as enjoyable as eating a chocolate cake or experiencing a runner’s high. When music passes through the ear, it transforms from wave energy, to mechanical energy and finally to chemical energy. The brain receives the chemical signals and triggers the release of dopamine in its reward centers. From a chemical point of view, music has addictive qualities. Interestingly, the most dopamine release occurs before the song’s musical climax. Our brains respond most readily to sounds that stray from the melodic pattern, sounds that are unpredictable and novel. After all, recognizable patterns are boring and sometimes even irritating (like an alarm clock or a TV jingle for fast food). This is because dopamine neurons quickly adapt to predictable stimuli — your brain habituates, and it becomes more difficult to achieve a comparable high to the first time you heard the musical sequence. When the beat drops and all the built up anticipation boils over, the emotional release is the greatest. The brain, starved of the melodic pattern that all other patterns in the song closely mimic but don’t quite duplicate, finally gets what it wants. Music invokes within us a human need for order and clarity among confusion and struggle. When we listen to music, we strive to resolve broken patterns and ride the ups and downs of the composer or producer’s methodic narrative.
Along with the psychological effects of dopamine release comes the immediate physical impacts. The pupils dilate, heart rate increases and blood is pumped to the muscles. The cerebellum, responsible for controlling bodily movement, becomes hyperactive. People often tap their feet or bob their head subconsciously to music, often entraining their movements with the bass notes that make up the song’s rhythm.
what happens cognitively? Another reason music is so compelling is due to how our brains process music. Tunes have beginnings and ends, and since they always come in complete packages, we remember music by recalling their accompanying notes. When we hear the words of a song that’s been played repeatedly, we immediately recall the rest of the musical phrase. Similar to the way our brain activity oscillates with the cadence of a person’s speech, it naturally syncs up with the rhythm of a song. The brain is more sensitive to deviations in low notes than high notes, explaining why the rhythm sections of musical styles around the world rely on bass, drums and lower tones to set patterns. With high notes, the brain cannot differentiate between deviations and the standard melody as easily. This explains why blaring guitar solos and loud saxophone leads are more acceptable to our ears than offbeat bass guitars or drums.
what happens emotionally? Hearing a certain song can immediately draw up powerful emotions. Music can remind us of a specific time or place, triggering powerful memories. This is part of the reason why music is so important to us emotionally and culturally.
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Corsage How to Make your Own:
PROM
A step-by-step guide on how to make your own easy prom corsage to save the big bucks!
WHAT YOU NEED: 1. Select a color scheme. Choose colors that can be found on your dress or tuxedo, and make sure any additional accessories appropriately match you or your date’s dress. If unsure about colors, school colors are always an option. 2. Choose your flowers. Purchase flowers that are near bloom or pick them fresh (if you want to save some money), and leave them in water until you’re ready to make the corsage. 3. Preferably choose flowers that are somewhat sturdy, such as roses, orchids or daisies, as they will hold better throughout the night. 4. Choose your wristband. The flowers are the focal point of the corsage, but let’s not neglect the wristband. Try a corsage bracelet, ribbon or any band that fits snug on your wrist. 5. Pick any coordinating trinkets (if desired).
STEPS: 1. Trim the stems of the flower short with wire cutters or scissors . 2. Bind each of the flower stems with a wire and tape them together for extra hold. 3. Assemble base. 4. Place band in between two sections. 5. Form a bow out of ribbon. 6. Attach bow with the band and flowers. 7. Wrap it around your wrist and roll into prom! TEXT AND DESIGN BY FE HMELAR PHOTO BY JORDAN SCHILLING
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C MAG FILM CLUB:
COMING OF AGE MOVIES TEXT AND DESIGN BY ATUSA ASSADI, MATTIE ORLOFF AND EMILIA DIAZ MAGALONI • ILLUSTRATIONS BY YOONJUNG CHO
Whatever your opinion of coming of age movies, it is difficult to dispute that they have steadily become the quintessential American film genre. Compelling characters, soundtracks and well-written dialogue are key components to any successful coming of age film. Below are six of our favorites.
