1 December 2023
scrippsvoice.com
Uncompromising commitment to inclusivity and justice. since 1991
SCAMFest Successes: A Showcase of the 5Cs Superb Singers By Belén Yudess ’25 Copy Editor Intern
O
n Nov. 18, the Southern California A Cappella Music Festival (SCAMFest) was hosted at Big Bridges Auditorium by the 5Cs’ oldest group, The Claremont Shades. Special performances filled this year's event, succeeding in setting a vibrant mood for a night of epic power anthems and soulful ballads. The showcase featured performances by the eight 5C groups: Midnight Echo, The Claremont Shades, One Night Stanza, After School Specials (ASS), Earth Tones, Ninth-Street Hooligans, Blue and White, and Mood Swing. Each group performed two songs and were joined by Groove Nation Dance Crew for a hip-hop tribute during the intermission. SCAMFest is one of the most popular events of the fall semester due to its ability to bring together 5C students, members of the Claremont community, and students from other universities under a shared appreciation for music. The event’s line-up included award-winning a cappella groups from across California: The Spokes from the University of California, Davis, the University of Southern California’s (USC's) SoCal Vocals, and the University of California Los Angeles’ (UCLA's) Scatter Tones performed alongside the resident groups. “There's this element of excitement when you see groups from UCLA or USC because its people that you've never met and now also get to see perform,” said ASS soprano Esther Goldberg ’26. “It’s also the fact that it's not a competition, but just a bunch of people coming together to sing; it's so beautiful.” The night included Mood Swing’s heartfelt take on Joji’s “Slow Dancing in the Dark” soloed by Avery Chen PO ’24, The Claremont Shades' remarkable rendition of Hozier’s “Movement” soloed by Nithya Kumar PZ ’24, Midnight Echo’s chilling version of Nina Simone’s “Feeling Good” headlined by Jadin Porter PO ’26 and Dominic Feder Di Toro PZ ’26, and ASS’ tearjerking tribute to boygenius’ “Not Strong Enough” led by Izzy Gustitus ’26, Monty Ellwanger PO ’24, and Ben Baraga PO ’24. High-energy performances included Blue and White’s dynamic cover of Miley Cyrus’ “Flowers” dueted by Tara Zhang ’24 and Catie Cryan ’25,
Earth Tones’ soothing version of Corrine Bailey Rae’s “Put Your Records On” soloed by Uma Kaler PO ’25, and Ninth Street Hooligans’ amusing and lively production of The Weather Girls’ “It’s Raining Men” led by Elsie Dank ’23 and Rowan Norenberg PO ’27. For members of these a cappella groups, opportunities to perform reinforce strong relationships within their own groups. “These people are my friends, but it's also been really nice to see that I can hold this really profound respect for these people because we make this really cool music together,” Goldberg said. Gustitus echoed Goldberg’s love for ASS and described the immense passion she has for the group’s approach to musicality and spirit. “I think our flexibility to execute songs of different styles with so much energy and love is just so powerful and fun,” she said.
Gustitus noted that a lot of work is required while preparing for SCAMFest aside from learning the music itself. “The intensity picked up [in the last three weeks before SCAMFest] because that's when you move out of the cozy space of learning the music and into the dance studio,” she said. For many of these groups, choreography introduces a new challenge that requires more time and support. While approaching this aspect of the showcase, however, Gustitus acknowledged the importance of creating a supportive environment for all members. “It's all out of love and bringing people up to make us better,” she said. Although rehearsals can be overwhelming, Gustitus believes that an optimistic and growth-oriented perspective ensures that everyone gets the most out of the process. “We have the talent and the sound to make beautiful music and we just
The Man Behind the Pen: Aaron Sorkin Shares His Writing Wisdom
How The Hub Pool Table Reinforces Gender Dynamics
IN THIS ISSUE “The Nutcracker”: Behind the Scenes
Photo Courtesy of Midnight Echo
have to forgive ourselves for maybe falling short for a second,” she said. Gustitus encourages anyone whose interest was piqued by SCAMFest to audition for a cappella in the future. Her experiences with the a cappella community have been extremely fulfilling and impactful on her college experience so far. “These people will become your best friends,” she said. “It's awesome and so special that you get to go and put your energy into something you just love. If younger me could've seen what I'm doing right now, she'd be floored!” Don’t forget to follow the 5C a cappella groups: @moodswing.acappella, @theninthstreethooligans, @ theclaremontshades, @stanza.gram, @earthtonesblaremont, @mignightechoacappella, @blueandwhiteaca, and @assacappella for updates about their upcoming holiday concerts! "The Marvels" Brought Well-Written Women
1030 Columbia Avenue | Claremont, CA 91711 | Box 839 | scrippsvoice@gmail.com | Volume XXXII | Issue Four
2 • News
Six have Outwitted and Outlasted, but Who Will Outplay: A Look at Season Three of Claremont Survivor
Belén Yudess ’25 • The Scripps Voice By Belén Yudess ’25 Copy Editor Intern
“D
rop your buffs” and gather your fellow Survivor fans; season three of Claremont Survivor is in the works! Based on the show of the same name, a group of 18 students from across the 5Cs have been competing in various endurance and intellectual competitions since Sept. 24 in the hopes of winning immunity to avoid being voted out by the rest of their castmates. The goal of the game is to make it to the final three where the jury, composed of evicted players, will vote for the winner of the game. Based on the Survivor reality television show’s popular 32nd season, Survivor Kaôh Rōng, competitors were split into three teams: brains, brawn, and beauty. Within the application process, potential cast members were asked to rank which characteristic they resonated with the most and were separated accordingly. Team Brain consisted of Dalton Lazaroby HMC ’25, Brooke Benmar PZ ’25, Andrew Shelton PO ’27, Mazzy Rosenat PZ ’25, Adrianne Balik HMC ’27, and Phillip Belin PO ’26. Team Brawn included Bayley Baur PZ ’26, Fernando Padilla PZ ’27, Molly Booth ’25, Grace James PZ ’24, Shaun Kewalramani PO ’25, and Rylie Hack CMC ’27. Beauty was made up of Marley Thomson PZ ’27, Luca Davis PZ ’27, Olivia Shrager ’24, Eli Protas PO ’25, Kevin Chen CMC ’27, and Hannah Weaver ’24. Bringing this strategic and complex game to Claremont began with Will Pakenas PZ ’24 in 2021 and has continued due to the passion of
current club co-presidents, Amber Mogg PZ ’26 and Mimi Lopez ’26. “I’ve always loved Survivor, so this club was right up my alley,” Lopez, who was a competitor in last year’s season, said. Lopez notes that this club is targeted towards other Survivor enthusiasts as well as those who are looking for a way to have a good time. “We do challenges and take a break from school a couple times a week, which is really nice,” she said. Some of the competitions this season included a 5C scavenger hunt and trying to remove a T-shirt from a block of ice. As gameplay has progressed, the competitors have been narrowed down to six players: James, Booth, Protas, Padilla, Thomson, and Shrager. Aside from the challenges, a large portion of Survivor revolves around game play, which is complicated by the use of hidden immunity idols, alliances, and blindsides. “I think [this season] has been really vicious,” said Protas. “I just didn’t expect it to be this serious – there are layers of lying going on at all times. I was expecting maybe one layer max and it is significantly more than one; it’s a tiered cake.” James further explained the difficulties of navigating this season due to the genuine friendships that have been formed. “Everyone here, we get along,” she said in reference to the final six competitors. “This game is a social experiment, and I think it’s fascinating how every single person who plays fits into the social dynamic of the experiment because everyone has a certain role and it makes the machine go.” Booth noted how important forg-
ing relationships are to being successful in the game. “I think that has been really useful and plays into a lot of the reasons why some other people have not made it this far,” she said. The inclusion of online interactions has also played a role in the observed gameplay. “This iteration of the game is really interesting as well because you can text whoever you want, whenever you want and then you don’t necessarily have to interact or show that you’re friends in person,” Booth said. Although establishing trust in the game can be difficult, Shrager offered an alternative perspective about how Survivor has been beneficial in this capacity. “I think it’s also weirdly good for trust because you are texting with these random people being like, okay, we’re good with going for this person, and then you show up praying that they’re telling the truth.” Season three of Claremont Survivor is an intricate web of shifting dynamics, fast-paced decision making, and oftentimes deception and uncertainty. Yet, the final six – consisting of three members of beauty and three members of brawn – agreed that this experience has added an extra layer of thrill to their semesters. “It’s definitely been stress-inducing because my name has been written down multiple times during multiple weeks, but I’ve really enjoyed the scheming,” said Booth. “I feel like it itches a part of my brain that doesn’t get satisfied in real life, so it’s been a lot of fun. And genuinely the people in this room are some of the closest people in my life right now.” If you are interested in being a part
of Claremont Survivor next semester, whether as part of the cast or production team, follow @survivorclaremont on Instagram and fill out the application in their bio! You can also join them for their weekly screenings of Survivor on Wednesdays in The Honnold-Mudd Library!
