er
chool Distr nd S ic t Isla
M
er c
February 28, 2017
mihsislander.org
Volume VI, Edition 4
Cheering like it’s 1998: lessons from the original Snail Pound coach and teacher Gavin Cree, an MIHS sophomore at the time. “It was something new, something more spirited, something goofier.� The group was hard to miss on game day. Tuttle explained how Snail Pound would arrive early to get front row seats in the gym, which would soon become
Tuttle, the relationship got off to Jane Gormley a rocky start. Editor in Chief “They hated us at first,� Tuttle said. “We were trying to borrow Ryan Eakes and Alex Tuttle the gym at night to work on our were your average, overschedskits, and that wasn’t sanctioned uled, Mercer Island High School at all.� students. Both were athletes, “We were just so new,� Eakes sports fans, and members of stuadded. “But at the end of the day, dent government, a combination everyone enjoyed the presence that would lead to a tradition that and participation.� has lasted much longer than The school’s acceptance either of them would have of Snail Pound was largely imagined. derived from the group’s atAmong the trees and watitude. Both in and out of the terfalls of Camp Cispus, a stands, Snail Pound members leadership retreat in Ranwere engaged and thoughtful dall, Washington, the idea students. They understood of Snail Pound was born. they had come to embody Eakes and Tuttle returned to spirit at MIHS and were the high school their senior therefore representing the year of 1997 to 1998 and, school each time they put on with around 20 other senior their bowling shirts. guys and one junior girl, “There was a sense of rechanged the face of spirit at sponsibility to be a kind stuMIHS. dent if you were going to par“It was based on creatPhoto courtesy Alex Tuttle ticipate,� Eakes said. “You ing school spirit around were representing the Snail the sports teams,� Eakes “We got these cheap button-up shirts that were supposed to look like bowling shirts but they really didn’t,� Tuttle said. said as he described the origi- standing-room only, to better di- embarrassing yourself in front of Pound and the school. If someone did something that would nal purpose of Snail Pound. “It rect the crowd. They were fash- the school. In two assemblies that year, negatively impact the group, was sportsmanship too,� Tuttle ionably unfashionable, clad in added. “Mercer Island fans had crazy accessories and what has Snail Pound gathered drill then the group wouldn’t exist been mentioned in the papers become the iconic Snail Pound sweaters, drill skirts, and a few anymore.� Both students and staff apfor making snobby comments uniform - a maroon bowling wigs to put on a highly choreographed routine for the school as plauded this focus on kindness and chants. I remember always shirt. “The bowling shirts were the “Thrill Team.� and respectfulness. being embarrassed by that critimostly ironic at the time,� Tuttle “One of our performances “It was good. It was posicism.� It did not take long for the said. “They were out of style. was legitimately really good,� tive,� said history teacher Dino Annest, a relatively new staff group to begin changing the We wanted something Kramer Tuttle said. would wear in Seinfeld.� By the end of the year, Snail member at the time. “It was very school’s reputation. However, Eakes explained Pound and its antics were re- inclusive and you had a lot of “Even from the previous season, it was something different,� that being in Pound was more spected by the administration. different kids in it.� But, according to Eakes and (continued on page 3) said current head basketball than just looking the part.
Free press at MIHS Grady Short staff writer
Ever since a 1988 Supreme Court decision, school administrations have effectively wielded absolute power over what gets printed in school newspapers. In response, 10 states have passed bills that essentially counteract this ruling. Washington state might be the next to join them. Senate Bill number 5064, introduced this January and sponsored by a bipartisan contingent of legislators, would limit the degree to which school administrators can censor content in school newspapers. The landmark 1988 Supreme Court ruling, Hazelwood v. Kuhlmeier, set a precedent for free speech in school newspapers. In a 5-3 decision, the
court ruled that public school newspapers were subject to restrictions on their First Amendment rights. Since then, a high-school newspaper in Washington state needs administrative approval to print or publish content. At a recent, well-publicized hearing in Olympia, a student editor from Puyallup High School vented his grievances in support of the Bill 5064, telling horror stories about oppressive principals and overbearing superintendents suppressing his peers’ writing. At MIHS, little to no oppression of this kind has occurred with the Islander student newspaper. After student editors and advisor Chris Twombley review (continued on page 2)
“We kept it mostly seniors with the idea that the people who wanted to be in the group had to be really willing to participate and not just want to be in the group to be in the group.� For both Eakes and Tuttle, participating in Snail Pound meant not only actively engaging in the game “from tip off to finish,� but
SAM showcases Migration Series Sophie Poole staff writer
Sixty small paintings line the room in simple wooden frames. Jacob Lawrence’s signature primary colors stand in stark contrast to the whiteness of the walls. Through clear images and abstract depictions of the human struggle for freedom, it is easy to become immersed in Lawrence’s world. One hundred years after his birth, this exhibit serves as a commemoration to Lawrence’s life and his dedication to facilitating the arts in the greater Seattle community. Jacob Lawrence’s Migration Series at the Seattle Art Museum is a collection of paintings working together to narrate the mass movement in the early twentieth century of millions of African-Americans from the
PAID
South to the North. The 60 panels are not commonly shown together; the odd numbers belong to the Phillips Collection in Washington and the even numbers are shown at the Museum of Modern Art in New York City. The unique reunion of the entire series, right here in downtown Seattle, should not be missed. Their full impact as a complete collection and story serves as an important reminder of the power of social justice through artistic mediums. Growing up in Harlem, Lawrence cultivated his art as a young adult through his studies at the Harlem Art Workshop and attending the Harlem Community Art Center. Lawrence reached the pinnacle of his career at 23-years-old when his Migration Series gained recognition and he became the first (continued on page 7)
Inside The role of team dynamics in an individual sport. Features > Page 2
Climate change and its influence on the ski season. Sports > Page 3
Secret admirers declare their love through these messages. Spread > Page 4/5
The benefits of an international university experience. Opinions > Page 6
Student review of the Seattle Art Museum’s latest exhibit. A & E > Page 7
Make sure to check out our website at mihsislander.org!