Juno:
Through Ellen Page’s realistic portrayal of a jaded and darkly sarcastic teenager and screenwriter Diablo Cody’s cutting dialogue, Juno transforms the taboo topic of teen pregnancy into a light and clever comedy about a 16-year-old girl who, like the script of this film, never takes herself too seriously. Our Juno, whose name evokes the Roman goddess of childbirth, dresses like a little boy and drinks family sized containers of Sunny-D in order to counteract the results of her pregnancy tests. Needless to say, not your run-of-the mill, wife of Jupiter kind of deity. The audience follows Juno, or as she’s more colloquially known, “the cautionary whale,” as she navigates teen life and the turbulent relationships with the people around her. She and her gold-clad track-star boyfriend Paulie Bleeker “roast the broomstick” or take the “next step” in their relationship, forcing her to confront the responsibility that comes with a reckless fun night in! After an off-putting experience at the local abortion clinic, Juno, with encouragement from her best friend, responds to an eager newspaper ad from prospective adoptive parents. Juno finds herself in the home of a friendly young couple, witnessing a perfect audition from the parent candidates, Mark and Vanessa Loring. As their lives become further interwoven with her own, Juno is forced to confront the realities of growing up, in which even this seemingly perfect couple who were going to give her baby the perfect life are deeply complex and struggle with problems of their own. Juno's journey is brought to life through the interactions with her dysfunctional family, including her father and stepmother, her baby sister, her trusty hamburger phone, and of course her beloved dog, Banana. Not to forget her awkward but devoted boyfriend whose credits include trying really hard to be the “totally boss” “cheese to [her] macaroni.” Through exploration of these relationships, the film maintains Juno’s endearing spirit, rebellious nature and lovable personality, perfectly captured in Ellen Page's performance. In addition to the brilliant dialogue, a low-fi indie soundtrack carries the film, capturing its offbeat spirit. Director Jason Reitman finishes the movie with a perfect moment of quirky glory featuring Juno and Paulie playing guitar and singing a hilarious and bizarrely sweet duet rendition of the Moldy Peaches’ “Anyone Else But You.”
Sing Street:
This coming of age musical about an eclectic gang of South-Dubliners in the 1980s kicks off with the transfer of private school kid Conor Lawlor (Ferdia Walsh-Peelo) to a rough public school, where he encounters the beautiful and mysterious Raphina. Driven by his desire to win her affection, Conor lies about being in a band and is faced with the task of actually forming one from among his seemingly talentless deadbeat classmates. Guided through the world of music by his older brother, former aspiring rock artist Brendan, and inspired by the music of Duran Duran, the Cure, the Clash and other iconic new-age bands of the era, Conor and his crew develop a new sound, a genre that they dub “Futurism.” This motley crew is comprised of a four-foot, bucktoothed, redhead band manager and cameraman, a blue-velvet clad, rabbit-loving musical prodigy who doubles as the group’s composer, the only black Dubliner at their school with undeniable musical skill, and a feisty bald duo reminiscent of tweedledee and tweedledum who dazzle on the drums and bass. At their head is lead singer and lyricist Conor (stage name “Cosmo”), defined by his Bowie cheekbones, bold eyeliner and dress code-defying brown loafers. Brendan, who himself once nurtured dreams of pursuing music, passionately throws his support behind his brother’s band, strengthening the bond between them which gives us some of the film’s best and most heartfelt moments, illuminating Sing Street’s central themes. The film joins the ranks of director John Carney’s underrated indie movie musicals Begin Again and Once, transporting its audience with a stunning original score including songs such as “Drive It Like You Stole It” and “Up.” The band’s journey, beginning as a ploy to get a girl, transforms into a means for Conor to discover his passion for music. Sing Street is honest about the stakes of pursuing one’s dreams. The film touches upon the sacrifices that must be made and the people one must leave behind in the pursuit of one’s goals. Characterized by nostalgic musical favorites, iconic fashion and the universal search for self-discovery, Sing Street is a hidden gem.