TSV Editorial Staff 2023-2024 Aanji Sin ’24 Editor-in-Chief Alyssa Wend ’24 Editor-in-Chief Ellen Hu ’24 Editor-in-Chief Isabel Suh ’24 Head Design Editor Elita Kutateli ’26 Design Editor Nawal Hassan ’27 Design Editor Hannah Fawley ’27 Design Editor Ellen Wang ’25 Copy Editor Juliette Des Rosiers ’26 Copy Editor Frances Walton ’26 Copy Editor Belén Yudess ’25 Copy Editor Intern Ashley Ta ’27 Copy Editor Intern Carah Allen ’26 Webmaster Anna Odell ’27 Social Media Manager
1 December 2023 • The Scripps Voice • Volume XXXII • Issue Four
Feature • 3
“The Nutcracker”: Behind the Scenes of the 5C Ballet Club’s Holiday Spectacular By Ella Young ’24 Staff Writer
N
ov. 19 saw the 5C Ballet Club’s second annual production of The Nutcracker. The classic holiday ballet is a tradition among many ballet companies, and the club sought to continue this tradition here at the Claremont Colleges. T h i s y e a r ’s p ro d u c t i o n w a s lovely, and the amount of work that students put in was apparent in their performance. The show featured nine excerpts from The Nutcracker, with a combination of solo and group performances and choreography by 5C students. Every performance shone in its own way All performances were fabulous, but some personal highlights were “The Flowers,” choreographed by club president and show director Meadow Jones ’24, and “The Sugar Plum Fairy” solo, performed by Audrey Che ’27. The pieces showed a strong sense of musicality in both their choreography and performance that I found both enjoyable and impressive. A key value at the core of the production is that of inclusivity. Jones and the rest of the club seek to move away from the traditional rigidity of the ballet world and instead move toward a more inclusive and kind environment. To ensure this inclusivity, the club doesn’t hold auditions and consequently the production s h o w c a s e d a w i d e va r i e t y o f experience levels, from ballet
beginners to advanced dancers. “That avoids the competition and the strict aspect so that anyone who wants to join the production can sign up,” Jones said. In addition to the open nature of the club and the production, they also chose to move away from the offensive caricatures that are featured in traditional Nutcracker productions. “For this reason, we did not include ‘Chinese’ in tonight’s show, and ‘Arabian’ avoids racialized stereotypes,” the program read. “We want The Nutcracker to be an inclusive tradition everyone can celebrate.” This inclusivity also percolated into the costumes, makeup, and c h o r e o g ra p h y . S t u d e n t s w e r e not required to wear buns for the performances and stage makeup was not forced upon members. This variety read well during the production. The diverse hair and makeup, combined with the matching costumes, allowed the production to be cohesive while also celebrating the dancers’ individuality. Another key aspect of the show was the student choreography. Much like how dancing in the production requires no audition, choreography roles are also open to all interested club members. Oft en t im es , chor eograp her s that sign up have previous ballet experience under their belts. “It’s such a fun opportunity because a lot of dancers who did ballet at home don’t usually get the opportunity to choreograph big formal productions,”
Jones said. Although the choreographers are afforded much creative liberty with their pieces, there is one thing that the club discourages: soloists. “A lot of times, ballet pieces will have one soloist and a bunch of backup dancers,” Jones said. “That can incite a lot of competition and power dynamics.” Solos are permitted, however, when there is a sole dancer on the stage. This was reflected by three excellent solos by Sarah Hansen ’27, Audrey Che ’27, and Nico Riley CMC ’27, who performed Clara, Sugar Plum Fairy, and Spanish solos, respectively. I particularly appreciated the way the performances engaged with the audience through not only the technically impressive choreography, but also the strong performance skills of facial expression and musicality.
Photo Courtesy of Meadow Jones ’24
The larger group numbers were also stellar, featuring synchronized choreography that excellently demonstrated the skills of the dancers. Through this production, the club brought the holiday classic to Claremont in a way that both honors the ballet’s revered tradition and refreshes the less savory aspects of the production to be more inclusive. It was a joy to watch, and I look forward to all future productions put on by the 5C Ballet Club. If you are interested in getting involved, the club offers weekly drop-in ballet classes, taught by club members. All experience levels are welcome. Those interested can reach out to claremontballetcompany@ gmail.com and/or sign up as a member of the club on Engage.
Back to the Future: A Hopeful Reflection on Scripps’ Party Culture Post-Tomorrowland By Kayla Mar ’27 Staff Writer
“A
re you headed to CMC or Pomona?” “I heard Mudd is hosting something, are you going?” “Oh, you’re going to that Pitzer dorm party? Cool, I’m heading to Green Beach.” These words echo almost every Friday and Saturday night in the Claremont Colleges’ infamously predictably unpredictable party scene. Some constants remain within 5C party culture: Claremont McKenna frequently hosts parties, Pomona has dependable event spaces, and Harvey Mudd has fun dorm culture. However, Scripps is consistently omitted from most party conversations. O n N o v. 4 , S c r i p p s h o s t e d Tomorrowland, its first 5C party of the year. As the first day-party in Scripps’ history, the glitz, glam, and glitter of the music festival aura shone across Bowling Green Lawn in the setting sun’s golden cast. Tomorrowland was the first party planned by the SAS Programming Committee, led by SAS 5C Events Chair Sarah Paper ’25 and Vice President of Student Affairs Melina Durre ’25, since the committee’s revival this fall.
Paper recalled the tension between SAS and the administration following the premature shutdown of Scripps’ Halloween party last fall and the different response to Tomorrowland. “Admin really enjoyed [Tomorrowland] and gave compliments about how we ran the event,” Paper said. “Admin was a lot more critical about the way [Halloween] was run because it became an unsafe situation [...] It’s hard because it feels like the rules for planning these events are very strict.” Paper and Durre explained how Scripps’ 5C events are outlined 10 to 12 weeks in advance with administration. “There’s a lot of supervision and [...] everything has to be extremely specified and [administration has] to know every little thing that’s going on,” Durre said. “At other schools, the rules are different. That makes it frustrating because obviously you are going to compare your school’s social life to the four other colleges around you,” Paper remarked. “Pitzer doesn’t do capacity and wristbands, stuff like that. Budget stuff as well.” It is a common occurrence at the other 5Cs to have club or affinity group sponsored parties – yet, only Scripps prohibits such events. “It’s just frustrating that there aren’t more of these events – or, there aren’t
more opportunities for organizations to have parties on Scripps’ campus,” Paper said. The Scripps party budget is $20,000 per semester for 5C parties, which comes from the student fees. Scripps has the lowest student fee out of the 5Cs and has not been updated in approximately 10 years. “I wish we had more money towards student events,” Durre said. “Obviously it’s good our student fees are low in terms of students being able to afford Scripps, but also the cost of tuition is going up but none of it is going towards the student life itself.” This sentiment goes beyond mere elation many college students find in partying – party culture is a point of pride for many schools, and Scripps does not have any. Additionally, Paper and Durre expressed their frustration with the current state of non-SAS funded parties. When a party is hosted independently in a Scripps space, it is well known that it will be shut down very shortly. “Things just got shut down and people stopped hosting [parties] once they realized it wasn’t going to be successful,” Paper said. When Scripps discourages partying in any capacity throughout its campus – except for the one 5C party per semester the budget allows for –
Scripps students simply migrate to other campuses, thus perpetuating the dormancy of Scripps’ party culture. “People like partying when you’re young,” Durre said, “It’s just kind of innate as what you expect from the college experience.” What Paper and Durre expressed is no new phenomenon – complaints about the comparatively substandard and unnecessarily strict Scripps party scene have circulated for years. However, following the fractured relationship between SAS and administration after last fall’s Halloween party, Tomorrowland’s success is monumental for the potential evolution of Scripps party culture – if administration allows it. “We’ve thrown a good party,” Paper said. “I think we have a good case to find ways to work with admin to increase our engagement.” While the continued friction between administration and the student body continues, large steps are being made to honor student wishes. “It’s going to be really hard to make change, but I know Melina and I are very passionate about that and I plan on at least having the conversation continuously,” Paper said.
