Volume 110, Issue 11

The Spectator The Stuyvesant High School Newspaper

Volume 110 No. 11

March 13, 2020

“The Pulse of the Student Body” stuyspec.com

Turn to pages 11-22 for SING! Coverage

Stuyvesant’s Science Olympiad Team Wins Regional Competition Nerves of Stuyvesant competitors from the Science Olympiad (SciOly) team were jangly as Townsend Harris High School jumped to an early lead at the NYC Science Olympiad Regionals. Schools across the city came to Grover Cleveland High School on February 8 to compete. Despite early anxiety, Stuyvesant swept subsequent parts of the competition and took home their third consecutive regional victory.

While SciOly members were confident in their abilities, they were up against strong opponents at Regionals. “We knew we were one of the top three schools going in, with Townsend Harris and Staten Island Tech being our biggest competitors, but we never 100 percent expected to win. The award ceremony, when each specific competition’s winner is declared, occurs at the end of the tournament, so no one

knows who the winner is until then. This built up a lot of suspense, ultimately making the victory more worthwhile,” said junior Daniel Gordon, who is on the chemistry team.

Not only did SciOly win,

with the least amount of points wins the overall competition.

SciOly uses the meticulous and experimental nature of science to compete.

Events are split into two divisions, Tech and Study, both

but they also set a record for the lowest points at the NYC Regionals with 90 points.

Points are awarded in the competition based on placement, with first place receiving one point, second receiving two points, and so forth. The team

of which participated in the recent regional competition.

The Tech division is the hands-on aspect of SciOly that creates projects that cor-

Athena Lam / The Spectator

By MAX KOSTER, DERRICK LIN, CHRISTOPHER SULLIVAN, and JAMES LEE

continued on page 2

Stuyvesant Hosts Annual Black History Month Dinner

By STEPHY CHEN, JENNY LIU, MADELYN MAO, and VEDAANT SHAH “[Though] I do like to highlight the struggles that our predecessors have gone through to allow us to enjoy these things, just the celebration of it makes it more meaningful […] a celebration both acknowledges the struggles and celebrates the future,” junior and Black Students League (BSL) Vice President Tolulope Lawal said. The annual Black History Month dinner was hosted on February 27, which consisted of a StuyFlow performance and recitations of poems by Lawal and former Stuyvesant student and dropout from ’06 to ’09 Alexis Wint.

The event was coordinated by BSL, which aims to spread awareness of black culture, and ASPIRA, which aims to promote the empowerment of Hispanic and

Latino communities. Both clubs are part of StuyUnity, a larger coalition founded by SPARK advisor Angel Colon.

The opening remarks of the dinner were made by members of both BSL and ASPIRA, including co-Presidents senior Gordon Ebanks and junior Falina Ognus and Vice Presidents junior Sarai Pridgen and Tolulupe Lawal. They introduced themselves and spoke on the significance of Black History month, which is celebrated every February.

Colon and Principal Eric Contreras continued by explaining the importance of celebrating and spreading awareness of different cultures within the Stuyvesant community.

The StuyFlow performances, which had not been included in past dinners, followed and helped convey the themes of the dinner and the collaboration between BSL and AS-

OPINIONS

FEATURES

Coronavirus: Stuyvesant Students Share Their Thoughts Features writers investigate both how Stuyvesant students are directly responding to COVID-19 and to the rising anti-Asian sentiment across New York City.

see page 6

Don’t Spark It Opinions writer Aaron Visser describes the value of literature and encourages the Stuyvesant community to complete their assigned reading rather than skim plot summaries.

see page 9

continued on page 2

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The Spectator ● March 13, 2020

News NEWSBEAT Seniors Benjamin Avrahami, Frank Yang, and Tomas Acuna and junior Catherine Dell’Olio participated in the North American Computational Linguistics Olympiad (NACLO) at Stuyvesant on March 5.

At the Harvard-MIT Math Tournament, the NYC math team’s Tin Man team placed eighth overall, and the Scarecrow team placed 15th.

Junior Sammi Yang is a finalist in the annual speech contest hosted by the Northeast Council of Teachers of Japanese.

At the Harvard National Forensics Tournament, senior Christian Bae and junior Rae Jeong reached the final round for Congressional Debate, winning the Sweepstakes for Stuyvesant. Senior Jeremy Lee and junior Justin Sword came out of the preliminary rounds as the top seed out of 400 teams in Public Forum.

Stuyvesant’s Science Olympiad Team Wins Regional Competition continued from page 1

respond to a certain topic. They begin building after they are given a prompt, which they receive months beforehand. At the event, they are judged before a panel and rated based on qualitative and quantitative factors. For instance, when the Tech division was tasked to create a ping-pong parachute, they were judged based on how long the ball was in the air as well as the appearance of the parachute.

Meanwhile, members of the Study division prepare for tests in one of the following four topics: biology, earth science, chemistry, or physics.

Upon joining SciOly, members choose which event format they feel suited for and compete in it.

Prior to the NYC Regionals, SciOly had competed in two invitationals earlier in the year with an A team and a B team. The team participated in the Long Island Science Olympiad Invitational at Syosset High School in December. The Stuyvesant A team placed third overall out of 69 schools, while the Stuyvesant B team placed 13th, which boosted morale for the SciOly team. SciOly also competed at the Massachusetts Institute of Technology, where the Stuyvesant A team placed 17th and the B team placed 27th.

Attending the invitationals allowed the team to improve on their projects and skills. “The invitationals really helped us see what we need to work on,”

sophomore Matthew Weng said. “For example, for Tech, we learned what specific problem we had [with our builds].”

Similarly, senior and treasurer of SciOly Bernard Wang found ways to improve the Tech division’s boomilever event. “We figured out a whole new design that’s going to be a lot better,” he said.

The invitationals and the regional competitions are also great experiences for the team to bond. “In the beginning of the year, there was a competitive edge among SciOly members, as we all wanted to qualify. At Regionals, we have to work together to succeed, and I feel that the team’s chemistry was what put us over the edge. Since the competition lasts 10 hours, some members of the Tech team got catering from Subway for lunch, which also was a bonding experience,” Gordon said.

Though SciOly won Regionals, Wang believes the Tech division’s performance left room for improvement, especially in the boomilever event. Compared to the maximum of 15 kilograms, Wang and his division’s boomilever held around 7.5 kilograms. “[For the event], the score [realistically] ranges from 0 to 2,000 points. Our best boomilever got 680, which was enough to medal at Regionals, but we definitely did worse than we thought we could’ve,” Wang said.

Despite the results falling short of personal expectations, Wang sees this year’s boomilever event at Regionals as an

overall improvement from last year. “Compared to last year’s preparations, designs, and mentality, this year’s a lot better […] at least for boomilever, our team is more vibrant and committed,” he said. “A few years ago, we were fighting for first place, […] last year, we were trying to retain that spot, but it was still tight, and this year we came in expecting to do well.”

Much of SciOly’s success can be credited toward the opening of the Innovation Lab in 2017.

Prior to its opening, students of the SciOly team had limited materials and tools to engage in activities. “When I was a freshman, I would be building stuff in room 709, which is the BioLab. There were no tools, and we had to make do with whatever we could use. Now, the Innovation Lab opened, and it’s pretty dope,” senior and president of SciOly Vincent Fong said.

Assistant Principal of Chemistry and Physics and Tech-division coach Scott Thomas credited the team’s improvement not only to the Innovation Lab, but also to their increased work ethic. Many students and faculty have been staying in the Innovation Lab until 6 p.m. every day since the start of the school year, a commitment not made in previous years.

“Staying late in the Innovation Lab has had a significant impact on the Science Olympiad Tech team,” Thomas said.

Fong has found SciOly to be a fulfilling experience within a welcoming and supportive commu-

nity throughout his Stuyvesant career. “SciOly really helps out with school and life in general.

It’s one community in which everyone helps each other out with everything. If anything, I feel less overwhelmed,” Fong said.

Despite the accomplishments of the SciOly team, there are also some drawbacks, such as a limit on the number of members who can compete. “I just wish there were more ways to get everyone competing, so we can all have more fun because that’s what we’re all about,” Fong said.

Despite this, Fong expressed faith in his team as they head to states. “States is always pretty tough to win, but I think this year we’re in a really good position, as in perhaps even better than ever before. I think we’re just better prepared because we’ve been [doing well] at tournaments,” he said.

SciOly has qualified and competed at states after winning NYC Regionals the last two years, placing fifth and sixth place in 2018 and 2019, respectively. The team hopes to build off the fifth place finish, one of SciOly’s highest achievements at a state competition.

Though it is Fong’s last year with the team, he is hopeful about the future of SciOly. “It’s not just about winning one year and [not winning next year].

We try to ask upperclassmen, such as myself, to give lessons and teach, so the underclassmen could learn […] we could build step by step, so we’ll always be at the top,” he said.

Stuyvesant Hosts Annual Black History Month Dinner continued from page 1

PIRA. “As both clubs are part of this bigger coalition of Angel Colon’s clubs, StuyUnity, we wanted to showcase the power and beauty of collaborations,” senior and President of StuyFlow Khandaker Ridwan said in an e-mail interview. “[Colon] unites us all by being our leader, and together we collaborate and support each other at major events led by said clubs.”

The performance was split into two movements, the first using a more somber soundtrack and the second a more light and upbeat one.

“The first half represents the struggles and hardships of black people throughout history, and the second half represents the happiness and celebration after the storm,” Ridwan said.

A slideshow in the background accompanied the performance and depicted the desire for reformation through examples of injustices that African Americans have faced.

“There were people who fought during the Civil Rights Movement or suffered from police violence as well as other things that might have led to [new] legislation or protests for reformation,” Lawal said.

After StuyFlow’s performance, Wint performed spoken word poetry. Her first poem acknowledged her difficulties with her love life as a black woman,

and her second poem touched upon her struggles with her hair type and how she overcame her insecurities. “I really loved [her performance]. It spoke to me in a lot of ways because I also

it and connect with it, even if they didn’t identify as black, because this problem is something that transcends race as well.”

Many people, from staff to students to alumni, attended the

Courtesy of Wikimedia Commons and NASA

WORLDBEAT “[Though] I do like to highlight the struggles that our predecessors have gone through to allow us to enjoy these things, just the celebration of it makes it more meaningful […] a celebration both acknowledges the struggles and celebrates the future.” —Tolulope Lawal, junior and BSL Vice President

struggle with a [similar] identity crisis. I just really loved it and it hit close [to] home,” Lawal said.

Lawal also performed her own spoken word poetry, reciting a poem titled “Cain.” “It was about trying to go against the stigma of black people and go against stereotypes that are usually assigned to black people,” Lawal said. “I felt relieved that I was able to get it off my chest, and I felt even more happy that people were able to enjoy

dinner. The magnitude of the event resonated with attendees and left them appreciative of the event’s message. “It was really nice. It had a happy atmosphere but was also serious,” freshman Rania Zaki said. “It also had that point where [members of the BSL] were talking about their struggles because it wasn’t

just about celebrating. They continued on page 4

The U.S. carried out an airstrike against Taliban fighters in Afghanistan after recently signing a U.S.-Taliban peace deal.

Katherine Johnson, whose calculations at NASA sent astronauts to the moon in Apollo 11’s 1969 mission, passed away on February 24, 2020, at age 101.

The House passed the Emmett Till Antilynching Act, making lynching a federal hate crime.

New York enacted a state-wide ban on plastic bags and is placing a five-cent tax on paper bags.

A gunman shot at least nine foreign people at a bar in Hanau, Germany and had posted xenophobic comments online.

The Spectator â—? March 13, 2020

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The Spectator ● March 13, 2020

News Respect For All Week Screens Documentary “All in My Family”

By ANA-MARIA SKARICIC, ALICE ZHU, and MICHELLE LU SPARK, an additional counseling service at Stuyvesant, hosted its annual Respect for All Week from February 11 to February 14. The week consisted of daily afterschool talk circles and events, which aimed to “highlight and build upon ongoing diversity programs and curriculumbased instruction,” according to the Stuyvesant website.

It included events such as Stuy Unity Day, talk circles around hate and race forums, and a spoken word and talk circle around tolerance.

As part of the occasions, SPARK hosted a screening of Director Hao Wu’s documentary “All in My Family,” along with a Q&A session with Wu on February 13.

The documentary focuses on queer families having children, reconciling with generational conflict, and the response to sexuality in Chinese communities. “When my partner and I wanted to have kids through surrogacy, my family’s reaction was so negative

that it took me by surprise,” Wu said. “I started shifting the end goal [of the movie] from how difficult my family was [to] how they reacted

loved the film. She said, ‘Okay great, let’s make it happen.’”

After getting in touch with the directors, SPARK advisor Angel Colon suggested

coming out to his family, and [to see] him partnered up and raising two children—all of those things are very important for anyone who identi-

“I want the kids who watch the film to view it as a family story, to how a family can still negotiate internal conflicts and try to be together, because of love.” —Hao Wu, director of “All in My Family” to us wanting to have kids— how they were against it in the beginning, and how they were gradually turning around.”

To bring the documentary to Stuyvesant, Wu collaborated with SPARK and the administration. “I was introduced to [Assistant Principal of Pupil Personnel Services] Casey [Pedrick] through a parent for something related to my new film, and then I was thinking, maybe it would be nice to screen it,’” Wu said.

“I was curious to see how high school artists would react. And [Pedrick], having watched it before she met me,

screening the film during Respect for All week. “[Wu] was looking for a platform. Hearing his story, and watching the movie, I said, ‘You know what? This connects so much with the community here— especially the Asian American community,’” Colon said.

The screening provided an opportunity for Stuyvesant students to see themselves represented in media. “Representation is important,” Pedrick said. “For a school that is majority Asian to be able to see an Asian film-maker for one thing, and then someone who is gay and had to go through

fies in any of those areas.”

Along with the administration, Wu hopes the various themes conveyed in “All in My Family” will resonate with the Stuyvesant student body. “As it’s called, the film is about different generations and reconciling their differences and different views and value systems,” Wu said. “I want the kids who watch the film to view it as a family story, to how a family can still negotiate internal conflicts and try to be together, because of love.”