Moonrise Kingdom:
Through the masterful direction and cinematography of industry god Wes Anderson, "Moonrise Kingdom" tells the storybook romance of misunderstood 12-year-olds Sam Shakusky (Jared Gilman) and Suzy Bishop (Kara Hayward) in their daring flight to escape their troubling realities and be together. Sam, an awkward but well-meaning orphan and khaki-scout, and Suzy, an intelligent and severely troubled young girl, both outsiders among their peers, fall in love through an innocent exchange of letters and youthful attraction to epic romance. Anderson’s unconventional decision to construct his film around the unwavering love of two preteens is conceptually funny and immediately captures the hearts of the audience. Set on a picturesque but fictional New England island in the summer of 1965, Anderson creates a strange, whimsical world that evokes a fairytale come to life. The fantastical escapist lens of these two lost children transports the audience into a bygone era, brought to life by yellow suitcases packed with fantasy novels, borrowed record players, a coonskin hunting cap and a treasured pair of Galilean binoculars. The child stars and film newcomers are masterfully supported by a hilarious veteran cast including Bill Murray, Edward Norton, Bruce Willis and Frances McDormand. A sliding camera effect, reminiscent of the changing backdrop of a play, pulls the audience from scene to scene. From Sam and Suzy’s first meeting backstage of a bizarre operatic rendition of Noah’s Ark, to the escapades of a bloodthirsty gang of boy scouts led by a devoted, khaki-clad math teacher (Edward Norton), the beauty and surrealism of Wes Anderson’s carefully crafted world brings to light adolescents’ struggle with alienation.
Me, Earl and the Dying Girl:
"Me, Earl and the Dying Girl," directed by Alfonso Gomez-Rejon, follows a year in the life of high school senior and social outsider Greg Gaines (Thomas Mann), as it is turned upside down by the unconventional friendship he forms with his classmate Rachel, a girl recently diagnosed with cancer. Think "The Fault in Our Stars" but if "The Fault in Our Stars" was good. Despite being a movie about cancer "Me, Earl and the Dying Girl" is more of a comedy than a tragedy. The story is carried by Greg’s charming and distinctive narrative voice demonstrated primarily through his self-deprecating humor, including repeated descriptions of himself as “terminally awkward ...[with] ... a face like a little groundhog.” Before meeting Rachel, Greg and his “co-worker” Earl (his best friend since childhood, which Greg will never admit because he’s “got issues”) were content with eating Pho with their heavily tattooed history teacher and making intentionally stupid movies with titles that play on “classics of cinema,” including “A Sockwork Orange” and “A Box of ‘Lips, Wow!” At school, Greg happily leads an unobtrusive lifestyle through “citizenship in every nation,” peacefully floating between his school’s many cliques. The unusual friendship that forms between Greg and Rachel, which begins with Greg’s mother pushing him to hang out with “the Dying Girl,” forces him to finally take his emotions seriously, face the realities of his unknown future and stop worrying about what others think. The relationship that blossoms between the two of them is perfect and also tragic because we know it is doomed from the start. The film stands out by telling a love story without any romance, addressing the heartbreaking paradox of meeting the right person at the wrong time. The raw and touching relationships and character development are truly what drive this story and bring it to life. As Greg, Rachel and Earl grapple with isolation and vulnerability, their strange shared sense of humor and moments spent together allow the three friends to draw strength from each other, survive the trials of adolescence and come to terms with the fleeting nature of life.