1 December 2023 • The Scripps Voice • Volume XXXII • Issue Four
4 • Feature
The Man Behind the Pen: Aaron Sorkin Shares His Writing Wisdom
By Juliette Des Rosiers ’26 Copy Editor
O
n Nov. 7, Garrison Theater was filled to the brim with members of the Claremont community of all ages chattering with excitement as they waited to hear from awardwinning director, screenwriter, and playwright Aaron Sorkin. The conversation was facilitated by Krista Carson Elhai, a local theater educator, and gave the audience the opportunity to hear from Sorkin about his career, proudest moments, largest setbacks, and his advice for aspiring filmmakers. Throughout the evening, Sorkin was a dynamic speaker, pulling the audience in with his good humor, humility, and unapologetic intellect. Sorkin began by sharing how his relationship with theater started well before acting in high school. Growing up near New York City, Sorkin had the opportunity to see Broadway and Off-Broadway plays before he was even old enough to understand them. He shared how hearing dialogue onstage changed his life and defined his passion for theater and screenwriting. “I wouldn’t understand what’s happening up there, but I love the sound of dialogue,” Sorkin said. “It sounds like music to me, and I want to imitate that.” Sorkin continued to describe the development of his relationship with theater, explaining that he had initially gone to a conservatory for acting and only discovered how to write plays for pleasure after graduation. “All those years while my friends were learning how to act, I was just coming to learn what a play was,” Sorkin mused. When Elthai asked about what he considered his first career win that confirmed writing was the right choice for him, Sorkin chuckled. He noted that most people would expect him to answer the success of A Few Good Men onstage or the adaptation to film, but instead, he told a story of one night alone in his twenties. “It was one of those Friday nights in a big city,” he started. “You will all experience them, I promise you, but it feels like everyone you know has been invited to a party and you haven’t been invited. You don’t have any money and, on this particular night, nothing in the apartment was working. The TV wasn’t working. The stereo wasn’t working. Nobody had a computer yet, so there was no such thing as the Internet. “A high school friend of mine asked me to babysit his grandfather’s typewriter. That was the only thing there to play with. So I stuck a piece of paper in the typewriter and for the first time in my life, I wrote dialogue.
Juliette Des Rosiers ’26 • The Scripps Voice And it was fun and I liked it and it was kind of like music that I didn’t listen to yet. I stayed up all night. I feel like that night hasn’t ended,” he finished with a smile. The audience practically swooned. After Elhai played a clip from the pilot of Sorkin’s show The Newsroom, Sorkin shared what he considers to be one of the greatest mistakes in his career. He leaned forward in his chair and one could practically feel the audience lean forward with him, hanging on his every word. Sorkin said it started with the very scene of actor Jeff Daniels’ speech that was shown to the audience. In the clip, Daniels played a Republican news anchor who is asked why he thinks America is the greatest country in the world. His response marked a provocative speech that Daniels cited as the reason he won an Emmy for the role. However, Sorkin explained how that speech was the reason he was eaten alive by critics for the three years The Newsroom aired. “They felt I was using characters as delivery systems for opinions that I had. Here I was telling the pros how they should have done it,” he said wryly. “So I spent three seasons of television trying to do what you should never, ever do. I was trying to write to win them back.” Sorkin’s advice for students aspiring to a career in playwriting or screenwriting was similar to the previous sentiment. He explains how his first folly when adapting his play A Few Good Men for the screen was starting the process by thinking about what director Rob Reiner wanted the script to look like. “The clock was ticking and I had run past the deadline and hadn’t even started writing,” Sorkin shared. “And I just thought, you know, what the hell. I can’t worry about what Rob is expecting. I’m going to have to write the way I write.”
He urged young writers to skip this step and always write as themselves, for themselves. Sorkin explained that not only would it still lead them to success, but this approach would also save them a lot of time along the way. Elthai then requested Sorkin speak on his experience adapting the classic American novel To Kill A Mockingbird into his Tony-nominated play by the same name. “At some point, you have to fall out of love with the source material and you have to make it your own,” Sorkin stated. He explained that when he was first approached by producers, though he was honored, he was ultimately terrified by the project. “Why would I want to put on a PowerPoint clinic on the difference between Harper Lee’s skill and mine?” Sorkin said with genuine bewilderment, causing laughter to ripple through the theater. “It’s like getting into a contest with Tom Brady where points are awarded based on passing efficiency and handsomeness.” Sorkin shared how his first draft was abysmal, but after feedback from producers, he was able to grasp a solid vision for the project. He decided that unlike in the novel, he wanted Atticus to be the protagonist over Scout. “I had to give Atticus, America’s dad, a flaw. I made the decision that I couldn’t do a Harper Lee impersonation. I had to write like me. And I couldn’t pretend I was writing this play in the 1950s. I had to be writing today.” Later in the evening, Sorkin shared a rather unconventional performance of To Kill A Mockingbird that was really special to him. Broadway is an art form that, due to expensive ticket prices, can be inaccessible for many people. In efforts to expose new groups to theater, Sorkin and colleagues collaborated with the New
York Board of Education to put on a performance of To Kill A Mockingbird in Madison Square Garden for 80,000 public high school students. Sorkin expressed how he initially doubted the performance. “Right up until the moment that the lights went down in Madison Square Garden I was sure that this was going to be a very well-intentioned disaster,” he explained. But his worrying was fruitless. “It turned out to be the most profound experience I’ve ever had in a theater,” he said with genuine reverence in his voice. “Those kids turned that place into a theater. It was a church. They listened to every word. And one thing that was clear when it was over was that they wanted more. They wanted more theater.” Sorkin said the experience inspired him to reach out to other playwrights and producers to replicate the event. “I was completely wrong about what happened and I have never been more happy to be wrong,” he said. Elhai closed the evening with a preselected question from the audience: what makes a story worth telling? Sorkin immediately smiled. “I love stories,” he said. “I really do. The greatest delivery system for an idea that’s ever been invented is a story.” He spoke on how sometimes his works feel like they carry importance beyond the few hours spent in the theater, even more so than he intends them to. He reflected on how art is often frustrating before it is fruitful. However, Sorkin believes that those moments when an idea falls into place are when one can see why a story is worth telling. “Once in a while, you find yourself writing a scene, a speech, a joke, something that, once you’ve coupled it with the people who make up a performance, can rearrange the electrons in a building,” he said.