Senior Viola Casper-Schulte, a member of SPARK, attended the screening and en-

joyed the documentary. “‘All in My Family’ was an incredible film. While queer narratives are gaining more mainstream popularity, they tend to fit snugly into teenage coming-of-age stories,” CasperSchulte said in an e-mail interview. “To see that our life extends past hectic teenage years, into a place of domestic stability, was inspiring. It’s too hard for many of us to even conceive of a future at all.”

While the film left a strong impression on Stuyvesant’s queer and Asian-American communities especially, Colon hoped the documentary—and Respect for All week as a whole—would encourage greater participation in diversity initiatives at Stuyvesant.

“We all share this community here. Obviously our cultures [and] histories are different, but there [are] a lot of commonalities. That’s the one thing that sometimes gets lost,” Colon said. “I would hope that with these initiatives, it would have some kind of effect on the community in terms of being more involved in these things that we can be more united in.”

Stuyvesant Hosts Annual Black History Month Dinner continued from page 2

were talking about how in Stuyvesant, they always stood out because of their race instead of the other things they should stand out for.”

The dinner also served as a call for respect toward all cultures. “If people don’t

start respecting other people’s culture, and they don’t learn about other people’s cultures, [people] can’t fully work together. I think that acknowledging people’s struggles gives you hope in fighting your own struggles,” Zaki said.

Members of BSL and ASPIRA are appreciative

of the community they’ve formed at Stuyvesant. “The Latino and African American community in Stuy is really small, but it is also really close-knit, and having a community of people with the same skin color and mindset and experience is pretty great,” freshman and BSL

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member Shaniya Coull said.

Students hope that Stuyvesant will continue to promote these communities and host events similar to the Black History Month dinner. “Culture and history [are] extremely important and something students often forget/ignore. There’s a lot we

can learn from culture, and it deserves more attention,” Ridwan said. “Learning about other cultures than your own is also crucial to becoming a more empathetic person.

I’m glad we have opportunities like these, and I hope for more to come in the future.”

The Spectator ● March 13, 2020

Voices

By ANISA GAO There used to be a cherry tree in my Canadian backyard that never passed the height of my father, because the harsh winter would always tear the bark from its twigs and leave it a meek skeleton under the suffocating snow. My two neighbors were luckier—both had massive cherry trees half the size of my house. Their thick petals would waft through the air whenever I returned home from elementary school; I’d stare at my own tree and then begin my homework.

Every summer, the grand blossoms would turn into cherries, and my neighbours would invite my family over to pick a few hundred out because their grass would stink of fruit throughout the entire autumn season.

I used to wish my tree would grow just as tall and strong so I could try climbing to the top.

But to this day, it stands short and demure. I still love it. Its fine branches are shiny and barely twitch in the wind. Growing up short, I enjoyed being able to reach the bitter cherries when my father wasn’t looking. Compared to my neighbors’ trees, mine aged the best. The folks who lived in the white house with the blood red door had their

tree trimmed down so the lowest branches were ten feet above the ground. The neighbours who obsessed over modern housing had their trees chopped down and replaced with a deck. I remember always hearing them complain about the abundance of rotten fruit, squirrels, and the maintenance that came with the trees.

Things are a lot more beautiful when you watch them grow up slowly. They always seem to never grow at all, because there’s more time to stretch, flit around, and not worry about falling. It makes life seem nostalgic, thinking about taking each day one step at a time.

Except no one grows up like that. Life, unfortunately, isn’t a staircase with railings, heating, a nice bed to sleep in, and a bright light. You’re supposed to climb up it blindly, tirelessly, and in the freezing cold. There’s sometimes no one to talk to except for that mysterious beast that only chases you up every few dozen steps.

It barks at you, forcing you to pick up the pace. When you slow down to collapse, you get a good look at it—it’s a mixture of your parents forcing you to wear shoelaces, the bus driver telling you that you have to pay the full fare, and moving to a foreign

Life in the Fast Lane

place where there seems to be no one but you in your own world, and all it causes is change. Then you begin to run, skipping a few steps, almost slipping back, and you continue climbing until the vicious cycle repeats.

It’s terrifying to grow up, and sometimes, I think about getting over it quickly. I regret maturing at a young age because most of my childhood was fairly lonely.

I had no initiative to be reckless and often spent the weekends alone, reading the same book for the 30th time. It was when I entered sixth grade that I realized all the fun I had missed. Seeing all my friends excited to act more like teenagers and less like children made me wonder why I hadn’t taken it slow. Sometimes, I wish I could go back to first grade, ask my old best friend to come over to the playground, and fool around until my father came yelling. Unfortunately, she’s long gone, and I’m stuck in the city where the grass is grey and depressing, so I don’t have the chance to ask someone else to chase me around the nonexistent fields. It strikes me cold when I think about never having that opportunity again.

I missed out on so many new experiences as a child. I quit piano after just one lesson

because I didn’t believe I could ever learn to master an instrument if I couldn’t even press the keys hard enough. Sevenyear-old me was unaware that I’d have to take music class regardless in middle school. Consequently, I had a nightmarish experience being silently scolded by my music teacher who just couldn’t figure out why I kept freezing up during the D major scale. All my other classmates sat, some already mastering the violin and others playing both the electric guitar and the clarinet as I kept bowing my viola, unsteadily playing F sharp over and over again because my fingers couldn’t press into the D string properly.

My biggest fault when I grew up at light speed was always thinking of my future. I traded my Mandarin classes for French, because I thought I was going to stay in Canada forever. I excelled in my French classes, being content with learning alongside students years older than me. But now that I am surrounded by my relatives here in New York, the numbing sting from not being able to speak to them is more apparent than ever. And after taking Mandarin one year after French, my French skills diminished; taking the time to relearn

Page 5

Features something that I regretted in my childhood was unbearable.

Seeing my brother, seven years my junior, on his iPad all day burns my eyes. He always comes home, throws his backpack on the floor, and darts for his tablet with his grubby hands so he can take advantage of his free time until my father finds out he has homework. It’s not his fault, of course. It’s mostly mine. I had all the time in the world to take him to the park every afternoon, teach him some soccer, and chase him down the Dallington school field. He could’ve had memories of rolling down the grassy hills, falling into pits of swampy water, and climbing the mulberry tree beside my elementary school. We can’t do that now, because I’m buried in homework and he’s beginning his lifelong relationship with his iPad. Now he’s laughing every evening at a young teen girl, just like me—except she’s homeschooled and making thousands more than I ever would. He mutters incoherent jokes to her and screams when she’s gone from his sight; his iPad’s battery dies out fast, and soon he’s back to smiling at her face through the Youtube Kids app.

Funding Our Future: The Role of Teachers’ Unions at Stuyvesant

By ADAM BENINAL

It’s hard to deny that being a teacher is one of the most important roles in society. Even beyond the obvious role teachers serve in preparing the youth for employment and the challenges of adulthood, many teachers leave lasting impressions on their students. Teachers work hard—their schedule goes well beyond periods one through 10, and with necessary preparatory work, their toil doesn’t stop when they’re off the clock.

In spite of all this, teaching is one of the lowest-paying jobs a college-educated person can get.

The average starting salary for teachers goes as low as $33,000 in some states, falling severely short of the average $50,000 salary that recent college graduates make in the United States. The resurgence of the labor movement in America combined with the collective dissatisfaction of educators across the country is turning teachers toward unionization in the hope of addressing issues of underfunded classrooms and stagnant pay.

There has been a resurgence in education strikes across the country since February 2019. In what is often referred to as the Red for Ed movement, teachers and school staff have been marching to prevent underfunded schools from closing, to increase teachers’ wages and budgets, and to decrease classroom size. Though New York City hasn’t had a citywide teachers’ strike since 1968, our state has one of the highest union membership rates among government employees, including teachers at Stuyvesant.

“I’m a member of a […] very strong teachers’ union,” said an English teacher who wished to remain anonymous (Teacher X). “[It’s called] The United Federation of Teachers. Public school teachers are automatically part of a union.” The United Federation of Teachers is the union representing most teachers in New York City. As of today, it has 135,000 members.

Teacher X also mentioned a recent Supreme Court case, Janus v. the American Federation of State, County, and Municipal Employees, that allowed government

employees to opt-out of this automatic enrollment if they didn’t wish to pay union dues. Despite this, Teacher X chose to stay with the union, citing the various benefits they receive with membership.

“We get our dental and vision insurance, and I think perhaps prescription drugs through the union,” they said. “Little benefits besides collective bargaining.”

Collective bargaining, in this case, refers to the power unions derive from the size of their membership. If a big enough union goes on strike, it can cripple entire industries, making it important for employers to address their concerns. Teacher X has doubts as to whether it is legal to strike; the strongest move workers can make during collective bargaining is threatening to stop working altogether, but there is uncertainty as to whether public school teachers here can even partake in one.

These doubts are well-founded; the controversial Taylor Law, passed in 1967, made it illegal for public employees to stop working during union disputes. Failure to comply is punishable with fines and possible jail time. During the ADVERTISEMENT

2005 transit strike, state courts fined unions millions of dollars and sent the president of a prominent transport union to jail for 10 days. Similar enforcement of such a law against teachers could make replicating the Red for Ed movement in New York City virtually impossible.

The teacher views underfunding as one of the most egregious issues, both in Stuyvesant and in other New York City schools.

“One of the problems in a lot of cities is that education funding is cut so terribly,” Teacher X said.

“It’s not just that teachers feel like they’re not being compensated effectively but also that they feel [the] school quality is terrible.”

Teachers in Stuyvesant don’t have it as bad as teachers in other cities or even other neighborhoods in New York City. Stuyvesant is well-funded, meaning that teachers rarely need to buy their own supplies, and they receive $250 a year to lighten that burden.

When asked if they would consider participating in union action, Teacher X replied that their choice would depend on the severity of the problem, both here

and in other schools, and they added that they would be open to protesting other social issues beyond underfunding. Such a move is not unprecedented, especially here in New York.

The previously mentioned teachers’ strike of 1968 wasn’t a dispute over funding but rather a tense and months-long confrontation over accusations of racism and anti-semitism. While creating a new school district, a local school administration had dismissed white and Jewish workers, sparking a fierce backlash from the United Federation of Teachers. Despite the relatively small scale of the dispute, the response snowballed into a strike that shut down most New York City public schools for nearly two months.

Historian and education reformer Marilyn Gittell puts it best: “If these seemingly simple acts had not been such a serious threat to the system, it would be unlikely that they would produce such a strong and immediate response.”

While tensions in New York continued on page 6

Page 6

The Spectator ● March 13, 2020

Features Funding Our Future: The Role of Teachers’ Unions at Stuyvesant continued from page 5

City today aren’t as severe as they were in the 1960s, Teacher X still believes that unions are a powerful tool for resolving issues. They mentioned the recent expansion of Trump’s travel ban as a contemporary example. “If we have a lot of students from these countries, we [could] strike in solidarity.”

Despite the general feeling of gratitude and support for unions among many teachers in the city, teachers’ unions are sometimes used as a scapegoat among students when they’re dissatisfied with the quality of their teachers.

Non-union employment is considered “at-will,” meaning employers can fire staff without ex-

planation. Union employment, on the other hand, can only be terminated for “just cause,” accompanied by complex procedures designed to ascertain whether that “just cause” exists. Job security, as some students think of it, allows bad teachers to continue being bad teachers without fear of repercussions.

“There are some teachers [at Stuyvesant] that obviously don’t give a [EXPLETIVE] about the job,” said one dissatisfied student who wished to remain anonymous. “For them, it’s just a paycheck. You go, make the money, and don’t worry about actually being good at it. They’ve got tenure or the unions; they can’t be fired even if everyone obviously hates them.” The student went on to

name teachers in various departments who, in the student’s view, would’ve been fired a long time ago had they not been granted these protections.

Teacher X, on the other hand, feels that the job security provided by unions has its benefits, as it allows teachers to develop decades-long careers at the same school. They become part of an academic community in a way that teachers at private and charter schools, which typically hire non-union teachers, often don’t.

Teacher X said of such teachers, “They have no longevity […] A teacher comes straight out of college teaching a charter school for three to five years and then moves on with their lives […] You don’t see as many veterans.” Unions al-

low for public schools to maintain a solid base of teachers that remain relatively “loyal.” The job volatility of the non-union private sector simply isn’t there, an important factor for both supporters and opponents of teachers’ unions.

Even as other unions in this country fight for their rights and very existence, teachers’ unions have remained a fixture in New York City. They aren’t facing any immediate threats, but at the same time, their power is somewhat stifled by laws at the state level. Unions in this city aren’t legally allowed to participate in work stoppages, so if they were to emulate teachers’ unions in other cities and go on strike, they would quickly run into severe

trouble. Though they lack the potential to bring about radical change, their members do enjoy stability, benefits, and representation. Teachers are now comfortably able to develop long careers at the same school, but they still face problems with budget, funding, and supplies, particularly in poorer neighborhoods. Teachers’ unions in New York City haven’t been able to solve every problem.

Some even believe that teachers’ unions cause problems. Despite this, many teachers feel that unions have enabled them to have a pretty good bargain with their careers. If not a good bargain, they at least have a better one.

STEM vs Humanities: Finding the Right Balance

By ANGELIA CAI, NICOLE ITKIN, and SUSANNAH AHN

The first thing that comes to many people’s minds when they hear the word “Stuyvesant” is a school filled with students who are obsessed with their STEM classes. Though Stuyvesant has upheld a reputation for having strong STEM departments and successful graduates working in STEM fields since its founding, the humanities departments at Stuyvesant are equally strong and allow students to receive a well-rounded education that is not exclusively STEM-based.

In this respect, there are a plethora of elective options offered at Stuyvesant in both STEM and humanities. In the STEM fields, underclassmen are able to take electives ranging from Math Team to Genetics Research. They are also able to take honors math or test into other higher-level math classes.