Dope:
Rick Famuyiwa’s film "Dope" is a perfect down-to-earth modern film with a 90s twist. "Dope" is a timeless story about a teenage boy growing up in Inglewood, California, more commonly referred to as “the bottoms” by locals in the movie. Malcolm Adekanbi, played by Shameik Moore, followed by his two best friends, Jib and Diggy, are outsiders at their high school where they are picked on by popular kids for their geeky habits. Malcolm and his friends stay out of trouble, ignoring the popular kids by focusing on their band. Obsessed with 90s hip hop, Malcolm and his friends pass time studying and playing in their punk band Awreeoh (pronounced oreo), whom the audience can thank for the several hilarious original songs (in addition to executive producer Pharrell Williams). The kids take pride in being geeks and do not hide the fact that they enjoy school. They sing about being good kids and voice their dreams of attending college, unlike their peers. Malcolm, Diggy and Jib often poke fun at Inglewood and its gang related crimes. “Someone needs to invent an app like Waze to navigate through all these gang streets,” Jib said. However, the nerdy, crime-free lifestyle of our lovable heroes changes on their daily bike ride coming home from school when the three best friends are stopped by the town’s drug dealer, Dom, played by A$AP Rocky, who convinces them to attend his birthday party at a club that night. The kids feel an uncharacteristic obligation to listen to Dom due to his intimidating reputation, so they follow him to the club where things take a turn for the worse. Throughout the film, Malcolm is caught between two stereotypes that he does not completely fulfill: A geek who is destined for Harvard or a black “criminal” from the hood. But as he grows, he understands there is nothing wrong with being a little bit of both and learns to be proud of where he comes from. Check out our coming of age playlist “Tunez 4 Teenz” on Spotify, which features songs from the soundtracks of these movies!
Boyhood:
"Boyhood," directed by Richard Linklater, is a unique film produced over a period of 12 years that follows the same cast of actors as their characters change and grow before the camera. Focusing on the growth of the main character Mason, played by Ellar Coltrane, the story follows him through a series of day-to-day situations that make Mason question himself and grow from every experience. Mason, an extremely ordinary Texas boy who loves reading "Harry Potter" and watching cartoons, tackles many obstacles that come with being in a divorced family. Mason witnesses his mother go from being a single parent, to the wife of an alcoholic abusive husband, to finally reaching a stable relationship. The camera guides us through the story of Mason’s life, and we see how he is affected by everything him, his sister and his mom experience. As a teenager with working parents, Mason grows up very independent; constantly facing pressure from his peers to experiment with drinking and sex. As viewers, we grow closer to him as we get to witness his firsts, including his first kiss, first love, high school graduation and first day of college. Mason’s struggle with adolescence and family issues is extremely relatable. "Boyhood" highlights the struggles of growing up in a raw and relevant way, making the audience sympathize with Mason because he feels more like a real person than a made-up character. As Mason transforms from being a first grader to a young man ready for college, his interests also shift from video games to a blooming passion for photography. Focusing on the growth of the main character Mason, "Boyhood" repeatedly gives insight about the human experience of growing up in an abstract story about a young boy and his journey through life.
DIY PINS
TIRED OF PAYING $10+ DOLLARS FOR A MEASLY PIECE OF METAL? This is a cheap and fun way to make them at the same quality level! TEXT AND DESIGN BY YASHVI TIBREWAL AND ATUSA ASSADI • PHOTO BY JORDAN SCHILLING
materials Shrink film Acrylic paint Sharpies galore Scissors Hot glue gun Pin backs
1
method
Get inspired: hit up Etsy, Pinterest or unleash your inner Tumblr girl. WARNING: Once you start scrolling, you cannot stop. And the number of Etsy cart items you have will exponentially increase. DO NOT BUY THEM. They’re ripping you off. You’re reading this article for a reason. Don’t buy them. 2 PRO TIP: IF IT’S FUNNY … IT SHOULD BE ON A PIN. Don’t doubt yourself. Memes are what dreams are made of. 3 Draw out your designs! BIG! Shrink film actually shrinks to a third of the OG size. Also, the colors become darker once you put them in the oven — don’t make the same mistakes we did and use dark blue in your designs. It will turn to black. Also, don’t just make pins out of cut-up pieces of your cardboard jewelry gift boxes. It may seem easier in the short term, but really, DON’T DO IT (#TEENREGRETS). 4 Anyway, now take your big ol’ design and cut it out with scissors. Don’t do a fourth-grader job on it unless you’re trying to make it look #edgy with your rough edges. You could either cut it along the edge of your design, or you could be cool and leave a little border. Whatever your jam is, you know. You do you. 5 YOU’RE DOING AWESOME. KEEP IT UP, BUD! 6 Put your cut-ups in the oven on some aluminum foil. (Don’t be a fool and forget the foil.) By the way, your oven should have been preheated to 325° F. Duh! Hope we told you in time, buddio. 7 Now, just hang out and let them bake for three to five minutes. Your design will curl. But you should not (curl up on the floor and cry). It’s OK. It will uncurl before the three minutes is up. 8 Pull ‘em out, put ‘em between the pages of a book, let ‘em cool for 10-15 seconds. 9 Hot glue a pin back on the back of your pin and put it on your jacket/hat/whatever! 10 Take the $10 you saved and go buy yourself a movie ticket or an açaí bowl or some other chronically overpriced luxury item while you flaunt your pin bling.