1 December 2023 • The Scripps Voice • Volume XXXII • Issue Four
Opinion • 5
Pool Cues or Social Cues: How The Hub Pool Table Reinforces Gender Dynamics By Emma Sweeney ’27 Staff Writer
H
ozier’s “Take Me To Church” blasts in the overhead speakers at around 1 p.m., the sound of voices and hot grills hiss in the air, and yet the smell of food does not quite travel into the sitting area. The bright orange and electric green furniture burn into my retinas. The air is cold. The Hub isn’t the most conducive space for work, and yet people flock with notebooks, computers, and course reading almost 24/7. Whether Hub-goers simply enjoy the distracting environment, suffer for the food, or like to pretend to get their work done, they come. I’ve spent countless hours at The Hub, originally to find a unique culture of The Hub through observation. Throughout the first block of two hours I spent observing and conversing with students, I learned very quickly that I had inadvertently not been focusing on the relatively new addition to the space: the pool table. The pool table is a recent feature of The Hub that is paired with a set of pool balls, chalk, and six pool cues. Its presence presents not only a physical change, but also a social change on many levels that is almost impossible to miss even if one isn’t paying any attention to their surroundings. The Hub was most likely never the top workspace for Claremont McKenna students, especially considering the option of the silent reading room. However, the pool table changes the atmosphere even more. It makes the Hub more casual. For example, how often does one see people play pool at Honnold? Exactly. There isn’t one because people playing make consistent noise as the balls hit one another and it would bring in people wanting to converse. One would need to raise their voice above a whisper to teach people how to play, taunt their opponent, celebrate a success, or mourn a loss. The pool table has made The Hub more social than ever, a
Ella Lehavi ’24 • The Scripps Voice
place to hang out more than study. It facilitated a turning point, a pull away from the casual study hall to the casual hang-out spot. As more people come to The Hub with the sole intention to play pool, the environment will naturally change as people not only play, but everybody watches. Pool is a natural performance. It may not be what one thinks of as “performance,” especially as mediums such as theater exist. However, I’d argue most, if not all, sports are a performance. And while games like chess certainly can pull an audience, pool is special. Only one person can make a move at a time, meaning someone is always watching, even more so when people play in a group larger than two. Unlike chess, it’s relatively simple so more people can understand what is going on. The table is elevated, putting the gameplay on a pedestal and in turn the players. The space needed for the table is relatively large. It takes up quite a few feet up of The Hub, making it hard to miss when you enter. Maybe I am a little biased because I was watching, but I wasn’t the only one. Over the course of three hours I saw people glance up, stare, and comment on the play in casual conversation. The interesting part about per formances is that the
performers seldom recognize their audience. They pretend not to know they are being watched and when they do, they tend to interact with the audience. Pull the viewers into the show, onto the stage, and join the performance. Pool players, on the other hand, know they are performing. In the seven games I have watched, almost every player has looked around the room after a particularly annoying loss or exciting win. But they don’t say anything. They don’t actually ask for validation or invite anyone else to play. Pool is generally an exclusive club in The Hub. To interrupt a game is not appreciated, something I learned all too quickly, and no one ever asks to join. This isn’t a game of basketball in the park, this is somehow more serious, more restrictive. In many ways, it is especially a performance of masculinity. Men tend to dominate the table at The Hub. I rarely saw women play, each other or men. It’s a bit of a boys club, but that is not to downplay the women I see play pool. There is a special dynamic there, though, that comes from that cloud of masculinity hovering over the pool table. When men play against women there is new added pressure to perform. These men vs. women games are often closer
to silent. The giggling, smirking, and taunting are not as present. This is a competition, plain and simple. There are new stakes now, a little gender battle on display. To perform in a traditionally masculine game as a feminine presenting person is a complicated dynamic that forms not only between the two players, but also between the players and the game, the table, the cues, and the balls. The game has a whole new connotation with one change: who’s playing. When men play with men or women play with women the game of pool can range from lighthearted to coldblooded. But when men play women, there is less range. The pairing is rare unless one is teaching the other. I’ve seen occasions where a group of men and women go to the pool table and after a few minutes, the women leave, disenchanted, realizing that the cue is never getting handed back to them. Then there are the women who came to play the game and win. They challenge the societal ideas of the pool table with an air of confidence that is quickly backed up by their ability to win or keep the game close. Pool can be played casually between men and women, of course, but it was a rare sight at The Hub. And when the pool table enters The Hub scene, it becomes the stage for masculine stereotypes and changes The Hub dynamic making it more of a casual space, a more stereotypically masculine one, and more like CMC’s roots. Although the pool table does change The Hub’s environment, it also cements the stereotypes of CMC: formerly a men’s college with a strong focus on economics and business, stereotypically masculine roles with high competition and high stakes, with success displayed in advertisements and the media. Just as the pool table invites the new, more casual atmosphere to a well-traveled CMC spot, it also inadvertently reinforces the old, gender-normative roles of the college.
1 December 2023 • The Scripps Voice • Volume XXXIII • Issue Four
6
Omegle Is Finally Dead
By Alexandria Smith ’27 Staff Writer CW: Article contains discussion of sexual assault and violence fter 14 years, Omegle has finally been shut down. The video and chat website that allowed individuals to “chat with strangers” created an unrestricted platform for sexual abuse and violence. As the confounding data has shown, it is time for adverse change to protect against the dangers of the internet in the wake of Omegle. The algorithm of Omegle paired strangers together at random — the only real terms of the site being that you must be at least 18 years old or 13 years old with parental permission. However, it wasn’t until last year that the site featured age verification and The Canadian Center for Child Protection noted that “when Omegle introduced age verification … it required only the click of a box to confirm a new user was 18 years old,” which is not enough to sustain safety. The anonymous nature of the site created a unique platform for unchecked social interactions that a Scripps student who wished to remain anonymous described as “traumatizing.” One in five Omegle minor users reported having online sexual interaction with an adult. One of those minors, after years of processing her abuse, sued Omegle and got the company shut down. Forbes reported that the plaintiff was paired with a man in his thirties who forced her to send sexually explicit photos and videos for over three years. The plaintiff expressed, “It took me five minutes to tell my mom what Omegle did to me, [but] it took [the CEO] multiple years and countless other victims before [he] would even speak up about the online Frankenstein [he] created.” We must acknowledge the dark truths. In 2022 alone there were
A
Anna Grez ’27 • The Scripps Voice
“608,601 reports of child exploitation on Omegle” to the nonprofit National Center for Missing and Exploited Children. According to Wired, in a recent conversation about Omegle found on the dark web, a user wrote, “Can’t believe Omegle is gone – met a young American girl around 11 years old a few nights ago on that site.” The user said that he has “seen hundreds of videos of children as young as eight who’d been coerced by adult men into performing sex acts on camera.” Even though Omegle is gone, as stated eloquently by Mabie, a lawyer representing the case, “The harms that Omegle caused are still going to hap-
pen, even if Omegle isn’t there.” It is clear that something like Omegle will pop up again. Hearing the stories of those impacted by sites like these must make us all stop for a minute and think. As we move forward, we must continually advocate for the voices of women and victims of sexual violence to be heard. It shouldn’t have to take hundreds of cases for dangerous sites to be shut down. It is time for the government to pass stronger and more detailed legislation that mandates a thorough age verification process. There shouldn’t be an option to merely click a box on sites
OPIN
that are sexually provocative or have the potential to traffic minors. States like Virginia and Nebraska have implemented measures to restrict Pornhub users, no longer allowing anonymous access and instead mandating the creation of user accounts. In California, Governor Gavin Newsom has just signed AB 1394, a law that would punish web services for “knowingly facilitating, aiding, or abetting commercial sexual exploitation” of children. These tighter restrictions are often deemed as unconstitutional or an infringement on freedom of speech, but these complaints are what allowed predators on Omegle to harm individuals for over a decade. Companies should not be able to hide behind this narrative nor blame victims. Instead, these sites must make efforts to protect against any potential harm by being responsible for what goes on on their platforms. Let us pass national legislation that creates a detailed bill of rights for users of potentially sexual content that accounts for the fact that minors may access it. Let us make efforts to protect minors, if they are in unsafe situations. By prioritizing safety without resorting to outright restriction, we can construct a resilient foundation that mitigates risks and ensures a more secure online space. “Websites like Omegle open opportunities to make bad choices as a young person that can affect your life, even if in the moment you don’t see it because you are young,” said a Scripps student who wished to remain anonymous. The shutdown of Omegle came as a shock to few of us, but it serves as a stark reminder of how imperative it is to dismantle hazardous online platforms. As awareness grows, let our collective determination to hold these companies accountable grow with it.