In the humanities field, freshmen and sophomores can take history classes including Advanced Placement (AP) Human Geography and AP European History. However, freshmen and sophomores are not permitted to take any English electives, and their core English classes are mandated.

Stuyvesant’s core identity

revolves around advancing and challenging students. However, many feel that those ideas are consistent only with STEM classes, neglecting the importance of the humanities. Senior William Zeng said, “Stuy certainly lives up to its reputation as a STEM school. We have so many STEM electives geared [toward] subjects such as engineering, science, and technology, hence [the] classes such as AutoCAD and architecture.”

When discussing the humanities options available to students, sophomore Jerry Liang said, “Stuyvesant has a large group of humanities students and an even larger group of students who don’t identify as such but enjoy the occasional book or the creativity that writing offers.” Regardless of the school’s reputation, “students should have the ability to pursue their interests, whether that be in STEM or in the humanities,” Liang continued.

During their freshman and sophomore years, students are required to take the Freshman Composition and European Literature courses. “Freshman year’s principle is writing instruction,” Assistant Principal of English Eric Grossman said.

“Students come from so many different middle school backgrounds that we felt and still feel

it’s really important.” The designation of underclassmen English classes furthers the sentiment of the imbalance between STEM and humanities classes.

Freshmen and sophomore English classes are designed with a uniform curriculum in mind to make sure that everyone’s on the same track. However, having all students take the same classes in freshman and sophomore year may not always account for the students who are already at the English skill level that the classes are aiming to get students to reach.

Some people understand the justification behind this approach. “[Freshman Composition and European Literature] guarantee the teaching of the basics of analytical and creative writing before introducing different facets to the curriculum,” senior Alvin Yao said. “Once that baseline is established, electives such as Asian American Literature and Shakespearan Literature are offered for students who have developed special interests in those respective periods of time.”

However, the absence of more humanities electives for underclassmen is not only due to the attempt to even the playing field among students; the pre-existing financial system prevents Stuyvesant from

hiring more English teachers. “Stuyvesant still allocates its budget so that there aren’t enough English classes for freshmen and sophomores to take English electives,” Grossman explained. “In order to change that, we’d need to hire more English teachers.” However, hiring English teachers for new electives means cutting back electives in one department to make room for another, which is a change that is not immediately possible, according to Principal Eric Contreras.

“Even if a principal wanted to, [he] really can’t make very sudden shifts in the allocation of electives by the department; there are a set number of teachers in each department, which [doesn’t] move year to year,” Contreras said.

Many students, though, would not want this shift to occur. Zeng believes that the courses correctly reflect the preferences of the student body to take classes in the respective fields. “The school has done an amazing job helping its students find their likes and dislikes, and [it] adjusts accordingly,” Zeng explained. In other words, he feels that because a majority of the student body prefers the STEM fields, course selections are biased toward STEM as well.

With the school’s

well-established history, it shouldn’t come as a surprise that Stuyvesant focuses heavily on STEM. “There are over 400 high schools in New York City, and people make conscious decisions and have a full understanding of what school they’re going to, its history, and its areas of strength,” Contreras said.

But students and teachers still recognize that it’s important to be well-rounded in all aspects.

“I don’t believe that we are just STEM people or just humanities people; there’s much more nuance to it,” Liang said. Grossman added, “Even engineers have to write proposals, and no matter what job you do, properly articulating and writing emails is fundamental across all disciplines.”

As Contreras tells prospective freshmen and their families, “Unlike Brooklyn Tech, where students must ‘choose’ a major, or Bronx Science, whose focus is research, Stuyvesant students have much more freedom.” Accordingly, there are many opportunities available to students in terms of classes and electives. “[Having] diverse electives such as Women’s Voices or Asian American Literature really creates a more multidimensional student,” Contreras said. “[This] is something truly unique that I value as a principal.”

Coronavirus: Stuyvesant Students Share Their Thoughts

By ANGELA CAI, MORRIS RASKIN, CHRISTINA PAN, CATHERINE CHING, JUDY CHEN, and ZAWAD IMROSE

Bags of rice flying off shelves, schools closing, mass quarantines, and frequent antiAsian assaults. COVID-19, often referred to as “the coronavirus,” has infected the media, coughing up daily accounts of the virus’s continued spread and devastation. At a school with nearly 3,500 students and hundreds of staff members, there are infinite opinions floating around about the potential devastation this disease could cause. What some see as an overblown case of national hypochondria others see as a global health catastrophe with worldwide implications.

Junior Samuel Lin leans toward the first of these two camps.

He believes that the news is overblowing the situation. “They focus on minuscule details just to get more readers,” he said. However, Lin doesn’t deny that he and his family have taken precautions like avoiding high-density areas as much as possible, washing their hands regularly, and keeping the

house stocked with masks in case of a shortage and price uptick.

Sophomore Ian Graham feels very differently: “I am extremely concerned about the coronavirus because there’s really no way to contain or cure the virus yet,” he explained. “With most other illnesses, there is some sort of treatment, so it’s not just up [to] dumb luck if you will survive or not.”

Graham and his family have already purchased hand sanitizer, gloves, Lysol, and disinfectant wipes in preparation for what he calls “the inevitable and devastating arrival of the disease.”

Others, among them sophomore Liesel Wong, copresident of the Teens for Public Health Club, shared Graham’s concern for those in poor health: “I’m more concerned about people who have compromised immune systems or elderly people who are more likely to not recover from the virus,” she said.

As the coronavirus continues to spread, levels of anxiety and fear imbue even the simplest aspects of everyday life. “[The coronavirus] has started to impact my daily actions,” fresh-

man Namulun Togochog said.

“Simple gestures like pushing an elevator button could be a vector for disease.” The coronavirus has even started impacting some students’ schedules. “My mom has made me stop going to tutoring

Serena Chan and Andrea Huang / The Spectator

since there’s a case near my tutoring place,” sophomore Rachel Lin said. “I’ve just been trying to avoid touching my face and have a bunch of hand sanitizers I dumped in my bag,” she added.

Yet as anxiety and infection rates skyrocket, memes, jokes, and puns about the coronavirus have spread even more rapidly than the virus itself. Whether

through subreddits, TikTok videos, or tweets, the coronavirus dominates every aspect of the Internet. One notable example involves CNN anchor Wolf Blitzer positioned above a caption reading “Alcohol kills the coronavirus” accompanied by a crowd chugging alcohol in the background. Images like these are perhaps an outlet for collective anxiety—what people can’t cure with medicine, they try to cure with humor.

On a more serious note, the coronavirus isn’t just a health threat. It’s also a social plague as anti-Asian sentiment explodes across New York City.

“A woman once walked up to me in public and straight-up asked if I had [the] coronavirus since I was Asian,” Rachel Lin shared.

Additionally, though Graham understands the connection between the coronavirus and racism, he believes that the media needs to stop using the virus as a scapegoat for hate crimes, especially if it comes at the cost of comprehensive coverage. “Of course I do understand that the coronavirus is causing xenopho-

bia, but I feel it’s irresponsible for people or institutions like The Spectator to say that concerns over the coronavirus are nothing more than an excuse for racism. I feel that the spread of misinformation, like that spread by our own school’s newspaper in just the last issue, is a dangerous way to suppress valid concerns about a virus that will inevitably affect the United States, [especially] New York City, very intensely.”

But in light of incidents experienced by people like Rachel Lin, there may be some legitimacy to the connection between the coronavirus and racism. Rachel Lin is not alone. Daisy Lin also had a similar encounter: “A group of middle-schoolers approached me and began asking whether or not I had been infected by the virus because ‘all Chinese people have corona.’” They used slurs like “Ching Chong” and “gook” freely.

Despite this troubling experience, Daisy Lin understands that most of the racism stems from fear. “We should be cautious, not contentious,” she said. “The pressing matter lies upon what we, as a community, can do to help.”

The Spectator ● March 13, 2020

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The Spectator ● March 13, 2020

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Editorials The “Class” Divide Every spring, SING! season brings a familiar mood to Stuyvesant. As the three final nights of competition approach, hundreds of students stay at school well into the evening, tensions erupt within each SING! over last-minute mishaps, and school spirit is at an arguably year-long high. For those participating in SING!, it is nothing short of a frenzy.

But SING! also brings out something that usually stays more under-the-radar at Stuyvesant: the divisions between grades. Juniors stop being mere third-year high school students and become a team, a competitive entity that stands opposed to the two others.

Ditto seniors. Sophomores and freshmen form a unified underclassman identity. Sometimes, close friends of different grades who normally don’t even think about their age gap have been known to see their friendships strained by the stress of the impending performances.

That stress goes away about a week after the final show and usually earlier than that. But the division it exposes exists year round, even if it is most visible during early March; most notably, the belittlement of freshmen by upperclassmen and sophomores over everything from rolling backpacks to gym uniforms is constant.

Freshmen serve as the butt of a litany of jokes during the first half of the year and are an easy punchline in a pinch.

For the most part, this is fine. It is normal for communities to have norms (“Don’t wear your gym uniform when you’re not in gym,” for instance), and it is normal for those who are not familiar with those norms to be made fun of by those who are. That

can become a toxic dynamic, but it isn’t one in itself, because freshmen learn, change their behavior, and eventually join the “in-group” of people who know how clothing works. By the time fall comes around, they become sophomores and poke fun at the next generation of incoming freshmen. While the belittling of freshmen may annoy them throughout their first year at Stuyvesant, it is generally lighthearted and temporary, and not a source of serious emotional pain.

A real issue arises, however, when the nature of the belittling shifts—when this intergrade dynamic comes to mean more than mere rolling backpack jokes.

In fact, a quick scroll through our “Dear Incoming” Facebook groups makes our potential for malice abundantly clear: the age-old “what’s considered a good SAT score?” question—in its countless iterations, periodically asked by the overzealous (but wellmeaning) freshman poster— always seems to warrant a litany of needlessly aggressive upperclassmen responses.

These freshmen—who would certainly benefit from genuine reassurances that they need not concern themselves with the SAT, much less the college admissions process at large—are instead thrown a harsh slew of “shut up”s and “what’s wrong with you??”s.

Echoes of these crude sentiments reverberate even in joking endeavors; this year’s senior class appointed “police officers” who stand guard over the bar and atrium during their free periods. And though their “laws” are seldom enforced, just as their “punishments” are seldom doled out, the group’s mere formation speaks to the

subtext of more severe hostility toward the other grades.

Because when these conflicts do bubble to the surface, it becomes clearer than ever that our good-spirited SING! competition underlies a sometimes more sinister, year-round dynamic.

To neglect the issue of inter-grade rivalries simply because they’re recognizable elements of the high school experience, however, would be ignorant. The Big Sibs are one; as former freshmen themselves, they possess valuable advice for freshmen who might be feeling disgruntled by the traditional upper-lowerclass-man dynamic. Freshmen can overcome the stigma surrounding the age hierarchy by simply reaching out to others. But by the same token, Big Sibs should also be more receptive to underclassmen who seek that advice. It’s well known that Big Sibs themselves aren’t always the unbiased mentors they’re expected to be; it’s their job to overcome their own prejudices and offer guidance to all freshmen.

At their core, most of the divisions between grades are likely more a result of high school culture than Stuyvesant culture in particular and aren’t something that we have the power or responsibility to change en masse. High school hierarchy isn’t inherently a bad thing either. Often it’s a necessary rite of passage that helps freshmen acclimate to a new environment and learn the ropes of a new school. That being said, it’s important that we as a community are mindful of the way that we exist within this hierarchy and whether we’re unnecessarily exacerbating a divide that already exists.

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Classroom Conversations on the Coronavirus

By THE EDITORIAL BOARD Over the past weeks, the coronavirus has seemingly taken over the world. But COVID-19’s virulence doesn’t stop at its infectious nature. As both a topic of conversation and a point of speculation, the coronavirus has captured the public’s attention. At a school building with roughly 4,000 students and faculty, many are wondering what the teaching staff and administration are doing to alleviate concerns and inform the student body about the disease.

Currently, there are no official guidelines in place for how teachers should approach discussing the virus. It is up to the teacher to decide how to address corona, if at all, with their students. However, many students would feel calmer if their questions and anxieties could be addressed in class. Will school close? Will class be conducted, if at all?

Some teachers have shared personal anecdotes and fears and have encouraged students to do the same. Others have changed their testing policies so that sick students will be more

likely to stay home from school.

In the chemistry department, teachers have been expediting the labs so that students can fulfill the lab time requirement in the event that school closes early.

But a happy medium still needs to be reached between non-stop teacher-student dialogue about the virus and a complete absence of conversation on the topic at all. It should not be every teacher’s responsibility to initiate discussion on the coronavirus, but this begs the question of whose responsibility it falls into the hands of.

The most obvious choice for the set of teachers to lead this conversation regarding the disease is Stuyvesant’s health teachers. As we are currently in the midst of a global health pandemic, there is no doubt that health teachers should be thoroughly covering the topic, educating students on how to prevent contracting the disease and providing information on its spread, severity, and symptoms. However, it is not completely apparent where to take the discussion outside of health class.

One possible home for the coronavirus conversation is an

unlikely candidate: the English classroom. Stuyvesant English classes are different from most other classes for a variety of

Semoi Khan / The Spectator

reasons that make it the perfect place to carry out a comfortable and welcoming dialogue. The curriculum of a typical English

class is subject to more variability than that of a math or science one. This unique flexibility provides the perfect opportunity to facilitate a conversation that doesn’t feel rushed or forced. In addition, most English classes focus heavily on self-expression and individuality, an emphasis which makes them an inherently comfortable place to share thoughts and feelings with a group of supportive peers.

While the administration has already actively informed the Stuyvesant community about the virus through regular email updates, it should also consider holding a town hall, as it did when it redubbed AP Physics 1 “Advanced Physics with AP 1 Topics.” There will no doubt be reluctance to do so from the administration; the consistent line from the city government has been that there are no plans to shut down schools collectively and no plans to shut down any school for more than 24 hours for sanitation. But that reluctance should be outweighed by a recognition that students are widely uncertain at best and fearful at worst.