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Why do kids C
hild psychologist Susan Wilkens describes the reasons why kids hate school as “the perfect storm.” Wilkens worked as a pediatric psychologist and clinical supervisor at the Children’s Hospital and Research Center at Oakland for ten years and currently runs a family-centered psychotherapy practice for children and adolescents. Wilken’s works with students of all ages, helping kids with what she describes as “school refusal,” an anxiety-based problem affecting 3-5% of kids across America, generally those entering middle or high school. A student who suffers from anxiety-based school refusal experiences a very different response to daily school activities than a student who simply does not like school. After asked what they would change about the current education system, the majority of a wide range of students did not address their workload, the difficulty of the material being learned or how the material is taught. Rather, most students suggest pushing back the time that school starts. Tommy Hall, an 8th grader at David Starr Jordan Middle School, shares that “[class] starts at 8:05 and that forces [me] to wake up around 6:15 to work out and do everything that [I] want to do, and that is way too early.” For Hall, waking up and going to school is worse than school itself. However, once at school and surrounded by his friends, Hall’s morale improves. According to the National Sleep Foundation, 10 to 13-year-olds should be receiving around nine and a half hours of sleep each night for their growing bodies and minds. However, most teenagers get about seven hours of sleep because they spend their time after school participating in various extracurriculars, in addition
to completing their schoolwork. Every day after school, Hall practices sports for about one to two hours and spends around two hours on homework. Feeling overburdened by school leaves Hall with minimal time for himself, even at the young age of 13. Hall, along with many others, believes that if students had a later start time, they would benefit. Hall elaborates on the frustration he feels when he does not do as well on a test as he initially hoped. “I definitely get mad at myself because school is all about studying. It just shows I’m not trying hard enough, and this is how I’m going to get into college, this is how I’m going to get a job. If I can’t do this right, how am I going to get into a good college, and from there, how am I going to get a good job?” Hall said. Hall’s feelings about school stress are not uncommon to Wilkens. Her experience watching kids she’s worked with lose their love for school is normal.. “By fifth and sixth grade, people are talking about high school and college. School is not just about learning for the sake of learning, but it’s about doing something you have to do so you can [move on to] the next thing,” Wilkens said, pointing out that the stakes get higher and the idea that school is for the love of learning goes away. “It’s about high school, and then it’s about college, and then it’s about getting a job, and you better do all those extra activities because people are gonna ask about them. Things that are supposed to be fun become obligations.” Wilkens said. On the contrary, most students second grade and below do not think twice about going to school. Their homework and stress load is kept to a minimum and their day is filled with fun interactive activities that allow them to express their imagination freely. Escondido student Redmond Haynes said his favorite part of the school
stop loving school?