Meant for Glitter, Rock ‘n’ Roll, and So Much More: A Tribute to Jimmy Buffett and My Favorite Parrothead By Belén Yudess ’25 Copy Editor Intern
W
hen I picture my dad, so many core memories come to mind: years of waking up to a fresh strawberry donut that I’d scarf down in seconds as my dad and I watched the sun break through the horizon in an array of golden yellows and soft oranges from the Manhattan Beach parking lot; hundreds of car rides filled with lessons about the importance of respect and the golden rule sprinkled in; debriefs about my last middle school volleyball game that he successfully coached to a win. And, of course, Jimmy Buffett, whose raspy yet soulful voice has acted as the soundtrack during every trip or outing. Just as “it’s five o’ clock somewhere,” it’s always radio Margaritaville time somewhere in our house and I wouldn’t want
anyone else, Buffett or my dad, by my side. I can’t pinpoint the first time I remember distinctly listening to Buffett. Whether it was being woken up at 7 a.m. to the tropical tale and rhythms of “Volcano” as my dad weeded the backyard or wandering into the garage to find my dad enjoying the night’s live-streamed concert, Buffett was always there in a pair of ragged shorts and his signature soothing strum of the guitar. I vividly recall that by eighth grade, Buffett was no longer just my dad’s music but our music, something we could both sing off-key as we cruised around in his ’79 Volkswagen van. Looking back on our relationship, even though “nothing remains quite the same,” Buffett has been a constant, just like my dad’s impact on my life. Although the opening jingle to “Margarativille” is permanently in-
grained in my mind, many people have never heard of Buffett, apart from a few Parrothead jokes or his pension for writing about alcohol (an undeniable staple of his brand). Raised in Mobile, Alabama, Buffett first picked up a guitar while he was a student at Auburn University. His big break came with “Come Monday,” which details Buffett’s desire and long-lasting hope of reunion with a lover to the tune of a folksy guitar and soft percussionist sound. From there, his career skyrocketed with the release of “Margarativille” and the restaurants, alcohol, and various other brands that stemmed from his trademark song. Buffett was also a New York Times bestselling author, environmental and marine life activist, and an authentic writer whose music focused on finding joy and magic in everyday life. Buffett passed
away peacefully and poetically during Labor Day weekend on Sept. 1 from a rare form of skin cancer. Fellow musicians and fans alike celebrated his life well-lived. Buffett’s messages and meaning may differ depending on who you ask, but for me he will always stand as a reminder to be appreciative of the humor, brilliance, and escape that listeners can find in writing and those we love. This zest for life is especially apparent in Buffett’s final album, An Equal Strain On All Parts, released posthumously on Nov. 3. Like most of the eclectic aspects on Buffett’s resume, the name for the late singer/songwriter’s 32nd album derived from a personal anecdote from his childhood. As noted by the leader of the Parrotheads, the inspiration came from Continued on page 7
1 December 2023 • The Scripps V
NION
7
Love Might Be Blind, but Ultimately I Just Want a Dating Show
Ella Lehavi ’24 • The Scripps Voice
By Aviva V. Maxon ’24 Staff Writer
hen my suitemate told me to W watch The Ultimatum, I was intrigued, but not enough to actually
start watching the show. The two of us generally have similar tastes in shows, particularly relationshipbased reality TV. They told me that The Ultimatum was fun and supplied some of the same drama and romance of Love is Blind. Then they released The Ultimatum: Queer Love, and for the cause and culture I watched it. I feel a responsibility to consume casual content that centers queer people as part of the normalization of queerness in broader society and culture.
I was immediately hooked. The tension, intercouple dating, and sheer madness of the show grabbed my attention. I watched two straight seasons and was still enthralled. My watching of dating shows is contingent on their release — I go through the shows then almost immediately forget about them until the next season airs. The goal of these shows, at least for me, is time-killing fun and drama that has high stakes but low investment. Like many other reality shows, the drama and content only matter as much as the viewer wants them to. In searching for escapism, I want the content to matter; I am invested and care about the characters and their search for love so that I can be outside of my own
reality for a bit. One of the main things that continuously brought me back to this type of dating show is the endless search for love and romance. A common trope of these shows is the search for ‘the one’: the person you should be with. Reality TV cannot show the full complexities of human life nor emotion because it would not make as good of a viewing experience, but it can show the highest highs and lowest lows. The search for love is a place that holds those high highs and low lows — the idea of one perfect match for you evokes hope, lust, and the highest stakes. There is a lot to learn about how we create relationships from these shows. The premise of Love is Blind is
that people meet in pods where they cannot see each other, and (the hope at least) fall in love and get engaged. After getting engaged, the couple meets in person and has a month to decide if they still want to get married after meeting and living together. There is a large emphasis on the fact that they meet without seeing each other. Some relationships fall apart almost immediately upon inperson interaction — the emotional connection does not extend into their physical attraction. Other relationships grow and you would not be able to tell that the couple did not find each other in such an unconventional way. In the real world, while looks do matter for a romantic relationship, the idea of a connection that is more than skin-deep is very resonant. Everyone wants to be loved for who they are, not what they look like. In real life, love and marriage require much more nuance and thoughtfulness. So much is dependent on the time and place in life that two people meet and begin to build a life together. These shows boil marriage, a legal contract, down to whether or not two people love each other. In some ways this is a guarantee to each other to fight for the relationship and that love, but the show glosses over the more serious implications of marriage. There is a basic human desire to be loved, not necessarily romantically, but just to be loved. There is such a large emphasis in our culture on romantic love; on finding your other half. Romantic love is seen as the thing that will fulfill your life. Dating shows prey on this instinct and reinforce it. While I do not think we should be so dependent on romantic love, these shows share the complexity of the need for romantic relationships. The often seemingly surface-level relationships and casualness of love that is portrayed in these shows work as a satirical look at what a healthy romantic relationship looks like. Even when the couples ‘succeed’ and get married at the end of the season, there is extensive drama and unclear communication. Much of the time it is unclear if the people even like each other. I would never want a romantic, or really any, relationship to follow the patterns and tropes of these reality dating shows. Reality dating shows have their flaws and exaggerated drama, but they also share a commentary on how romantic love is valued in our society. So next time you are looking to waste some time in a pleasant way, try Love is Blind or The Ultimatum.
A Tribute to Jimmy Buffett Continued from page 6 his grandfather, who used the phrase to describe how it feels to take a good nap, which the song of the same name further explains. For one last time, Buffett invites listeners to stroll into his past and unwind with him on a cozy beach under the shade of a protective palm tree. The album introduces 14 tracks with several notable features, such as Emmylou Harris, Angelique Kidjo, and the incomparable Paul McCartney. In true Buffett fashion, many of the songs have an air of comedy mixed with a groovy, upbeat rhythm and a hint of country
Voice • Volume XXXII • Issue Four
twang, such as “My Gummie Just Kicked In,” “Nobody Works on Friday,” and “Like My Dog.” Whether relaying a laughable memory, expressing his support for a carpe diem lifestyle, or simply asking a partner to hold the same unconditional love as a dog would, Buffett never fails to give his audience a hearty chuckle that they can share with a whirl on the dance floor. Although the album caps off a remarkable 50+ year career, one song in particular embodies the experience of what Buffett has meant for my dad, myself, and all of his admirers throughout the years. Also declared by McCartney as Buffett’s “best vocal track,” “Bubbles Up” is
a joyous ode to the power of hope and love, especially in the face of adversity or uncertainty. The phrase itself comes from advice given to sailors, which heeds them to follow bubbles to the surface if they are ever lost underwater. With a slower and steadier guitar pattern, the song is reminiscent of floating on a gentle ocean surface, a moment of bliss, and the knowledge that it will all be okay. It’s the same feeling my dad taught me when he instilled my love of the ocean and swimming as a toddler; whenever I’m overwhelmed or feeling lost, I go for a swim and with each stroke I am reminded “there is light up above”
in the form of my dad’s resilience and unconditional love. Jimmy Buffett has served as a symbol of imagination, adventure, and wanderlust for generations. Although a lot of his songs focus on alcohol as a coping mechanism for heartbreak or as a criticism of something he isn’t necessarily fond of, Buffett’s music always finds a way to tug on a heartstring or become an anthem to shout mindlessly and enthusiastically on a long car ride. His legacy will live on in past, present, and future Parrotheads, including my dad, who always nods along to Radio Margaritaville every time he picks me up from school.