With a topic as captivating, distressing, and critical as the

coronavirus flooding the hallways, it is imperative that we have dialogues both in and out of school regarding any questions or concerns about the disease. However, there is currently no real standard set on how to talk about the subject in the classroom setting, leading to general confusion about the means by which such a conversation might occur. As the coronavirus becomes an even more pressing issue, students should be able to voice their concerns to a teacher, and be aware of where such conversation is welcome and where it is not. We recommend that in the future, English and health classes become the main hub for coronavirus-related discussion, as well as some town hall setting where students can field questions to a professional or administrator. With the coronavirus rapidly progressing, both globally and in New York City, we need a supportive environment in our school community where students and teachers alike can alleviate concerns and grievances surrounding the topic in a productive and honest way.

The Spectator ● March 13, 2020

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Opinions

By AARON VISSER Reading is dying. Nowadays, only 20 percent of teens reported reading a book, a newspaper, or magazine for pleasure. The Stuyvesant English department attempts to expose teenagers to the wonders of reading by assigning classic books like “The Odyssey,” “Romeo and Juliet,” and “Catcher in the Rye.” However, school assignment directives are no match for Stuyvesant student ingenuity. Many of my peers manage to evade assigned reading by reading plot summaries on websites like Shmoop or Sparknotes. Plenty of students can go through Stuyvesant, one of the top high schools in the country, without ever fully reading a Shakespeare play. They are missing out; classic books provide their readers with insight into the human condition, truths about the world, and most importantly, enjoyment.

The author Jessamyn West once wrote that “fiction reveals truth that reality obscures.”

This quote applies to all stories, fiction or otherwise. Generally, the greater the story, the greater the truth it reveals. No sophis-

ticated treatise shows the importance of free thought better than George Orwell’s “1984,” whose image of Big Brother’s large mustachioed face epitomizes authoritarianism more than abstract talk about the importance of free speech. This is because stories are the modus operandi of Homo sapiens.

They connect with us on the emotional level, the only level that truly matters.

Hearing the statistic

Emily Chen / The Spectator

of six million dead in the Holocast is intellectually upsetting, but it doesn’t deliver an emotional impact in the same way as the Diary of Anne Frank does.

Classic stories tend to commu-

Don’t Spark It nicate through edge cases, the most extreme example of an idea, where its essence can be observed. Shakespeare explores the questions of “What is love?” in Romeo and Juliet and “How can men be corrupted by power?” in Macbeth. J. D. Salinger’s “Catcher in the Rye” captures the nature of innocence.

Students can find man’s greatest answers to these timeless questions by reading the great works assigned in school.

Furthermore, classic works provide lost viewpoints from bygone time periods. As the legendary author C. S. Lewis wrote of reading classic books, “Every age has its own outlook. It is especially good at seeing certain truths and specially liable to make the same mistakes.” Our outlook on the world is built on a foundation of assumptions and biases, which unconsciously shape our beliefs and actions. Reading literature from other time periods introduces us to new worldviews.

The worlds of Homer and Sophocles emphasize practices and ideas we no longer value, such as the supreme importance of hospitality and honor, as well as their callous-

ness toward our values, such as preventing violence. These ancient values are imperfect, but they show that our societal assumptions are as well. As Lewis wrote, “Two heads are better than one, not because either is infallible, but because they are unlikely to go wrong in the same direction.” Classic works provide a foil through which we can observe our society and cultural practices.

Finally, classic works can be sources of great enjoyment and fulfillment. For people, stories are synonymous with entertainment, whether they are watching a sitcom or a drama, or hearing the tale of a friend’s unusual day. However, the entertainment in a visual medium is a passive process, with the stories being observed by the viewer.

While the words might be on the page while reading, the story is actually constructed in the reader’s brain as they determine what’s occurring. Reading is an investment of attention in creating the story and an investment of time. Even the greatest stories require time to develop the plot and emotional connection to characters, sacrificing instant enjoyment for long term payoff. Even though I had to push myself to read the first 100 pages of “One Flew Over the Cuckoo’s Nest,” each page became essential to a full understanding of the characters, and the actors who came to dictate the emotional investment and

plot of the story. By the time Kesey reached the shocking finale, my eyes couldn’t move across the page fast enough to keep up with my anticipation.

It’s no surprise that students who use Sparknotes don’t enjoy literature; they don’t commit the required attention into the book in the first place. If you decide to invest the attention, a lacking commodity in modern society, and time, great writing will yield great dividends in enjoyment.

Truth and enjoyment derived from stories combine to create the most gratifying sense of satisfaction. These qualities can be found in great movies, television, and music as well, but these works of literature have persisted over the centuries because they do it best.

Whether it’s because classic literature is just well written or because the stories connect with some higher truth, almost all great books I have read remain in my mind. For that reason, the true payoff for any classic book lies not in the moment when the reader turns over the last page, but in the period after the book is over and the story is replayed over and over again. So the next time you must decide whether to do the homework or not, decide whether those 10 minutes saved are worth missing out on the “wonders of reading.”

Caucus System: A Microcosm of the Electoral College Debate

By ELIO TORRES

I refreshed the page of my Iowa Caucus results stream for the umpteenth time, anticipating one of my countless clicks to suddenly yield an update.

Data reports had still not been released a full day after the caucuses’ forum, and I sought an explanation—the general consensus was that the application employed by the state failed to broadcast the voter data properly. But when the last handful of precinct data points tumbled onto The New York Times election board two days after the expected release, even these long-awaited results were met with uncertainty by some of democracy’s most astute believers. Whether these inconsistencies were a product of technological malfunction or the updated Iowa voter protocol, Democrats cannot afford needless errors on the national stage nor provide fuel for embellished Republican “shade” toward the competency of the Democratic Party. President Trump’s re-election campaign manager, Brad Parscale, seized

the opportunity to label the Democratic Party as perpetrators of a rigged election, an argument that embodies the childish nature of partisan division. Regardless of the Iowa Caucus and its implications, one message must be clear—we must never let the structure of our democratic system thwart democratic will.

For the most part, the United States election system has advanced toward making its democratic wills a reality. Voter turnout has consistently increased since 1972, and the addition of early, online, and mail-in voting has made the democratic process more accessible for all.

But while much has changed in terms of system efficiency, the ins and outs of the U.S. political system haven’t become any less confusing. The means by which presidential candidates are selected deviate in each of the 50 states. Authority to regulate the time, place, and manner of election are granted to each state in Article 1 Section 4 of the U.S. Constitution, but recent Republican efforts in 2020 have called attention to a hiccup in this

“democratic” rule. According to data-analyst Chris Cillizza, four Republican-dominated states are cancelling their GOP primaries to “cut off opposition within the GOP to President Donald Trump.” While we have seen states fall on the spectrum between open primaries, in which anyone can take part, to closed primaries, in which only party members can participate, the idea of a state cancelling its primary altogether is dangerous to the future of the democratic process. The problem does not lie in the legality of this Republican move—it is perfectly legal under the outlined laws—but rather in the responsibility of the democratic system to adjust to the manipulation of its open-endedness.

An adjustment that must be made is phasing out the caucus system. Seven U.S. states and territories currently employ caucus primaries but the system has a history of snafus.

Voter turnout is typically low, with at most 10 percent of a state’s party identifiers participating on a given caucus night.

Caucuses, in theory, serve to

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gauge a party’s interest in presidential candidates, but they are designed in favor of the limited numbers that can attend them and not the mass of party identifiers. Mainstream primary election systems yield double to triple the amount of voters and are much more organized than the often chaotic caucus meetings. According to Politico journalist Steven Schier, the Minnesota Democratic Caucus provided voters with under two hours to cast their ballots, many of which were cast on post-it notes. It is undemocratic for voters to be denied their right to vote because of unrealistic time constraints, and as Minnesota’s Democratic chairman contends, the caucus system is simply unequipped for larger turnouts. Eliminating the caucus system will allow for the nomination of candidates that are more representative of public opinion at large—not merely the select opinions of the elite.

Nowhere is the fallibility of our current democratic system, as well as the failure of our federal government to educate us on the difference between some

of its most minute variations, more evident than in our current caucus and Electoral College systems. I have an understanding of the definition of a caucus, but that understanding is loose at best, and the majority of the United States voting population does not understand the ins, outs, or even whats of the caucus system. In Utah, local leadership officials asserted that “as much as 90 percent of people do not participate in caucuses largely due to a lack of understanding.”

I continued to refresh the results page and was confused to see Bernie Sanders, the 2016 democratic nominee runner-up, obtain the popular vote but lose the state by one delegate. The United States began its controversial relationship with the caucus system in 1804, and it has raised red flags about the truthfulness of our “democracy” more than once. The Iowa Caucus fiasco is just another red flag in the sea of the democratic process. It will serve democracy well to move on.

The Spectator ● March 13, 2020

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Opinions Don’t Take Away the One Place That’s Our Own

By AYA ALRYYES

As a freshman, I’d walk past the sophomore bar every day and look forward to having a special place to spend my free periods come next September.

So after months of yearning on the first day of sophomore year, my friends and I finally met up there. It didn’t disappoint; having a place designated just for us, where we could socialize and do homework together, was great. Throughout the first semester of this year, the sophomore bar became our go-to place to meet up after school and during science frees—a miniature home away from home.

So naturally, it came as a shock when an administrator approached the bar a few weeks ago, told us that we weren’t allowed to be there, and evicted us—effective immediately.

Over the course of the past month, the sophomores who frequent the bar, myself included, have been engaged in something of a silent battle against the administration. We sit there every day, socializing or working, knowing that more often than not, we’ll be asked to leave before the period is over. Whenever we hear the sound of an adjacent door opening, we turn toward it, anticipating a teacher, adminis-

trator, or school safety officer who will inevitably stride over to the bar and ask us to leave.

If I’m being honest, I was infuriated the first time this happened—I had done my time as a “lowly freshman,” and I felt I deserved to enjoy the sophomore bar. It didn’t help that the only reason we were given for being kicked off the bar was that it was “policy,” because that line of reasoning doesn’t stand against further scrutiny. The Hallway Code of Conduct dictates that students are allowed to spend their free periods in the first and second-floor hallways. But the administrator didn’t have a problem with us sitting anywhere else on the sixth floor— just not in the sophomore bar.

So if the Hallway Code of Conduct wasn’t the reason why we couldn’t sit in the bar, what was?

The answer came on Monday, February 10, during third period when a teacher came up to the bar with a chair, some papers, and a roll of tape in hand. She set the chair down, climbed onto it, and began taping the papers to the wall, each with two or three letters.

It soon became clear that they spelled out “NO LOITERING” in huge font. She then forced us to leave.

I had been sitting there with my friend, working on

homework. I have second and third periods free, so I was trying to make the most of that time by being productive and doing my work in advance. Is that “LOITERING”?

She had asked us to leave in a tone riddled with irritation.

She said we were being so loud that she wasn’t able to concentrate on grading.

It made sense, then. The problem was that the students at the bar were too loud.

If that’s the case, I fully understand where that teacher was coming from. She had a right to be annoyed, but I wasn’t making any noise, apart from the quiet clacking of my keyboard. In fact, the disruptive noise of the other students had been bothering me as well.

What I didn’t understand or agree with was the fact that I was being punished for something I didn’t do.

I would even argue that disallowing any and all students from being in the sophomore bar falls under the umbrella of collective punishment—something that has been proven ineffective time and time again.

On top of being fundamentally unjust, rather than teaching the intended message—in this case, that it is unacceptable to be loud enough to cause disruption in a place of learning—it furthers resentment, rather than understanding, of

authority.

I also recognize that this isn’t the only reason students have been disallowed from spending free time in the sophomore bar. I have heard various administrators cite safety reasons: there are no safety officers who regularly man the

seem to stand either.

As of Wednesday, March 11, the “NO LOITERING” sign is still up, and students are still not allowed in the sophomore bar, aside from those who must retrieve items from their lockers located there.

My proposal to the admin-

The sophomore bar became our go-to place to meet up after school and during science frees— a miniature home away from home of sorts.

upper floors, so it’s unsafe for large groups of students to congregate. However, as previously mentioned, the administrators seem to have no problem with us sitting together on other parts of the sixth floor.

In one case, I was forced to move from the bar to a space directly opposite it. While I’m not trying to undermine the importance of school safety, this line of reasoning does not

istration is this: a compromise.

For our part, the sophomores will speak at a reasonably low volume and not engage in horseplay in the sophomore bar. In exchange, the administration will allow us to spend our free periods there. It is the one place in the building that is truly our own, and all we want is to have it back. I really don’t think that’s too much to ask.

Trump is Making the Right Call on Classical Architecture

By JOSHUA GINDIS

societal values and culture that generations to come will judge us by—even the decision to regard our architecture with apathy. Architecture is capable of conveying complex emotions and ideas, and we are responsible for ensuring that the message it sends to those who view it is reflective of our values as a society. Our government and the buildings that house it should emanate ideals such as strength and stability, not the bleak totalitarianism of the

profit off their novelty and the shock that their designs can impart on the viewer, classical architecture is designed to be admired for years to come.

This beauty is one of the key factors in the prosperity of any city. Known as the “beauty premium,” a CityLab study shows that cities with heavy spending on infrastructure, abundant greenspaces, and, of course, architecture enjoyed by the general public are more fiscally competitive, attract more skilled and educated laborers, and hold happier residents.

Perhaps most important is the message we send with the architecture we build. Every building we construct is a deliberate expression of the

brutalist structures that have invaded our country’s capital.

Classical architecture, which as the order posits, “derives features from classical Greek and Roman architecture,” reminds us of the Greek democracy which inspired the thinking that brought about our nation, as well as the Roman might that any nation can only hope to one day achieve.