TEXT BY ALEXIS PISCO • DESIGN BY ALEXIS PISCO AND KATIE LOOK • ILLUSTRATIONS BY KATIE LOOK
One of the hottest topics of discussion amongst Paly students consists of school day boredom and exhaustion.This is a common feeling shared by many students, but isn’t how they always felt about school. Younger elementary school students enjoy and look forward school each day. When and why exactly do students feelings about school change?
day is art. “...You can show your creativity and do whatever you want.” As time goes on and school curriculum becomes more demanding, students are given less flexibility with their creativity and become less interested. The loss of interest that comes around fourth or fifth grade comes as students become more aware and start to question why they are. Wilkens suggests that questioning the motives of education generally takes place when kids shift from writing about fictional characters and about themselves towards writing about more specific things that do not necessarily interest them. “The curriculum starts to move from general subjects of learning and developing enthusiasm about learning to ‘We need to teach these certain things because kids need to know them, and kids need to be tested on them.”’ Wilkens said. While kids begin questioning the rationale behind lesson plans taught in class, their homework load begins ramping up as well, creating a greater animosity toward school.
Wilkens connects this to problems that form at home. “The battle between parents and kids regarding homework starts to intensify. Teachers don’t really prepare parents for how to engage or not engage in those battles at home. Not only do you have kids that are tired, not only do you have a kid that has lost interest in the work, but now you get the added dynamic [with parents].” Simultaneously, the social element comes into play when cliques at school begin to form — kids become exclusive and some get bullied. Now, recess and other free time that students are supposed to be looking forward to throughout the day may become dreadful and filled with anxiety. Cognitive scientist Daniel T. Willingham argues in his book “Why Don’t Students Like School?” that, since teachers do not have a full understanding of how teenage brains operate, they do not teach as well as they could. Additionally, Willingham believes that the way teachers present material is boring, causing students to lose interest in their education.
Willingham’s hypothesis about the disconnect between teachers and students parallels Wilken’s belief that the transition from single classroom learning in elementary school to a seven-class schedule in middle school can make it a lot more difficult to build a relationship with teachers. When transitioning from fifth to sixth grade, students go from being one of 25 students that teachers teach, to being one of 120 students that teachers see a few hours a week. Losing that personal connection with a teacher makes it more challenging for a student to feel like what they have to say is important, making it harder to learn. Even with this “perfect storm,” many students find a way to adapt to the always developing stress of school. When education transitions from a more basic, creative based learning to preparation for college and then the real world, kids lose a lot of the motivation and joy for school that they originally harbored at a young age. It is a lot harder for students to enjoy coming to school and succeeding if they are not interested in the material that they are learning. Even so, students find motivation in the little things, continuously prevailing over stress and finding a way to love school, even when they have many reasons not to.
what the ghost ship means for other artist collectives BY GABE COHEN AND STAN DE MARTEL • ILLUSTRATION BY YOONJUNG CHO
T
he innards of the Ghost Ship Warehouse have been compared to a maze; the stairs were made of plywood slabs and held together by string. On this particular night, the warehouse was packed beyond the capacity, making disaster inevitable. On December 2, 2016, EDM artists Obsidian Blade and Golden Donna played what would end up being the Ghost Ship’s final show. All it took was one spark that jumped from the refrigerator to set the warehouse ablaze. The fire would eventually cause the roof to cave in, fully decimating the struc-
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ture of the warehouse. When the fire started, the majority of the attendees immediately rushed toward the door, emulating a stampede of people trying to cram their way through the door. Thirty-six people perished, making it the most fatal fire in US history. Warehouse collectives, similar to the Ghost Ship, are a cheap and efficient way for artists to make a living. As a consequence of the elevated costs of living in the Bay Area, artists use warehouses as a place to live and create their work. The $300 dollar rent appeals greatly to artists who want nothing more than to work on their art. Artist collectives also allow