8 • Feature
33 Questions With Aviva and Belén | Vogue
The Scripps Voice • Aanji Sin ’24
By Aviva V. Maxon ’24 and Belén Yudes ’25 Staff Writer and Copy Editor Intern
H
ey Vogue, welcome to our crib! We’re so excited to do a 33 Question interview with y — oh, we know it’s usually 73 questions, but Aviva thought some of them were dumb, and didn’t want to answer them. Glad you’re so flexible. The Scripps Voice was majorly censoring our content and weren’t letting us bejeweled, so we’re really looking forward to this upgrade. Let’s get started! 1. If your life was a musical, what would the marquee say? Tick, Tick … Still Waiting: My Uphill Journey with Time Management 2. What’s one thing people don’t know about you? We live in a commune under Scripps. 3. What’s your wake-up ritual? There’s a secluded corner behind Schow where our squirrel overlords plan the revolt. Every morning at 4:32, we must feed them three vats of Motley whipped cream to appease their hunger and spare the college another day. But don’t come to try and observe this ancient cycle because the squirrels have cast a spell over the area to ensure that there would be no disruptions; it’s totally not because this is a myth. As Percy Jackson said, “all the legends are true.” 4. What’s your go-to bed ritual? That implies that I sleep. Hahahaha … ha. Why sleep when you can stay up with delusions 24/7? 5. What’s your favorite time of day? Any day I get to see Aviva or any day I get to see Belén! 6. What’s the biggest surprise you’ve had? “Sure you can write an advice column!” or “Congratulations! Your PERM was accepted.”
7. Heels or flats/sneakers? No shoes – Bare feet every day and always. If you want to never have athlete’s foot again, start going barefoot and build up your tolerance. You know what they say: exposure to millions of dirt and germ particles a day keeps the fungal infections away! 8. What’s your current TV obsession? Charlie Brown Christmas and Glee. Nothing is better than Sue Sylvester shoving students down flights of stairs – we should all strive to be like her. We aren’t trying to tell you what to do, but the next time that econFGSS-strawberry-matcha-stealing man passes you outside of the stairs that lead to Malott … 9. Secret talent? Not visually reacting to the wild things we overhear in The Motley. 10. Most adventurous thing you’ve done in your life? “I have 10 minutes for dinner. I bet we can face the Malott taco line and have time to spare.” And wonderful, still-standing-in-the-taco-line reader, it was accomplished. Probably at your expense. Thank you for your service. 11. Superpower you would want? To be as bold and sure of myself as Edward when he stares into the depths of Bella’s soul and says, “this is the skin of a killer, Bella.” So true. 12. What’s inspiring you in life right now? Belén’s positivity and Aviva’s incredible resilience and epic dino backpack! 13. Best piece of advice you’ve received? “Check out this bird,” referring to a picture of a bat. Thank you Professor Novy. 14. Best advice you’d give your teenage self? Not all green substances served with sushi are avocados. Sometimes
trying to find that out by shoving the entire piece in your mouth is not a good idea. Wasabi is green. 15. A book that everyone should read? The Argonauts by Maggie Nelson and a sacrificial piece from Professor Novy’s “How to Write a Book” class. 16. Best way to take a rest/ decompress? That CMC man who is always wearing the Stags football T-shirt and has a skateboard (you know, that one guy), well, he never stops. He is constantly fighting for survival trying to find his way through the rugged terrain to find his Scripps Humanities GE and Pitzer Praxis requirements. Everyone dresses the same on both campuses – how is he supposed to know? If he doesn’t get his beauty rest, neither should we. In the words of everyone’s favorite jock Troy Bolton, “we’re all in this together,” and “that’s an order from your commander.” 17. If your life were a song, what would the title be? The Glee Version. 18. If you had a tattoo, where would it be? The real question is where wouldn’t it be… 19. Best gift you’ve ever received? The chance to offer you all this kneeslapper of an advice column. 20. Best gift you’ve ever given? The gift we are giving you right now: undeniably hilarious advice. 21. What’s your favorite color? I think I have to say green if I ever want to spin the Wednesday wheel again. 22. Blow-dry or air-dry? Air-dry or reusable moldy washcloth. 23. Coffee or tea? Tea and any free drink The Motley is willing to donate to us! 24. Summer or winter? Fall; just make sure to get back up! 25. Best thing to happen to you
today? The fire alarm went off at four in the morning and nothing is better than fire safety. Anyone can sleep through the night, only the super, epic people prioritize emergency preparedness at all times. Thank you, rickety Browning microwave. 26. Best compliment you’ve ever received? “Did you write that advice column? It’s kind of, maybe, sort of funny.” 27. Favorite smell? Burning popcorn that is not about to put anyone in a life-threatening hazard; it means a fire alarm is in the near future. 28. Hugs or kisses? Icky 29. Lipstick or lip gloss? The free LASPA chapstick. 30. Sweet or savory? Nothing is better than a swavory chai from The Motley with a splash of toasted marshmallow. 31. Girl crush? Every single girl. I am queer. You are queer. We are all queer. Florence Pugh in Hawkeye. 32. Song you can listen to on repeat? PEACHES, PEACHES, PEACHES, PEACHES, PEACHES. Or the entirety of Ryan Gosling’s musical repertoire. 33. Your affirmation for today? Be a blobfish — no one can tell you you are doing it wrong except for a blobfish. Congratulations on discovering a talking Blobfish! Thank you dearest readers for taking the time to either diligently read or simply glance at our column in slight disgust and not immediately throw it in the recycling. There is no in between. We will see you next year after our bonding retreat which is funded by your subscriptions. Harvey Mudd College all-paid vacation, here we come!
1 December 2023 • The Scripps Voice • Volume XXXII • Issue Four
Column • 9
Oh, How the Mighty Have Fallen: The Fall of “Jujutsu Kaisen” By Carah Allen ’26 Webmaster Contains spoilers for the manga and anime Jujutsu Kaisen.
D
omain Expansion: Horizon of the Hater. My cursed technique – endless complaining. Jujutsu Kaisen (JJK) has grown in popularity since the manga’s official release in 2018 and the anime’s release in 2020. Season two has been a hit so far, with amazing animation to showcase two of the best arcs of the series: Hidden Inventory and the Shibuya Incident. With the end of season two in sight, I’ve been catching up on the manga, and there is a dramatic drop in quality from the beginning to the present storyline. The current state of the manga is laughable, with an endless onslaught of characters with no real development, a contradictory plot, and a lack of care from the author. So grab your blindfolds, have scarily blue eyes (it won’t be a difficult task for most of this campus…), and join me as we tackle the domain of JJK – its strength as a series, and its disappointing downfall. Not Your Typical Shonen The foundation and beginning of JJK is undeniably strong. The overarching theme is powerful as it shows the oppressive system that the jujutsu society works under and how it exploits young sorcerers. For example, the Hidden Inventory arc covers Satoru Gojo’s teenage years and how the heads of the jujutsu society placed such importance on Gojo’s undefeated strength that he lost who he was. This arc gave us one of the most powerful lines of the entire series: “Are you the strongest because you’re Satoru Gojo? Or are you Satoru Gojo because you’re the strongest?” The idea of placing strength above humanity as a jujutsu sorcerer is a constant recurring theme throughout the entirety of the series. Additionally, nothing is ever black or white with JJK. You can somewhat empathize with a lot of the “villains” as they are not pure evil, but rather radicalized by the oppressive nature of the system to become who they are. Fushiguro Toji is a great example of an antagonist with an understandable nature to them. Toji was born with no inherited cursed technique or cursed energy to one of the top jujutsu clans leading him to be ostracized and pushed away all of his life. Jujutsu society’s treatment of Toji makes it
easy to understand why he’s against Jujutsu sorcerers. More than anything, Itadori Yuuji is a great main character you can empathize with as you follow his journey through entering Jujutsu society. Yuuji perfectly shows the turmoil of being a human and having humanity as a Jujutsu sorcerer. He constantly grapples with his morals as he hates the idea of stooping low to kill someone, but inevitably has to due to the situations he’s in. Yuuji’s humanity shines throughout the manga, even when the system constantly goes against him. Oh, how the mighty have fallen JJK lost its charm post-Shibuya Incident when the manga entered the Culling Games arc. The new arc added way too many new characters to the story, pushing old characters to the side. While some characters were a fun and undeniably great introduction (sexy lawyer, I’m looking at you), others felt unimportant and added as quick-fixes to solve plot holes that the author didn’t plan out. For example, Inumaki Toge has been a character since day one, yet he has no development other than getting his arm cut off (which was
then, of course, brushed off). This is an ongoing phenomenon where an interesting character is introduced and then rendered pointless or killed for no known reason. Specifically, this afflicts many, if not all, female characters at some point in the story. The Culling Games was also when the story started to function like your typical shonen manga – all fights, no real plot, and poorly written women. This arc was fight after fight after fight, and it was honestly exhausting as a reader to sift through 80+ 20-page chapters. The entire arc functions as boring, filler content for viewers, with nothing extreme occurring. The Gojo versus Sukuna battle exemplifies this frustration. The beginning of the manga foreshadowed that the strongest modern sorcerer and the King of Curses would have a battle, and after five long years, this is finally the year it happened! But… it was unsatisfactory. It was, once again, all fight and no plot! The introduction of the fight felt too forced, with a useless time skip that felt too oddly placed. The fight spanned 15 chapters and ends with Gojo being killed in a way that contradicts the previous logic the manga introduced. Every night, I lie
awake in my bed scrolling through Gojo edits to “Daddy’s Home” by Usher and sob uncontrollably. More than the fight’s results making no sense, it does not move the plot forward. The death of one of the main characters should feel more Earth-shattering than it actually did. None of the other characters who we know care for Gojo seem to give the slightest damn. In one chapter we see his mutilated body, and in the next we’re right back to more fights. With Gojo’s death, everything in the story remains the same. There are still the main two villains at large with no understanding of how to defeat them, leaving the entire fight to seem pointless and used only to get rid of the author’s least favorite character. The early days of JJK seriously serve as some of the best storytelling I’ve seen in a shonen manga, but its eventual fall off has been beyond devastating to witness firsthand. I still love the series deeply and I read every new chapter that releases weekly, but my hope for a good ending has unfortunately dwindled. With more to uncover about the world of Jujutsu Kaisen, I can only pray for it to improve. But until then, I must close my domain and accept the ugly truth.