Trump’s order has been met with extensive backlash from fans and enemies of modernism alike. Modern architecture is often controversial, but several success stories are undeniable: the National Museum of African American History and Culture in Washington D.C., designed by David Adjaye, is

a prime example of successful modern architecture. In an interview with Smithsonian Magazine, Adjaye stated that he designed his structure with the concept of upward mobility in mind, wanting to depict African Americans as a people with a bright future, not a troubled past. The copper mesh surrounding his structure harkens back to the skilled black metalworkers of the south, and it incorporates West African artistic features. The design is intricate and evocative, and yet its modernist nature is critical.

At first glance, it seems Tr u m p ’s execu-

t ive order wo u l d make the construction of unique, modernist buildings such as Adjaye’s impossible. However, the order makes specific provisions to ensure that all architecture that deserves to represent our government has a chance to. It specifies that, along with classical architecture, allowances for other “traditional architectural styles” such as Gothic, Romanesque, and Spanish Colonial would be made, and that other styles would be allowed where it is conclusively proven that a different style is necessary. In the case of Adjaye’s work, West African patterns were critical to the design of his structure. Under the executive order, an exception would be made to allow a building of any style to be constructed

Jenny Chen / The Spectator

President Trump proposed a draft executive order on February 4, 2020, that, if enforced, would designate classical architecture as the preferred and default style of nearly all future public buildings in the United States. It would mandate all new federal courthouses, all federal public buildings in the capital region, and all other federal public buildings whose cost exceeds $50 million to adhere to stylistic regulation.

The order has received extensive backlash from lovers and haters of modern architecture alike, but many amants of classical architectural styles— myself included—are rejoicing. Classical architecture has widespread positive benefits on our society, and is far more representative of our government and the values we stand for than nearly any other style; in spite of any drawbacks this order may have, with some care and precision, this will no doubt be a great step forward for the U.S. Building classical architecture nearly always entails the use of stone as the primary material of construction, which is more expensive and often takes longer to construct than modern alternatives—this is its major flaw. In the long run, however, this “flaw” yields incredible long-term advantages: stone structures can last longer without repairs, require less routine maintenance, and are substantially more energy efficient—in short, you get what you pay for. Structures made of glass and other synthetic materials certainly have their place: they can be built rapidly and at cheap prices, a necessity for aspiring businesses in cutthroat markets such as those of New York City, where time is money. But this payoff is short term. Ultimately, glass and metal structures are plagued by more difficulties

and complications than they are worth. Building with stone is a long-term investment in the quality and beauty of a structure.

But this investment isn’t entirely personal; it has a profound impact on society as a whole. Classical architecture is significantly more well-liked than modern architecture— of the sites and monuments ranked by Americans in a poll by the American Institute of Architecture, virtually all of the top 100 were built prewar. Many modern architectura l works a r e adored b y m a n y, but despised by many more; while they

given that its deviation from the new classical standard is justified—Adjaye’s included.

Through this system, the individual architect’s freedom remains nearly untouched.

Of course, the executive order is not without fault. Restriction of artistic liberties is seldom a good idea, and more often than not results in the creation of architecture just as bland and soulless as that which the restriction endeavors to avoid. Though making exceptions for appropriate, non-classical architecture is a step in the right direction to ensure that this does not occur, the fact remains that the federal government must exercise extreme caution. To that end, it is vital that the government only hires architects who have extensive portfolios in classical design and who will surely uphold the artistic integrity of the style. Though the large majority of American colleges and universities exclusively teach modern principles of architectural design, there are several notable outliers, such as the University of Notre Dame and Yale University. There may not be as many classically trained architects as there are architects who specialize in modernism, but they exist, and it is imperative that they are the ones who will lead this new architectural movement. Otherwise, we risk producing cheap, vaguely classical designs to liminally meet the executive order’s standards, thereby tarnishing the reputation of classical architecture for years to come. Regardless, the drafting of this order signifies a great step forward for American architecture and society as a whole, and—so long as we are careful—will undoubtedly usher in a new era of revivalist architecture and beautiful cities.

SING! 2020 The Stuyvesant High School Newspaper

Volume 110 No. 11

March 13, 2020

“The Pulse of the Student Body” stuyspec.com

TABLE OF CONTENTS Soph-Frosh SING! Junior SING! Senior SING! SING! Features SING! Humor SING! News Top Fives Playlist & Scoreboard

PHOTOS BY MATT MELUCCI AND ZOE OPPENHEIMER

p. 12 p. 13 p. 14-15 p. 16-17 p. 18 p. 19 p. 20-21 p. 22

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The Spectator ● March 13, 2020

Soph-Frosh SING!

Still Wondering in Wonderland

By CAROLINE JI and JIAHE WANG “So the little girl got up and ran off, thinking while she ran, as well she might, what a wonderful dream Wonderland had been...”

Coordinated by sophomore Alec Shafran and produced by sophomores Avni Garg and Ella Krechmer and freshmen Inour Awad and Lianne Ohayon, SophFrosh SING’s Wonderland-themed performance captures a fantastical land full of whimsy. Though their performance was far from perfect, the underclassmen displayed valiant effort and gave the audience a glimpse of the vast array of talent that with more experience, will prove to be unstoppable in years to come.

The show opens with a meta breaking of the fourth wall. A hand appears through the gap between the closed curtains. A timid and clumsy voice flutters out from behind. Two figures then emerge onto the stage, introducing themselves as the Tweedledee (Cynthia Tan) and Tweedledum (Chloe Bocarra), who serve as the narrators and comedic relief of the otherwise too earnest plot. They transition to a scene of an elderly man (Oliver Hollman) recounting a story to a little girl tucked into a bed that is confusingly faced away from the audience—who, we later learn, is Alice (Lara Ongan). She nags her grandpa to tell her how to get to the mythical Wonderland, to which he jokingly responds, “If you sleep at your bedtime!” And just before Alice falls asleep, he gives her a beautiful pendant necklace, which will ultimately allow her to reconnect with her grand-

mother and the Spades royalty lineage.

When Alice wakes up from a nightmare, she finds herself in—you guessed it—Wonderland. She is surrounded by a breathtaking set. The canvas backdrop (still beautiful despite being upside-down) displays a magnificent scene reminiscent of Lewis Caroll’s own descriptions. Two rows of tall topiaries create a meandering path into the distance, and giant red polka-dotted mushrooms stem from a lush green meadow underneath a pink sky.

A fresh face on stage, Alice delivers and cements her sweet stage presence as soon as she breaks into SophFrosh’s rendition of “Mr. Blue Sky,” her voice sweet and penetrative and setting high expectations for what is to come. However, the strong opening sequence suffers from the chorus’ lack of energy and rather unpleasing umbrella frolicking.

As a puzzled Alice tries to understand the situation, we are introduced to an anthropomorphic White Rabbit (Michael Borvzuk), Cheshire Cat (Samanatha Farrow), the Mad Hatter (Dr. Zachary Berman/Vishwaa Sofat), and a fairy named Egg (Lea Espiov). The modern dance crew comes on stage, whose calm, soothing presence accentuates the sweetness and whim of Wonderland. Then, security agents, whose names are a nod to last year’s SophFrosh SING! characters Belle and Montgomery, appear on stage. They invite Alice to a croquet match (which is hilariously pronounced croket) with the Queens of Wonderland, to which she happily agrees.

The scene switches to a gar-

den turned croquet court, with four elegant thrones decorated with rich swirls lining the back of the stage. The Queen of Clubs (Michelle Zhang), Hearts (Lucy Murphy), and Diamonds (Leah D’Silva) appear, each dressed in a distinctive style from Goth skater girl to elegant 19th century glamour. Four beautiful lifesize poker cards representative of the different queens hang from the top of the stage, but with the Spades card ominously crossed out. A sequence of showcases by the Latin and HipHop crews accompanies two solos by the Queens of Diamonds and Clubs respectively, whose impressive talent sets the stage for an amazing first half.

The queens unsubtly hint at a fourth queen, the Queen of Spades (Ashley Choi), who has been imprisoned for breaking the one single rule of Wonderland, which seems quite Fight Club-esque: the first rule of Wonderland is not to talk about Wonderland! A perplexed Alice soon decides to help Egg rescue the Queen of Spades after hearing cries for help while the rest of the cast freezes on stage or continues unaware. However, the queens’ men capture the duo and throw them in jail.

While the first half of the performance sets the stage for a respectably strong finish, the second half falls short of delivering. When Cheshire and White Rabbit execute their plans to rid Wonderland of the Spade descendant, the attempted love line between Egg and White Rabbit is heavily underdeveloped. After White Rabbit tricks Alice into following him to the dangerous Edge of Wonderland, Cheshire is left alone on stage with her well-integrated

tap posse. Despite Chesire’s strong stage presence and undeniable sass, her monologue is muddled and rushed, taking away from the overall clarity of the plot. In addition, the chorus is awkwardly dispersed across the stage and barely audible past the first row. However, the fourman tap crew offers a lively, refreshing performance with playful poses and formations that lighten the mood and invigorate the audience.

Upon reuniting with the Queen of Spades—later revealed to be her grandmother— Alice points out that both her and her grandmother’s pendants are glowing. The color changing lights on stage mirror this moment, a minor, yet effective touch. However, the awkward placement of Alice and the Queen of Spades in the corner of the stage during the flow crew’s performance, along with flow’s numerous fumbles, detract from the magical atmosphere. The already confusing plot becomes even more perplexing as the inaudible song lyrics make it impossible for the audience to learn any information about the plot.

Though the audience never learns how or why, Egg is somehow able to locate the Edge of Wonderland and lead the three queens to Alice and the Queen of Spades. Agents Belle and Montgomery make yet another appearance with their disappointingly flimsy swords, a failed attempt to add comedic relief.

However, one of the highlights comes from a beautiful acapella rendition of “Tonight You Belong To Me” by Choi, Esipov, and Ongan, in a celebration of love and reunion. The acapella, however, abruptly concludes

just as the audience gets encapsulated by the impressive harmonies and soothing melodies.

Perhaps the biggest hole of the plot is how Alice and the Queen of Spades manage to escape from the cage: magic and whim must have their limitations, right? As we scratch our heads trying to understand the plot, the Queen of Spades announces her resignation as queen and passes the crown to Egg, who has developed a newfound sense of confidence.

The plot comes full circle as we return to Alice’s bedroom, with her grandfather shocked to find his wife back from Wonderland. The sweet embrace between Alice’s grandparents, despite being clichè, melts the hearts of everyone in the audience. Alice concludes by reflecting on her experiences in Wonderland, saying, “There are more important things in life than school,” a particularly significant comment given the audience of Stuyvesant students, faculty, and parents.

Overall, SophFrosh SING! had frequent bobbles and suffered from a lack of meaningful props and technical elements to accentuate the undoubtedly very talented cast. The script was underdeveloped and contained many loose ends. Additionally, Soph-Frosh failed to capitalize on the wide array of talented singers they had, such as Ongan’s spectacular belting abilities, Esipov’s smooth alto runs, and Farrow’s rasp and spunk.

Despite being an unpolished diamond in the rough, Wonderland takes the audience back to the whims of our childhoods and reminds us all of the importance of friendship, family, and big dreams.

The Spectator ● March 13, 2020

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Junior SING!

By SUAH CHUNG and GAVIN MCGINLEY “Welcome to Vienna, where we, the people, wear rags, eat scraps, and share the same toothbrush.”

Coordinated by Liam Kronman and produced by Maddy Andersen, Ruth Lee, Jillian Lin, and Zoe Oppenheimer, this year’s Junior SING! brings us to Vienna, Austria, where revolutionary Joseph (Jonathan Schneiderman) and his four-man-crew are discontent under the oppressive rule of the monarchy, who denies them modern-day inalienable rights such as WiFi. Joseph struggles to infiltrate and take down the monarchy, while his peasant friend and love interest Violet (Stella Oh) struggles with her moral values at her new job at the palace. Though the plot line initially seems cliche, the humorous and modern elements alongside some outstanding performances provide a fresh and genuine take on the theme of revolution.

The show begins with an impassioned speech by the aspiring revolutionary leader, Joseph. Just as he starts to gain momentum, he’s cut off by his phone’s failure to load the rest of his lines, immediately subverting expectations and undercutting the buildup of his monologue. His crew of fellow revolutionaries rush out to give him the news: the kingdom’s WiFi is down. The curtains open to a mob of angry peasants and a rousing rendition of “Holding Out for a Hero.”

The story begins in earnest with “Grievance Day,” when we are introduced to the cast of royals: King Alastair Tator (Alexander Lake), Queen Genevieve (Katerina Corr), and the

Liberté, Égalité, Fraternité

aptly named Prince Benedict Tator (Ian Saint-Germain). Joseph and his band of peasants including Tess (Claire Shin), Klaus (Michael Russo) and Napoleon Bonaparte (Mimi Gillies), whom no one in Vienna seems to know or care about, are in attendance as is a large crowd of similarly angry commoners protesting the loss of their WiFi and imminent starvation.

We are also introduced to Violet, the recently hired party planner for Prince Benedict Tator’s 23rd and a half birthday and one of Joseph’s few non-revolutionary friends. Against a backdrop of angry commoners, she argues with Joseph about the morality of working for the monarchy, shutting down his appeal for revolution and keeping her job working for the royals.

Violet then meets with Queen Genevieve, who relentlessly puts her down for her clothes and status, discusses her duties as party planner, and stresses, while half looking at the audience, the importance of giving Benedict’s poisonous lizards their allergy medication, as “the lizards have poisonous mucus, and one sneeze would leave a very bad ending to this story.”

Launching into the musical number “We’re Wealthy,” Queen Genevieve undergoes a brilliant and unexpected on-stage costume change from the floorlength royal Victorian dress to a lighter blue sequin tap costume underneath.

From Queen Genevieve’s ornate Victorian royal gown complete with laced undersleeves and small pink ribbons to Prince Benedict’s ironic embellished green suit, which refers to his eventual demise by a lizard sneeze, the costumes crew shines

in its attention to detail and outstanding designs, enhancing the luxury of the Austrian royals in particular. Though Joseph wears a beautiful black vest with golden detail, which does not suit a peasant, the slight is easily outweighed by the added aesthetic.