for creators to live with each other in a space dedicated to art. Artists can collaborate with one another, spend days on end focusing on a project, and not have to worry about whether or not they’ll have a bed to sleep in. However, after the recent Ghost Ship fire, concerns have been raised over the safety of art warehouses. Many artists live in these warehouses all at once in hopes that, one day, their art will shine under the spotlight. After the tragic events in Oakland, the general concern is that having many artists living in these poorly maintained buildings is a safety hazard. The landlord of Ghost Ship, Derick Alme-
na, was renting out the warehouse to struggling artists for as little as $10 a day. Almena was an extremely generous landlord, but he was also a very negligent one. He turned a blind eye to repairing the building, so Ghost Ship was an undeniably unsafe party space. Shorty after the devastating fire, the investigative team realized the building had not been properly inspected in over three decades. The building had a complex maze-like interior, and no fire alarms could be found. Ghost Ship was a tinder box just waiting to be lit. These collectives are extremely instrumental in the development of art and artists. The American dream isn’t cheap, and creativity takes time, a luxury that most artist do not have. Tristan Lorach is a software engineer from the Bay Area. He is a connoisseur of the San Francisco nightlife and art scene. Attending Burning Man every year is one of his favorite traditions. “I think this crisis of the artist collectives symbolizes the problem of ‘Gentrification’ of San Francisco. Who wants to (or can) live in a city where everyone is only in finance; at Google, Facebook or
Tesla? The ecosystem needs of everyone and of all social and cultural levels.” Lorach said. The fire caused many to voice their opinions on artist collectives. Of these voices were those
“The ecosystem needs of everyone and of all social and cultural levels.” — Tristan Lorach, software engineer of naysayers. Instead of paying their respects to those who perished, critics accused the victims of being the reason the fire started in the first place. One critic went as far as to say if the attendees were not high on MDMA, a drug associated with rave culture, they would have been able to make it out alive. This accusation, however, serves as a critique to rave culture in general. What happened at the Ghost Ship was a tragedy, and unfortunately, it was an
T
he innards of Oakland’s artist warehouse, Ghost Ship, have been compared to a maze — avoidable one.theIf stairs an office on werebuilding made ofcatches plywood fire and lives are lost, do you blame the people slabs held together by string. On December wentwas to packed work? The victims of the 2,who the simply warehouse beyond capacity, fire were not to blame. Rave culture is not making disaster inevitable as EDM artiststo blame. And certainly, artist collectives are not Obsidian Blade and Golden Donna played to blame for the mismanagement of the Ghost what would become Ghost Ship’s final show. Ship. It does not represent all artist warehousAll it took was one spark that jumped es, though some may seem to think so. Prior to from the refrigerator to set the warehouse the fire, The Oakland Planning and Business ablaze. The fire would eventually cause the department was conducting an investigation roof to cave in, fully decimating the structure allegedly “blight” “illegal” interior ofdue thetowarehouse. When and the fire started, the construction. Warehouse collectives often find majority of the attendees immediately rushed themselves in these situations. Agencies single toward the door, emulating a stampede of out many collectives structurally unsafe due people trying to pushastheir way out. Thirtyto mass amounts of clutter and hazards, ususix people would eventually perish, making warehouse down. The itally onecausing of the the most fatal firestoinshut U.S. history. Ghost Ship chose to not shut down or abide The landlord of Ghost Ship, Derick Almena, by the codeout of the which resulted in its was renting the city, warehouse to struggling devastation. Kristie Evans, a former firefighter, artists for as little as $10 a day. Almena was believes that there is a solution thisalso proban extremely generous landlord,tobut a lem: “We should come together as communivery negligent one. Almena turned a blind tiestoand make these buildingssoasGhost safe asShip poseye repairing the building, sible — not by calling all of the art “clutter” was a undeniably unsafe party space. Shortly and ripping it out andfire, thenthe calling the artists after the devastating investigative criminals and running them all out of town.”