1 December 2023 • The Scripps Voice • Volume XXXII • Issue Four
Ella Lehavi ’24 • The Scripps Voice
Feature • 10
T-Ramen-dous Eats: Searching For The Best Bowl In Town
By Lucy Liu ’27 & Kinsey Ho ’27 Staff Writers
W
e’ve come a long way from the dorm room Cup of Noodles of our parents’ time. Nowhere is that more visible than in Claremont Village, which boasts a variety of Pan-Asian and Asian fusion restaurants. But how good are they, really? To find out, we’ve embarked on a quest to try the ramen of four such restaurants. Herein lie our observations so that you, the choiceoverwhelmed and ramen-hungry reader, may go into the Village with your eyes wide open. House of Pong A jack of all trades, House of Pong advertises itself as a casual and modern Pan-Asian restaurant, offering everything from kimchi and bulgogi tacos to tom yum and, somewhat incongruously, mozzarella sticks. Despite not specializing in Japanese food, the tonkotsu ramen was delicious and remarkably well-priced at $12 per decently-sized bowl. The bowl featured thin Hakatastyle noodles, a milky broth, and was piled high with complementary toppings — sweet corn, shredded cabbage, fresh bean sprouts, and smoky fried garlic bits. Most notably, the pork chashu came in thick, tender slices, crisply seared, and wonderfully fatty. The chashu was undoubtedly the star of the show, adding a savory dimension and necessary heft to the bowl. The
heaps of seared vegetables almost tended towards overwhelming at points — perfect for those who like toppings. House of Pong’s willingness to offer such a variety of toppings reflected well on it compared to some of the barer bowls on the list. House of Pong’s biggest selling points are its cheaper price point, the general variety of cuisine offered, and that delicious chashu (can you tell that I’m obsessed?). While perhaps lacking in authenticity, it’s a more than decent restaurant where everyone is guaranteed to find something to match their taste. Kazama Sushi Kazama Sushi is an energetic restaurant in the heart of town, tucked into the same building as a coffee shop and comics store. It features a wide variety of sashimi, sushi rolls, hand rolls, rice bowls, noodle soups, and even oyster shooters as advertised in bright neon text on their blackboard. Such variety might make you worry that their products are subpar, but that’d be far from the truth. The tonkotsu ramen came with a rich but not overwhelming broth, featuring typical noodles cooked to the perfect consistency. The shoyu variant was lighter but still savory, and both bowls contained two nicely-cut pieces of chashu. Each bowl came with half an egg, no extra charge. The trade-off, however, would be that they were hard-boiled instead of the traditional soft.
Oni Sushi Oni Sushi being on the farther side of the Village means it gets a bit less traffic than some of the other places on our list. But the extra minute of walking and lack of an interesting view shouldn’t hold you back from coming here! The Tonkotsu ramen especially serves a stunning portion while still only clocking in at $12 on the receipt. Although the noodles were slightly overcooked for my taste, the broth was smooth and delicious and the toppings were excellent as well. The chashu was tender with crispy char around the edges, and they were generous with three pieces. Unfortunately, no egg came with the ramen. Whether it was ramen or sushi, everything was reasonably priced or even cheaper than anticipated. Even in the case of their specialty roll being on the pricier side, they absolutely gave you what you paid for. All in all, if you were craving both ramen and sushi, Oni would be the place to go to get your money’s worth of both. Menkoi Ya Ramen Perhaps it’s unfair to place Menkoi Ya against the others on this list, given that it’s the only restaurant s p e c i a l i z i n g i n ra m e n w i t h i n reasonable walking distance of the colleges. Indeed, its ramen was by far the best of the bunch. We tried the spicy miso ramen which came simply topped with bean sprouts and a few slices of chashu. We also added on an egg, which cost an extra $1.50 on top of
the base $13.95 – reasonable given that it was the largest portion of any of the restaurants. Rather than the thin, straight Hakata-style noodles favored by a few of the others, Menkoi Ya’s bowl featured thick, wavy noodles with a good chew. The earthiness of the miso and the decent but not overwhelming spice level made for a flavorful, balanced broth. It didn’t hurt that the hot spring egg was soft-boiled to custardy perfection. If one qualm were to be had? The chashu was thinly sliced, limp, and white – quite literally paling in comparison to the smoky broil and thicker pieces offered by others on this list. However, we’d advise even the biggest meat lovers not to write Menkoi Ya off. The crispy karaagedon and gyoza were above-par, and the superiority of broth, egg, and noodle mean that Menkoi Ya is still very much worth a visit. So, is there an ultimate purveyor of ramen in the Village? For the best overall bowl, Menkoi Ya is tough to beat, but the best chashu can be found at the dark horse contender House of Pong. For ambience and variety, Kazama’s neon-lettered menu speaks for itself and on those days where you’re not quite sure if you want ramen or sushi, Oni’s doors are wide-open promising you’ll be satisfied no matter what you pick. You really can’t go wrong. And if you’re not feeling up to the walk? Cup of Noodles always has your back.