The intricate costumes complement the lavish set of the royal throne room, featuring majestic golden human statues and lampstands, as well as a regal portrait of the royal family in an elaborate golden frame. The natural backdrop is understated in contrast, with pastel purples and blues in the cloudy sky and mountains creating a serene, dreamy atmosphere.

The rest of the plot focuses on Joseph’s revolutionaries and his attempts to sway Violet to overthrow the monarchy.

Though she rejects his initial proposal of sneaking them into Benedict’s birthday party inside of a large cake, her experiences witnessing and suffering from the royals’ cruelty and her growing romantic relationship with Joseph create the internal conflict that is the crux of her character arc.

The play’s climax sees the revolutionaries infiltrating Prince Benedict’s half birthday party, posing as chefs (bearing the names Linguini, Macaroni, Fettuccine, Ravioli and Mr. David Hanna) with Violet’s help.

The resulting dance break is hilarious, with a room of people partying to classical music and a phenomenal performance by the Duchess of Wonderland (Saarah Elsayed), who sings an instrumental version of the opera “Queen of the Night.” alongside seamstresses played by belly dancers. After a series of blunders, the revolutionaries

are quickly discovered, and Joseph engages in a noodle-sword fight with Benedict, culminating in Benedict’s lizard (Mx. Lauren Stuzin), as hinted at the beginning of the play, sneezing on the prince and thus killing him.

After mourning his death, the King and Queen meet their own deaths by walking into a guillotine—dubbed an “IKEAtine”— ending the monarchy for good.

The musical finale of “We Are the Champions” that follows is genuinely triumphant, with the red flag and accompanying music making for a powerful ending.

While the ending is stirring, it’s clear that throughout the show, the aim is humor above all else. This is not to say it doesn’t have serious moments, with Violet’s internal struggle setting up most of the serious character development. But with comedy so ingrained into the plot, the show fails to effectively build tension or emotional stakes, even during serious moments. Violet’s struggle feels detached in tone from the rest of the show, and her choices do not seem to have dire consequences when the resolution is based on lizard sneezes and Swedish guillotines. Similarly, the romantic subplot between Joseph and Violet, while charmingly awkward, lacks the emotional investment that one would expect.

That being said, the writing for Junior SING! is incredibly well done and absolutely hilarious. Worth mentioning is Lord Chad (Maxwell Kahn), who managed to steal the show with just a few lines of fraternity-boy humor. The same can be said for most of Joseph’s crew, with Klaus’s “IKEAtine” and Napoleon’s shrieks at the mere utter-

ance of “Waterloo” serving as recurring jokes that add to the performance’s engagement. Despite lacking in stakes, the script manages to deliver as fairly compelling and above all, highly enjoyable and entertaining.

Though dance crews such as junior belly are well incorporated into the plot, other crews such as flow and step have unclear roles. Flow provides a stunning backdrop to the “Viva La Vida” duet between Violet and Joseph, but the dancers’ long rope-like lights, unique glowing frisbees, and the lit chandelier make the crew’s lack of purpose in the plot apparent. Step, ambiguously suggested to be revolutionaries, feels out of place, with no movement of the plot occuring during their sequence. But despite their sudden performance, junior step manages to impress, with a polished routine and clever use of poppers to add flair to their rhythmic performance.

In spite of a few other abrupt dance performances, the dance crews are exuberant, with junior modern performing difficult and jaw-dropping aerial tricks during Violet’s rendition of “Someone You Loved,” possibly representing her inner turmoil. Junior tap dancers are accompanied by Queen Genevieve, who they also carry on their shoulders, highlighting her higher status and a seamless example of cast-dance integration.

Junior SING! came out big this year with a polished performance, talented cast, and brilliantly written script. Through a willingness to insert comedy into every facet of their show, the juniors told a story that, while not exactly the most emotional, remained humorous and memorable.

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The Spectator ● March 13, 2020

Senior SING!

The Final Bow

By TALIA KAHAN and ERIN LEE Flashing lights. Bombarding paparazzi. The Early Early Show with Timmy Falcon. This is the world of Senior SING!’s Hollywood.

Coordinated by first-timer Sara Stebbins and produced

by Lena Farley, Clarise Khan, Debi Saha, and Ahmed Sultan, the show’s opening scene takes us to the Hollywood red carpet premiere of “Working Title,” a vampire teen comedy self-described as “a blend of comingof-age, Bollywood, horror, and romance all at once.” The film is directed by first-time director Rowan Carter (Cecilia Bechana), who obsessively tries to prove her merit and detach her work from her father’s name. She hopes to accomplish this by winning Best Picture at the People’s Choice Awards. Through the spectators that walk down the red carpet, we are creatively introduced to each of the dance crews, which are accompanied by flashing cameras and unbridled excitement. This opening scene builds up the excitement and high hopes for Senior SING!’s dance crews, which certainly live up to their expectations.

The leads of “Working Title,” Skye (Zeynep Bromberg) and Frankie (Noa Greenstein)— who are constantly bombarded with dating rumors and ship names (#SKANKIE)—as well as Jordan (Victoria Wong) and Toby (Connor Oh) lead us through the glitz and glamour of stardom. Senior SING!’s Hollywood is all too similar to our own, with icons such as Pre Malone, Probability the Rapper, Kanye East, and Tyler, the Destroyer. But above all, this Hollywood has the same prying eyes of the public and the

dark realities of celebrity life.

A superfan (Emily Rubinstein), who has a dream of stardom and a psychotic persona, dons a pair of rollerblades and attempts to befriend Skye on the red carpet. When slighted after security is called to restrain her, she soon hatches a plan to kidnap all the stars. Rubinstein fully embraces her wacky character, her energy and stage presence even exceeding her outlandish costume and makeup.

The paparazzi hounding the “Working Title” stars suddenly transform into Hip-hop, with Oh rapping in the spotlight. Oh is also integrated directly into the Hip-hop choreography, providing a seamless transition from song to dance. But at the conclusion of the routine, Oh becomes the first kidnapee of Superfan via paper bagging.

Afterward, the stage is rapidly transformed into a party venue.

Here, we are introduced to Pamplemousse Lacroix (Emma Linderman), whose pretentious character serves mainly as a notso-subtle jab at Junior SING!.

Latin dancers, who have been stationed as party-goers, slide across the stage when miniburgers are introduced as “sliders.” Their performance is solid, incorporating impressive stunts and lifts. However, the chaos their performance creates gives Superfan the perfect opportunity to make Jordan her second abductee of the night.

We cut to Superfan’s lair, where Toby and Jordan are being held hostage with Rubinstein frantically skating around the stage on rollerblades, adding a feeling of unease to the already tense scene. Superfan and Jordan face off in a powerful rendition of “Take Me or Leave Me,” showcasing stage veterans Rubinstein

and Wong’s outstanding vocals.

Meanwhile, a romantically frustrated Skye is consoled by Frankie under a glowing lamp post, revealing that the co-stars are truly a couple but are concealing their relationship in fear of the tabloids’ inevitable response. A sea of tourists interrupts their moment, and Skye and Frankie are confronted with endless questions about their relationship, which they fervently refute. Step is seamlessly integrated into this scene, surprising the audience with the realization that the onlookers of the romantic moment were the dancers the whole time. The step crew floods the entire stage, stunning the audience with their intense synchronization and Senior SING! victory chants.

In a brisk transition, we find ourselves in preparation for the cast’s appearance on the Early Early Show with Timmy Falcon (Adam Cohen) despite the disappearance of two of their stars. Tap positions themselves as makeup artists, creatively using chairs in their formations.

The Early Early Show with Timmy Falcon finally starts, with Cohen playing a deranged and sleep-deprived titular host—a Red Bull always in hand—and immediately offending Rowan by mentioning her father. Here, Rowan’s insecurities are evident and painful to watch, especially as it becomes clear that at this point in the show, her priorities lie solely in her own success rather than the wellbeing of her cast. However, it isn’t the complicated inner conflict that Rowan displays that makes the moment such a stand out. Cohen and his irrational antics steal the scene, proving that the senior writers do have the capacity to make wellformed and memorable charac-

The Spectator ● March 13, 2020

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Senior SING!

of Senior SING! ters.

After the brief interview, Falcon cuts to a blink-and-you’llmiss-it Shen Yun commercial performed by Kevin Lu, which proves to be a comical highlight of the show. We then rapidly segue to the trailer of “Working Title” with modern donning red capes, which is confusing until it is clarified that these dancers are vampires, the supposed focus of the film. Modern creatively incorporate their silk red capes and include impressive stunts. The Bollywood dance crew (a team unique to Senior SING!) and a special highlight of Fahim Rahman singing in Hindi serve as a second section of the lengthy “Working Title” trailer.

Once we return from the trailer, a third cast member— Frankie—is kidnapped, leading to utter chaos in the packed studio audience. Despite feeling like she’s hit rock bottom, a soulful duet of “When I Was Your Man” between Bromberg and Bechana, accompanied by cello music from Nick Jun, reassures Carter that “Working Title” will succeed and that the abducted cast members will be found.

Skye quickly formulates a plan to save her co-stars. She takes a GPS disguised as a glittery silver fanny pack with her as she confronts Superfan and demands that she be taken to her friends “Princess Bride” style.

But when they arrive at her lair, Skye is immediately restrained by the henchmen, and Superfan reveals her wicked motives to her former idol. We then transition to belly performing their eerie yet entrancing routine as life-size dolls to a violin solo by Minjun Seo. In a moment of poor writing, the paparazzi foils Superfan’s kidnapping plan thanks to Skye’s

GPS tracker, but this crucial plot point fails to deliver the first time watching, leaving us initially confused as to how the cast was found and freed. With Superfan finally arrested, Skye finally reveals her relationship with Frankie to the public, putting their love in the spotlight despite her initial fears.

Flow dances as Frankie and Skye confess their love to each other, belting “Never Enough.” Despite a few minor fumbles, flow’s performance captivates the audience and captures the romantic ambiance of the scene.

Senior SING! concludes with all the characters reunited and attending the People’s Choice Awards with a new outlook on life. Though the ending varied from night to night (particularly on Friday, when the show went overtime and the final scene was not performed), the final sentiment stayed constant throughout: “Working Title” wins the Best Picture award and everybody gets a happy ending. This heartwarming yet predictable conclusion is accompanied by balloons and confetti, making for a somewhat cliche but satisfying wrap-up.

Despite its star-studded cast, Senior SING! often falls flat with its character development. While the show mimics the nature of Hollywood well with its superficial and conceited characters, their superfluous antics straddle the line between comedy and cringe at times, almost tiring the viewer by the end of the hour. Superfan’s chaotic personality adds color to the stage but is arguably not enough to make up for the one-dimensional characters scattered across the plot. Rowan, who is intended to overcome her insecurities about her father’s legacy and ultimately grow from her experiences, fails to convince

the viewer otherwise with her uneven character development.

On the flip side, Senior SING!’s dance crews and lighthearted aspects steal the show.

From Jordan’s upside-down mushroom dress to the Shen Yun commercial break as well as the limo ride on scooters, Senior SING! showcases many fun and engaging elements that elevate their performance and the audience’s engagement. In addition, their lively crews—especially step and swing—tie together all the moving parts of the plot and provide seamless transitions between the ever-changing sets.

The highlights of Senior SING!, however, are the musical performances from the La La Band and the cast. The band, which cleverly comes onstage during the Early Early Show and instrumentals, provides a strong foundation for powerhouse singers Bromberg, Rubinstein, Greenstein, Wong, and Bechana.

Their jaw-dropping performances, especially “Take Me or Leave Me,” demonstrate the raw vocal talent of the senior class, which will surely be missed during the next SING! season.

With so many characters taking up the stage and only an hour of showtime, it’s inevitable that several will be one-note. But where Senior SING! might lack in plot and character depth, it shines in complex set design, exceptional music, and well-integrated and spirited dances. The various whims of Senior SING! successfully transport us to the vibrant, vapid culture of Hollywood, where showers of confetti and waving glow sticks create a night to be remembered.

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The Spectator ● March 13, 2020

SING! Features Behind the Scenes of SING!

By THE FEATURES DEPARTMENT

By NICHOLAS MARTIN

SING! is filled with captivating performances accompanied by beautiful music. In step performances, the students themselves are the music as they create unique rhythms with their bodies. Like any other crew, choreographing and pulling off a performance in just one month is exhausting and stressful, but this year’s Junior SING! step directors, Samantha Siew, Michelle Thaung, Lisa Chen, and Yuvan Das, are very enthusiastic and motivated in their fun-filled practices and supportive crew.

When Thaung assumed the position as one of this year’s directors, she found out that the experiences as a director and as a member were more different than she had thought. She explained, “As a director, [there are] so many responsibilities besides just showing [up] to practice and learning the choreography. For example, there’s the logistical stuff and creating choreography and formations.” That didn’t stop her, however, from enjoying SING! step crew for her third year. “It was all cool because I loved step, so I was going to be in the crew anyway,” she expressed.

Siew expressed that their goal this year was just to impress the seniors and have fun during this month of preparation regardless of the end results. “[What’re] three minutes of performance going to do with a month of preparation?” Siew reasoned. Instead of stressing themselves out over the fast-approaching show and high expectations, the crew tries to make great memories and build strong bonds, whether it’s over the pain that comes with learning their choreography, the unique traditions that they’ve developed as a crew, or their combined love for lotion.

The junior directors showed a lot of pride in their tight-knit crew. Aside from the intense practices filled with repetitive stomping, slapping, and clapping, the crew made time for bonding, or in Thaung’s words, “clowning time.” Siew shared, “We always have a potluck, and we all bring in a little bit of food to share with each other. It’s a really big thing, and most of the other crews would come in and steal some of our food.” They also enjoy festive songs—or chants. “We change the lyrics of a song and end up making fun of the song,” Chen explained. Thaung recalled her first year doing the chant: “During my freshman experience as part of the Soph-Frosh SING! step crew, we created a chant to the tune of ‘Anaconda’ by Nicki Minaj. Our lyrics were a way for us to show our pride as a step crew and as a part of our entire grade. For example, one of our lines was: ‘Oh my gosh, l-l-look at our step, keep up!’” Lastly, they boast their step pride and team spirit a few days before the show by updating their cover photos with unique collages. Thaung explained, “We make a collage using Snapchat filters based on our theme and what we’re supposed to be in the show, and we make it our cover photo [on Facebook].”