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MATTHEW
WOON
artist of
the month
TEXT BY REILLY FILTER AND SARAH SHAPIRO • DESIGN BY SARAH SHAPIRO • PHOTOS COURTESTY OF MATTHEW WOON
A Q&A with Palo Alto High School senior Matthew Woon, who specializes in pottery. C Mag: When did you start doing art? Matthew Woon: I’ve always been pretty interested in expressing myself visually. It was sort of through my own discovery, and then also through a school I’ve been going to. I found pottery lessons that sparked my interest, so I started around seventh grade and I’ve been doing it since. C: Who or what inspires you? MW: I don’t know as much about other artists as I should, but I have some favorite artists that I try to imitate. They’re people I follow on social media and people I’ve observed that are still alive. There are some in Europe, like Eric Landon. I’ve also been influenced by 2D artists, which sounds kind of weird, but I’ve transferred some influence from Eric Fisher and other artists into trying to make my own stuff. C: Why clay? Why this specific art form? MW: I guess painting and drawing didn’t really click with me — it was more difficult and I didn’t seem to have talent. I got kind of bored of it because it’s so slow ... Once I got practice [in pottery] it kind of clicked one day and after that it was not easy, but a lot easier than it had been, and I just really enjoyed it. It’s an activity I can lose myself in, and just forget about things temporarily. C: What is the typical process of making one of your pieces? MW: It starts with actually making it on the wheel. That has its whole set up and substeps you need to know to be able to make something. Once it's dry and has reached a leather-hard stage, you trim part of it to make it look nicer ... you have to smooth everything out. Then you put it through the first firing and you have to glaze it. Then you put it through the second firing, and it comes out as a finished project.
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C: How would you describe the art you make? MW: I know some people think it’s art, and some think it’s not art at all because it’s creating functional ware. I’m starting to learn that there’s a bit of a line between craft and fine art. I guess for now my definition is that if you can use it for something, it’s functional. If you can’t, or if you apply design elements to it, it can be considered a fine art. It’s not a hard line; because of AP [Studio Art] I’ve learned they want to see more fine art stuff. I’ve had to force myself to change and adapt to that even though it’s been pretty hard. C: What is the hardest part about working with clay? MW: Clay can be really fussy and stubborn. There are so many stages, it’s kind of like raising children, especially in a Medieval Age — so many of your pieces are going to die. You kind of just have to get used to that. C: What sorts of things will you be studying in college? Do you plan to pursue art later in life? MW: I am planning on going to either an art school with a strong ceramics program or fine arts program. I’ve been told a lot of times that it’s not practical, but I know that things are always changing, and if I really put effort into it, I can make something out of it. C: Any advice for aspiring artists who want to work with clay? MW: Try it. The learning curve is different for everyone. It took me a couple years to really click with the technique before I actually started making stuff that was decent. It requires effort and perseverance just because it’s really easy to get discouraged. It does require some practice. Just keep working at it. If you aren’t doing it, you should try it.
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rain works are positive messages and art that appear when it rains to make your gray day a little brighter TEXT BY TALIA STANLEY AND MADDY BUECHELER PHOTO BY TALIA STANLEY DESIGN BY AMANDA HMELAR
how it started In 2013, 20-year-old Peregrine Church learned about super-hydrophobic coatings and pursued that knowledge to find an innovative approach to use the material in a powerful way. With help from many along the way, Peregrine was finally able to create a spray that you couldn’t smell, feel or see. In 2014, Peregrine hit the streets of Seattle with a goal “to give people a reason to smile on rainy days.” His art went viral, and in March 2016, his product was launched. Since the launch, rain messages have been popping up at schools, communities and major cities all over the nation to spread a little cheer on the darkest of days!
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how to make it The first step in making a great rain works design is to create a stencil. Gather a piece of cardboard, a sharpie, and an exacto-knife or scissors. Draw an image of your choosing on the piece of cardboard. It is a good idea to keep it simple because this will make it easier to cut out. Next, grab you exacto-knife and cut out your stencil. Remember that the part you cut out is the image. Once your stencil is finished, find a clean section of concrete and tape it down. Finally, grab a bottle of Rain Works “Invisible Spray” from Rainworks.com ($19.00) and spray away!
rain works at paly Last year, the Social Justice Pathway’s cohort one tried it out for themselves on Paly’s campus to inspire students and spread positive messages. Senior Molly Weitzman, a member of the Pathway, shared her rain works experience on Paly campus. “We chose to do Rain Works on the Paly campus because we thought that on a rainy day, when spirits may be low, it would give people a ray of light, a sentiment that could make them look at the day with a little more happiness.”
www.deepdiscountservers.com 1-408-538-0970
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