A Letter to the Future Annual Interfaith Dinner By Ashley Ta ’27 Copy Editor Intern
T
oday we are wrestling with diversity like never before among our countries, our colleges, and our tables. Even though we know diversity is worth fighting for, the question we must not forget to ask ourselves is: are we using our diversity to unite us or are we using it to divide us? In hopes of using our diversity to unite us, the 7Cs have hosted an annual dinner to gather various religious communities both on and off campus, college presidents and staff, and students. On Nov. 16, The Claremont Colleges’ Annual Interfaith Dinner was held by Pomona College with hopes of discussing how we can strengthen faith and religious interactions across The Claremont Colleges. The evening consisted of socializing over charcuterie, dinner and speeches, and a community service project. During the evening I spoke to a Jewish history teacher who recommended a book that almost turned him Christian, a raised Christian who became Muslim and came back to school for a PhD after serving in the army, and a Catholic who works at Chaplains
but professes to be continuously questioning his religion and God. During the speeches, the chaplains expressed how sharing a meal is a way to bond over a universal necessity for food. We should “take the time to appreciate the food that was grown, those who served and those who we’re about to dine with,” they said. Moreover, this dinner prevailed and people were brought together despite the COVID-19 pandemic last year and the religious cultural war waging this year. After we broke bread, cheese (equipped with strawberry flowers), kosher salads, BBQ salmon, and lemonade, everyone gathered for a community service project. We went down a line, stuffing bags with shampoo, soap, razors, socks, toothbrushes, pads, creams, and deodorants. In no time, we easily filled five to six big bins to the brim. Soon they would be distributed to the families in need around the local area. The night ended with a closing prayer by the Claremont Colleges Catholic Chaplain Father Joseph Fenton, who was an established host of the event. As much as I felt that this event had a noble goal, a beautiful venue, amazing guests, and hard working planners, there was something crucially missing. We more or less
danced around the topic of religion, let alone “avoid proselytizing” or “release responsibility from yourself for representing an entire belief system” as the guidelines advised. There was also little “talk about the future of interfaith relations and discuss how we can strengthen faith and religious interactions and traditions across The Claremont Colleges,” as the program instructed. When an event brings diversity around a heated subject such as religion and faith, it’s instinctual to try to please everybody which ends up pleasing nobody. However, bringing diversity around a heated subject can also be the most enriching eyeopening experience. When we come face to face with someone who opposes us, who has a face, a name, a family and friends, our arguments become more rational, we gain more humility, and we sharpen our truth. To preface, this was my first time at an Interfaith Dinner. Thus, I did some googling to learn more about its history and how, if anything, did this year's dinner differ from dinners in the past. According to a CMC news article covering last year’s dinner titled "Inspiring unity at 7C Interfaith Dinner" hosted by CMC, each table was arranged to have “a diversity of voices across faiths and cultural backgrounds.”
Although the tables were arranged in the same way this year, it could have been even more mixed. However, unlike our event, 2022’s event had facilitated critical questions for table conversations: “How have your faith/ beliefs given you hope, especially over the last two years? What do you think is the most significant value for us together as people of faith? How do you find inspiration in your faith tradition for environmental stewardship? What is a meaningful memory or story that you would like to share about your religious life and practice?” I believe if we were given set questions to discuss this year, we would have had more meaningful and productive table conversations. Nonetheless, my biggest takeaway is that if this event is to live up to its name, its personal goal, and the ultimate goal of using diversity to unite us instead of divide us, it should shift its effort from trying to please everyone to diving in headfirst. We need to directly address the goal of dissolving a historical division among people of the diverse faiths and division among people within the faith community and beyond. If we do so, one day it may serve as a role model of unified diversity.
1 December 2023 • The Scripps Voice • Volume XXXII • Issue Four
Column• 11
What Marvel Was Missing and What “The Marvels” Brought: Well-Written Women
Photo Courtesy of Mavel Studios
By Carah Allen ’26 Webmaster
Contains spoilers for The Marvels.
I
t’s no secret that Marvel can’t write women to save their lives. They sexualized Black Widow for 10 years, Scarlet Witch’s character was finally salvaged in WandaVision only for all the hard work to be thrown away in Dr. Strange: Multiverse of Madness (seriously the worst movie ever), and Captain Marvel was nothing short of disappointing and bland. When The Mar vels was announced, it’s safe to say I was a little reluctant to watch Marvel once again show their women characters no respect. I was pleasantly surprised to walk out of the movie theater in awe that I had such a great time! The Marvels is a whimsical and fun movie with great character dynamics and a fun plot that’s only drawback is the short runtime. The Marvels centers three characters – Carol Danvers/ Captain Marvel (Brie Larson), Kamala Khan/Ms. Marvel (Iman Vellani), and Monica Rambeau (Teyonah Parris). We find out quickly that all three of their powers are intrinsically connected due to their lightbased manipulation and this connection has caused them to switch places every time there is a large output of energy. When the characters first meet, their relationship is strained due to Carol and Monica’s history and their reluctance to work together as a team. The initial discomposure, coupled with
tense character relationships, creates a great introduction to conflict in the movie. The character development between all three main characters feels incredibly natural and flows very well as they go from near strangers to a bad-ass fighter trio you can’t help but love. The trio work great together (like me, Hoch burritos, and my dining hall crush that I stare obsessively at) once they get their footing both emotionally and physically. The fight scenes are incredibly engaging and leave you on the edge of your seat with just how seamlessly the three complement each other. I’ve had a personal issue with recent comic book movies having the fight scenes feel too practiced and choreographed, but The Marvels nails it by creating tense scenes that are interesting to watch with the perfectly timed switching and overall sense of camaraderie and teamwork. Acting as the glue of the team is Kamala Khan (who I’ve decided is my sister and no one can tell me otherwise)! Kamala is such a lovable character and her teenage naivety is admirable as you watch her grapple with how many you can leave unsaved while still being attached to your humanity as a superhero. Her anger at Carol leaving so many people behind on a dying planet and then doing the same on another planet is a great show of her layered character and emphasizes how young and impressionable Kamala
is as a new superhero. The Marvels leads to great buildup for future stories involving her character and I honestly can’t wait! Kamala has great potential and I hope they do her justice as the next phases continue. One of the drawbacks of the movie is the runtime. The Marvels sits at one hour and 45 minutes, and I honestly think they could have added another 30-45 minutes. The movie didn’t feel rushed at all, but some moments could have lingered longer. Many emotional moments felt too short and weren’t emphasized enough for them to have a significant impact on the audience. The movie also could have benefitted from more filler scenes. A lot of people are very against filler scenes that don’t move the plot, but I truly believe a few filler scenes are great to build more connection between the audience and the characters, as well as a useful way to worldbuild. The villain of The Marvels is admittedly weak and forgettable. If I’m being honest, I can’t even quite remember her name. However, I don’t quite count this as a drawback on the movie since most Marvel plots are centered on internal and team conflicts rather than a tangible external antagonist. While I would have liked to see a break from this Marvel dynamic, I think it works great for this movie! Having an intense villain while trying to flesh out three characters who we haven’t seen interact before
would lead to a convoluted mess. I think the low stake villain The Marvels has is perfect for honing more focus on the dynamic between Carol, Monica, and Kamala. I do, however, wish the death of the villain had more impact, but I think this was reflective of the shorter runtime. Most importantly, The Marvels was so fun! There was a musical number that I absolutely loved and I’m so glad they gave Brie Larson an opportunity to show off her voice and dance skills. The musical number felt very silly, goofy, and reminiscent of the first Guardians of the Galaxy in the best way possible. Additionally, if you watch movies based on how many cats they show, you will love this movie. There were so many cutie cats that I nearly cried from cuteness aggression while watching. Overall, The Marvels exceeded my expectations and finally showed multidimensional women characters that the audience can truly love. I believe any harsh criticisms on this movie stem from dudebro Marvel fans that hate women, more specifically women of color, being frontrunners of a feature length Marvel film. The Marvels is undeniably fun and serves as a great standalone film within the Marvel Cinematic Universe, but also sets a great precedent for future stories about the three main characters. Also, who doesn’t love watching beautiful badass women?
1 December 2023 • The Scripps Voice • Volume XXXII • Issue Four
12 • Column
Your Monthly Horoscope: Finals Week Edition! By Anna Odell ’27 Social Media Manager
Impacts By Ella Young ’24 Staff Writer
Envelop By Aviva V. Maxon ’24 Staff Writer
Do flowers grow where you have stepped? Your footprints leave the fertile beds, From which spring forth the petaled heads Of life, vivacious, bright, and whole? Or heavy strides set rotten holes, Bored deep, for Earth herself to hold
The hefty strife, that nature’s holt’s Polluted by your violent red? Your feet, like mine, shall carry weight, Of pain and pleasure, love and hate. Your self shall choose the prints they leave. Will futures cheer? Or will they grieve?
Shortening days, Light running away into, Darkness sought like your arms, Hours gone by and gone by, Into each other. The shortening days, Lengthen by hours, The darkness holding me, Tight and tighter, Together
wandering through, Night sought by none, Tighter and tighter, Until the air is gone and we, Gasp for the breath, Held In the dark, Short Days.
1 December 2023 • The Scripps Voice • Volume XXXII • Issue Four