Creating live music not only complements the wonderful voices and charisma of the performers, but it also displays the ability of more behind-the-scenes talent. This group of performers is generally found in the pit of the stage with small dim stand lights, all working together to play a musical number alongside vocals. Under the direction of Soph-Frosh music director sophomore Ava Yap, the band aims to connect with the other performing crews by executing many different genres of music. However, Yap stated, “[Though] we try to accommodate all of the different visions of the dance directors, there are just certain genres, such as rap or electronic music, that the band is not able to replicate accurately.” Despite these restrictions, Yap aims to always work well with the other crews and perform the live music requests. Besides working with other crews, Yap, of course, works with multiple crews to teach the music. She said, “[Though] I work a bit with cast and chorus teaching them their music, most of my time is spent teaching and conducting the band. After we set up instruments, we spend considerable time working through each piece, getting them up to tempo and making sure that all of the band members have their parts down.”

What do you get when you take a classical dance and give it an exciting twist? The SING! modern crew! “Modern is a more expressive and wild version of ballet,” Junior SING! modern director Athena Lam described. When holding auditions for crew members, Lam looks more for emotion and expression rather than “how flexible a person is or how many turns they can do.” In this way, modern is vastly different from the standard form of ballet and allows for more personal expression and creativity, helping to create a storyline that better fits the themes of SING!. Lam also attempts to take crew dynamics to the next level by choreographing to music that “highlights everyone’s flair,” she said.

Lam has been dancing for eight years, four of which were spent practicing modern, helping to give her a firm foundation for directing this year’s modern crew. She also has cherished memories of dancing for previous SING! and StuySquad performances. In fact, she remembers her first team SING! performance: “In that moment, we were able to see how much progress we’ve made. All the moving parts came together, and it showed that we all worked well together,” she explained. By encouraging trust among crewmates and developing a fun, supportive environment, Lam has managed to weave vastly different personalities into a single choreography that lends immense, powerful emotion to every production her crew is in. There is no doubt that she plans for this year’s performance to be a “modern marvel.”

Jenny Chen / The Spectator

Aries Ho / The Spectator

By JUDY CHEN

Emily Chen / The Spectator

By SAMMI YANG

By SAMMI YANG Junior SING! would not have been complete without tap’s jump ropes, the queen’s throne, and the glittering chandelier.

Junior SING! props directors Cindy Zheng, Anita Liu, and Karen Liu are enthusiastic about the props they have created this season. “We want to get things done on time and meet [Junior SING! coordinator Liam Kronman]’s expectations and possibly even surpass them,” Anita Liu explained. Zheng added, “Our workload has definitely upped from last year, so we really just want to get everything done and do it better than we did last year.” The crew’s tasks require a lot of thought and creativity. Starting with nothing but cardboard and leftover materials, their job is to find a way to create a usable prop and apply their skills to carry out their plans. “We’re like a mixture of tech, art, and costumes all at once,” Zheng summarized. This year, to match their theme of Revolution, they were tasked with making full-sized statues, chandeliers, crowns, scepters, signs, and the like using almost anything they can find.

Their critical part of the performance kept them motivated to work hard and develop an efficient system. “We start off the crew by splitting everyone into three groups because we have three directors this year. Then, we pick the tasks based on the amount of material we have, and we split the work between everybody,” Zheng explained. However, trying to balance SING! with school and other commitments has not always been smooth sailing. “Our meetings are organized chaos,” Karen Liu described. Despite the pressure from the fast-approaching deadlines and high expectations, the crew members were able to rely on each other for laughter and support, making their gatherings more enjoyable. Karen Liu reminisced her first year on the crew and recalled that the bonding and fun memories she made was what motivated her to continue participating in the crew. Zheng also expressed her gratitude for her two codirectors for sharing the burden with her.

Ismath Maksura / The Spectator

Emily Chen / The Spectator

Ka Seng Soo / The Spectator

Adrianna Peng / The Spectator

Weeks of preparation for three nights of spectacular performances: each student in the SING! crews worked together to bring these shows to life. It is an ultimate competition between the grades and a celebration of school spirit preceded by the commitment of the students involved. Dive into the behind-the-scenes stories that made these shows possible.

By SAMMI YANG In order for the actors and actresses to fully embrace their characters, they have to look the part. Making costumes is not easy, especially within a one month time span and on a small budget. Junior director Julia Panas expressed her long-held interest in fashion and recalled her journey to becoming the director of this year’s junior costumes crew: “I took sewing lessons two years ago, and I took more classes for cohesion,” she recounted. “I started [participating in] costumes [crews] at Stuyvesant, and then I became the director of Soph-Frosh SING! 2019 and director of [the Stuyvesant Theater Community] Costumes for Midsummer Night’s Dream, Legally Blonde, and Blue Stockings. I love it; it’s great.” This year, Panas, along with Jess Zhang and Bushra Islam, hoped to inspire and guide their crew members to become great costume makers themselves. “We definitely try to instill a sense of ownership into our members. We want them to feel proud of their work. We try to guide them in the process, and we’re like a big family,” Zhang conveyed.

Participating in the costumes crew is a rewarding experience. The crew started their meetings at the very beginning of SING! season and immediately began sketching designs. “Costumes is actually a very high committed crew, and many people don’t expect that coming into it because notoriously costumes has been more laid-back,” Panas explained. “But since Zhang, Islam, and I have started directing, we have definitely made it a bigger commitment because we really want the products to be incredible, so we’re usually the last people out of the building.” Islam added, “We definitely always need the maximum number of people because costumes [are] a team effort. I think it’s a lot more demanding because you really have to [work not only] here, but [also] at home doing sketches and measurements.” With the hard work and aspirations shown by the directors and the crew members alike, the costumes of this year’s Junior SING! were able to come to life.

The Spectator ● March 13, 2020

Page 17

Andrea Huang / The Spectator

Every stage show has a distinctive opening scene; whether it be the virtuosic arpeggios of a soprano singer or the dramatic reveal of the set, each production has its own specialty. Most introductions, however, only occur after hours of preparation and practice. Before any dance, music, or act, every actor has final touches applied to their character through the use of makeup. SophFrosh SING! makeup director sophomore Jessica Dong states that a large part of the makeup crew’s responsibility is to coordinate with other crews’ needs. “Each crew needs different colors, different products,” she stated. “Each queen—hearts, clubs, diamonds, etc.—needs a different design. Even the Cheshire Cat needs its own look.”

The process in which these different looks are designed is complex. The directors and members brainstorm designs, and both the coordinators and producers, along with other crews, must approve the brainstormed ideas. Afterward, it is up to the crew to execute them in a timely fashion. Though typical meetings normally do not run for an extended period of time, the week leading up to the performance is particularly stressful. Dong states that the success of the looks comes through continuous practice as the rehearsal reenacts the show night, and all members of the crew help to apply the looks under tight time constraints in order for the rest of the members to see where they need to pick up the pace or where they can rest instead.

Through countless rehearsals and designs, Dong states that her favorite part of the process is to see the show come together. Makeup has the ability to transform, transfix, and tantalize; once on the stage, it is almost magical to see the design on paper translated into real life. Dong stated, “Watching the looks come together is amazing; just to see how different it looks on paper and on the actors, it really comes to life with the rest of the show.”

Andrea Huang / The Spectator

The human body is analogous to a finetuned instrument; with every movement, a unique sound can be generated. Under the supervision of Soph-Frosh SING! tap directors Amanda Brucculeri and Rachel Vildman, the crew seeks to create harmony between audio and visual elements. In tap dance, every piece of choreography must match the music; it is far from a silent genre. Brucculeri stated, “Every single movement has a noise. Every step has a pitch and a certain loudness, and each poise lasts for a specific length of time. In a way, your feet act as another instrument.”

Combining these dual elements creates pathways for creativity and challenge. Unlike other dance or music-focused crews, the tap crew is faced with the two factors combined.

According to Brucculeri, perhaps one of the most overlooked difficulties about directing a crew is the application of choreography as an entire unit. With tap choreography, the possibilities seem endless. While the choreography could be successful for a small handful of individuals, it is difficult to make it so on a larger scale. Because of these factors, creating the right choreography can often be stressful, yet incredibly rewarding. Brucculeri stated, “Tap has a lot of room for creativity. It’s really fun to be able to dance however you want because the choreography can be so flexible.”

On a personal level, Brucculeri stated that directing has since drastically changed her as an individual. “I realized how important bonding is; after our crew bonded, we danced better. Being close with one another is reflected in your performances,” she said. This is a familiar sentiment that has been reiterated throughout nearly all of the SING! crews, which has since been a driving factor in the production’s success.

The tap crew is one of the smallest out of all Soph-Frosh crews. “I think a lot of people are intimidated by tap because it looks like it requires a lot of skill and prior knowledge,” Brucculeri stated. “Those skills are easily learned, however, and the experience from it is most certainly invaluable.”

By JUDY CHEN Though the audience does not see the stage crew, they are the gears that ensure that the entire show runs smoothly. Often seen shuffling in the darkness of the stage, they perform a variety of tasks from taking performers on stage to bringing props to and from the stage. Because many of their members do not have prior experience with stage crew work, Soph-Frosh stage director Emma Buller said, “We spend the first few meetings explaining to them what stage crew does and the possible roles they can have.” In between the singing, dancing, and acting on stage, a lot can go wrong that the audience doesn’t see, but the stage crew works to resolve these problems, even under the stressful environment of putting on a successful show. To build a general idea of what goes on backstage, Buller described the process of preparing for the final show: “After adding cues to the script, we call in our crew to practice reading them, so when the show actually happens, they have enough experience reading them to know when to make the cues. That way, the show can go as smoothly as possible, which is important since the show has to be an hour long.”

In addition to her role in stage crew, Buller described her passion for the stage and the experiences she had prior to this year’s SING! production. Buller participated in numerous productions in the past, including shows with the Stuyvesant Theater Community (STC), which puts on three shows a year. She explained, “I’ve done STC stage crew for last year’s winter drama, Wait Until Dark, and the two STC shows of this year, Legally Blonde and Blue Stockings. Before Stuy, I didn’t do stage crew, but I did act in a few school productions in my elementary and middle schools.”

Despite her passion for theater, she faces stress that comes with the common hardships of a Stuyvesant student mixed with the responsibilities that come with directing. Buller mentioned, “During the school day, I try to do as much work as possible, so I have more time at home to study for any possible tests or quizzes.” With the combination of experience, dedication, stress management, and unity, the stage crew is one of many that helps to piece together the show.

Andrea Huang / The Spectator

By CHRISTINA PAN

By CHRISTINA PAN

Michael Hu / The Spectator

Serena Chan / The Spectator

Rajhasree Paul / The Spectator

SING! Features

Adrianna Peng / The Spectator

By NICHOLAS MARTIN No matter the theme of each performance, one similarity all the SING! teams share is the need for a set. This need is fulfilled by the tech crew, or “the backbone to the show” as described by Junior SING! tech director Julianna Yu. By building the set and moving pieces around during each grade’s performance, tech crew is responsible for providing a setting and flow to every production. The crew is unique in that it has the most cross-grade cooperation out of any other crew, with members of the various grades working together to create set pieces that might not even belong to their show. The reason behind this cooperation is the sheer amount of work that each grade must do in the limited time they have, as numerous deadlines must be met and safety precautions be taken.

Tech crew is also one of the largest crews in SING!, which might make it seem as if the members are more distant from each other. This, however, cannot be further from the truth: “Crew dynamics are all over the place, but we try our best to include everyone and get to know all of the other crew members,” Yu, who has been participating in the tech crew ever since her freshman year, said. By consistently working in both SING! and STC productions, Yu was able to rise from her position as a crew member to a director through hard work and dedication, which is the core of what the tech crew is really about.

Yu formed connections with previous directors and learned the technical, critical thinking, and leadership skills required to be a successful tech crew director. Now, she is currently reaping the fruits of her labor, enjoying the design and coordination aspects of being a director. “The fact that I have such a large impact on the show is amazing, and it is an unforgettable experience that I would never give up,” Yu described.

Semoi Khan / The Spectator

By CHRISTINA PAN All forms of the performing arts have roots in different cultures, locations, and times. Few performing arts, however, are as distinctive as belly. Unlike many dance forms, belly dance isolates the torso muscles rather than concentrating on the movements of the limbs through space. Belly dance offers a fusion between cultural and modern dance, allowing expression in a way “American communities aren’t really used to,” Soph-Frosh SING! belly director Katelan Balkissoon described.

Most belly rehearsals consist of practicing and running through different dances or learning new choreography. “So far we’ve been running our dances, cleaning, taking around a one-hour snack break, and then learning new choreography,” Balkissoon stated. The afterschool rehearsals, however, have [manifested not only] choreography, but also deep interpersonal relationships. “What I love about directing belly is that I can kind of control the environment and make it more like a family and boost people’s confidence,” Balkissoon said.

Much like other SING! crews, bonding not only strengthens relationships, but also leads to a deeper understanding of dancing together and performing together. Increased connections lead to increased trust and confidence and overall a stronger and more comprehensive performance.

Throughout her 10-year long dancing career as both a director and a dancer, Balkissoon has noticed a severe gender disparity within the performing arts. Balkissoon explained, “There’s a gender difference for sure. I’d love to see guys in belly; it’s not only for girls, you know.” From a fusion of cultures combined with deepened interpersonal relationships through performance and choreography, the belly crew is perhaps one of the most unique and close-knit crews of SING!.

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The Spectator ● March 13, 2020

SING! Humor These articles are works of fiction. All quotes are libel and slander.

Soph-Frosh SING!

Junior SING!

Vienna La Vida

By CHRISABELLA JAVIER Junior SING! is the fight against the crappy school wifi, the malfunctioning sound system in the auditorium, and the idea that the seniors are rigged to win SING! almost every year.

The story begins with what is surprisingly good class commentary: Joseph (Jonathan Schneiderman), the male lead, dressed in what is a really fancy vest on par with the nobility, berates his friends. He claims that in the hopelessly oppressive regime in which the lower class struggles to survive, Violet (Stella Oh) has some serious audacity to take one of the few well paying jobs instead of joining his gang of three peasants and some random short dude (Emily Gilles), who portrays a high-pitched Napoleon Bonaparte with an intense fear of the word “Waterloo,” and the revolution. This must be commentary on upper-middle class people who say that because the working class participates in oppressive capitalist systems in order to survive, they therefore are stupid and don’t actually want change.

Of course, this is coming from a bunch of juniors who sleep through every class remotely resembling humanities, so you can figure out that this has no meaning whatsoever.

The show had its fair share of co-opted historical figures on account of its setting, but I probably couldn’t tell you who they, or any of the other characters for that matter, because the mics kept screeching and the audience was screaming “HELL YEAH. THAT’S MY FRIEND” for half the show. In other news, we got an amazing fraternity joke. The show ended exactly how you would expect a story about teens in a rebellion would end: obligatory heterosexual kiss, Mx. Stuzin in a lizard costume, and the realization that you do not trust any of these five remaining characters to rule Vienna.

How to describe Soph-Frosh SING! 2020?

I would tell you, but the scene got cut. Sagely, with Wonderland, Soph-Frosh decided on a theme that would justify the nonsensicality of their plot, which was matched only by the incomprehensibility of their actors despite being the only show with functioning microphones.

Q: Hey, Tweedle Dee, why are we still in the show when they had to cut everything but the bare bones?

A: To get to the other side!

The show started out strong, with a repurposed “Mr. Blue Sky,” saying exactly the opposite of what Mr. Blue Sky says. With the bar set high, the audience waited for the rest of the show with anticipation and was let down when the sophomores and freshman promptly proceeded to miss the bar they had set for themselves again and again.

I will say, though, that I’d love to see Grandpa Oliver Holmann’s anti-aging regime—by way of some miracle, he managed to look even younger than his granddaughter Lara Ongan, whose performance as a clueless Alice swept away from the stresses of daily life and into the chaos of Wonderland was vocally inspiring amidst the insanity of Soph-Frosh SING!.

Soph-Frosh SING! seemed to want to model itself after Fight Club, with its mysterious “Rule” coming up over and over again and being explained exactly zero times. The first rule of “The Rule” is you don’t talk about “The Rule.”

So serious was “The Rule” that the Queen of Spades (and Alice’s grandmother, once again unexplained, though she at least looked older than Alice) was stripped of her royal status and thrown in a jail, which looked somehow flimsier than the show’s plot.

Of course, all this eventually came to a rushed ending that clearly had to be put together after half the script and all the characterizations were cut, culminating in a spasming dance party finale.

BELLA JAVIER

By OLIVER STEWART and CHRISA-

Down the Hole

Senior SING!

Not Working Title

BY OLIVER STEWART Hollywood! Land of arrogance, entitlement, and shows with outrageously high budgets: this theme ticks all the boxes for Senior SING! 2020. The show kicks off with a rendition of “Starships,” which is not the inspirational anthem the seniors seem to think it is, and segues smoothly into a scene on the red carpet.

Thereafter, Evil Fancy Nancy aka Super Fan (Emily Rubinstein), conspires with her goons after a painful rejection from her icon, Hollywood heartthrob Skye Porter. From there, she goes on a kidnapping rampage, entrapping the stars of bratty director Rowan Carter’s (Cecilia Bachana) new movie one by one in the days leading up to the highly anticipated People’s Choice Awards.

After the initial few scenes, there isn’t a whole lot of room for plot, presumably because Senior SING!s nine (nine! (nine!)) dance crews take up most of the airtime. The seniors also spent a lot of time breaking building codes by cramming more seniors on stage than will attend class after SING! is over.

At the end, Director Carter (sorry—Rowan) is redeemed, less by virtue of a developmental arc than an instantaneous teleportation/desperate need to resolve plot, from a callous, self interested spoiled child to striking a caring and parental figure for her cast, whose shared ordeal being trapped in the Hollywood H can’t make up for the lack of chemistry between them.

Miraculously, Skye Porter (Zeynep Bromberg) brings a GPS into the Super Fan’s lair, a last-minute “gotcha” card which, depending on your viewpoint, is either a stroke of genius on her part or a piece of very, very lazy scriptwriting. Either way, the cast is reunited for the People’s Choice Awards, which ends with—sorry, we got cut off for time.

The Spectator ● March 13, 2020

Page 19

SING! News SING! by the Numbers

By SARAH HUYNH, ISABELLA JIA, MOMOCA MAIRAJ, and MAGGIE SANSONE

Soph-Frosh SING!

Junior SING!

Senior SING!

Soph-Frosh SING! was led by sophomores director Alec Shafran and executive producers Ella Krechmer and Avni Garg, and freshmen producers Inour Awad and Lianne Ohayon. To more effectively track their expenses, the Slate created a new budgeting system where one person from each crew was designated to manage the budget of their crew.

Soph-Frosh SING! had a budget of approximately $4,500—with $1,200 coming from the Student Union (SU)—which was allocated among the crews according to their needs. “Some crews get substantially more than others.

That way, everyone is able to buy their items, get reimbursed for it, or buy them through [SING! faculty advisor Marissa] Maggio,” Awad said.

This year’s Soph-Frosh SING! had to adjust their budget for their larger cast, with $1,170 spent on costumes in total.

“Costumes [got the most] because we have a bigger cast this year, [so] they had to make costumes for more people,” Garg said. The budget was also allocated to costumes for select dance crews, such as Modern, Latin, and Belly, which needed to buy leotards, tank tops, and other necessary garments.

In addition, this year’s Soph-Frosh SING! required a considerable amount of technical elements and planning due to their theme of wonderland. “This year was a little bit more expensive because our vision was a little greater,” Garg said. Soph-Frosh SING!’s tech crew purchased a lot of wood and expensive batches of specific silver nails, spending $936 in total, second to costumes.

The art crew spent $415 in total for paint, paintbrushes, and other art supplies. Flow spent $585, which went toward replacing light sticks, which “are quite expensive, especially since Flow has [around] 30 people,” Garg said. While the makeup crew was allocated $500 to purchase new makeup kits to ensure cleanliness, they only spent $155 for their materials. The lights and sound crew also went under budget, spending $297 on microphones and tape compared to their allocated $400.

Junior SING! was coordinated by director Liam Kronman and producers Maddy Andersen, Ruth Lee, Jillian Lin, and Zoe Oppenheimer. In addition to the $1,200 the SU provided, Junior SING! had an additional $4,035 from dues and extra funds from their bake sale and assassin participation fees, for a total budget of $5,785.

Due to the heavy workload most students face during junior year, Junior SING! typically has fewer participants compared to the other SING!s, which poses a disadvantage budget-wise. “We get the same basic amount for SU, but then you get a different amount depending on how many people are participating because you get it directly from dues,” Lee said. This year, Junior SING! had 269 crew members, compared to Soph-Frosh and Senior SING!’s 355 and 341 crew members, respectively.

Despite this, Junior SING! faced minimal issues with budgeting. Though participants who were in more than one crew were allowed to be charged for more dues to accommodate, the Slate forgone this to make up for the already increased dues, which were raised to $30 this year.

To efficiently manage the budget, the Slate stressed communication and efficient management to their crews.

“We’re really clear on communication, so it’s very transparent, and I know exactly how much they’re spending, which is the whole process of getting your forms and filling out the spreadsheet and making sure you’re on top of it and making sure we’re on track, so nothing strange goes on behind the scenes,” Oppenheimer said.

The majority of the Junior SING! budget was allocated toward the costumes crew, which spent $1,679 for fabric and other materials, and the tech crew, which spent $1,169 to build their set. The props crew followed third, spending $519. Though most crews spent within their budget, this year, the lights and sound crew required an extra $100 for their equipment.

Senior SING! was led by director Sara Stebbins and producers Debi Saha, Lena Farley, Ahmed Sultan, and Clarise Khan. The Senior SING! received $1,200 from the SU, $4,740 from the dues of their 341 participants, and $377 from bake sales and busking events, amassing a total budget of $6,317, which is considerably larger compared to previous years and the other SING!s this year.

Using this budget, Senior SING! spent $6,036.96, with $280.04 leftover. “In previous years, we have always been left with about $1,000, but this year we are finishing with about a few hundred,” Saha said in an e-mail interview.

Their budget covered the expenses of all of their crews in addition to Slate-specific purchases, in which $150 was spent. To determine the amount of money allocated to each crew, the Slate considered the cost of necessary expenses and the number of people in the crew. “We ask every crew to list items they expect to buy that season and the expected prices for those items,” Saha said.

When the total expenses of certain crews exceeded their budget, the Slate accommodated by eliminating excess expenses. “If we add up all the allocated budgets and they end up being greater than our final budget ($15 in dues multiplied by the number of people in your SING! along with $1,200 from SU and any additional budget we might have raised), we start cutting down on specific expected expenses and marking them as unnecessary,” Saha said.

The majority of the Senior SING! budget was used toward the costumes and tech crews. The costumes crew spent $1,837, most of which went to buying various fabrics, clothes, and tools, while the tech crew spent $1,139 for wood. Though flow followed with $416 in expenses, the rest of the Senior SING! crews spent less than $400 each.

Soph-Frosh SING! Crew members

Junior SING!

341

Crew members

Senior SING!

Crew members

808

801

355

374 Thursday night attendees

269 Friday night attendees

Saturday night attendees

SING! Archives

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The Spectator ● March 13, 2020

Top Fives BEST MAIN ACTING PERFORMANCES

1. Joseph (Jonathan Schneiderman, juniors) Jonathan Schneiderman portrayed the fierce and revolutionary Joseph, who encourages his people to rise up against King Alastair and Queen Genevieve’s reign in Vienna. Right from his opening monologue, where he immediately captured the attention of the audience, Schneiderman successfully demonstrates his versatility on stage, seamlessly transitioning from comedic to intense to heartfelt with every scene he delivered.

2. Superfan (Emily Rubinstein, seniors) Toting a shiny pair of roller blades and an obsessive personality, Emily Rubinstein stole the show as Superfan, a psychotic villain with an affinity for lifesize dolls. Complete with a plan for Hollywood domination and a bizarre secret lair in the Hol-

lywood sign, Rubinstein skated, acted, and sang her way through Superfan’s hilariously chaotic sequences, fitting the character in every blade, shape, and form.

skillfully executed her character’s development from a peasant turned party planner to a levelheaded and determined leader who helps the revolutionaries infiltrate the palace and stage their coup. Oh deftly portrayed Violet’s realization of the monarchy’s inherent flaws and became the central figure holding together the show.

3. Queen Genevieve (Katerina Corr, juniors) As Queen Genevieve, Katerina Corr ruled the stage, her regal movements and punchy one-liners as enthralling as her extravagance, awing costume change in “We’re Wealthy,” and elegant makeup. From doting over her darling “eggs Benedict” to calling Gladys (Clara Yuste) a haughty “ingrate,” Corr puts on a commendable performance.

While Her Majesty may have regretted hiring Violet (Stella Oh) as her son’s party planner, we certainly don’t regret giving Corr a top spot for acting the part.

5. Skye Porter (Zeynep Bromberg, seniors) Zeynep Bromberg shone as the glamorous Skye Porter, her outfits as polished as her acting.

Whether she was sitting crosslegged at the Early Early show or kissing her paramour, Bromberg’s rendition of Skye was elegant and glossy.

Honorable Mention: Cheshire Cat (Samantha Farrow, soph-frosh)

4. Violet (Stella Oh, juniors) Playing Violet, Stella Oh

BEST VOCAL PERFORMANCES

1. Mr. Blue Sky (Lara Ongan, soph-frosh) Lara Ongan opened up Soph-Frosh SING! with a bang, setting a high expectation for the rest of the show. With a set of belting vocals and a strong backing chorus, Ongan gave a showstopping performance before the real show even began.

2. Take Me or Leave Me (Victoria Wong, Emily Rubinstein, seniors) In this incredible vocal faceoff, Victoria Wong and Emily Rubinstein didn’t compete for the microphone—they shared it. Their voices complemented each other’s perfectly in this harmonious collaboration, showcasing the jaw-dropping vocals that we’ve seen these past four

years.

long to Me” matched beautiful harmonies with an especially emotional performance from Lara Ongan, providing a reflective ending to a whimsical show.

3. My Songs Know What You Did In The Dark & The Phoenix (juniors) With the pieces of their plan falling into place, the Junior SING! revolutionaries belted this upbeat number, igniting the peasants (and the audience) for the stand-off against the monarchy. Backed by a strong chorus and claps from the audience, the Fall Out Boy mashup brought out the best in cast, chorus, and band.

5. Never Enough (Zeynep Bromberg, Noa Greenstein, seniors) Despite the misleading title, this track was more than enough to beautifully complete the love story of Zeynep Bromberg and Noa Greenstein’s characters, with powerful harmonies and booming vocals anchoring a touching admittal of love and acceptance in the face of adversity

4. Tonight You Belong to Me (Ashley Choi, Lara Ongan, Lea Esipov, soph-frosh) Closing the central arcs of three of the main characters in soph-frosh, “Tonight You Be-

Honorable mentions: Queen of the Night (Saarah Elsayed, juniors), Holding Out For a Hero (juniors)

BEST MOMENTS

1. Shen Yun Commercial Break (seniors) Referencing the well-known Chinese dance performance, the brief Shen Yun commercial break was the comical highlight of the show.

2. Junior Finale In what can only be described as a truly grand finale, the Junior SING! Spirit Song was enhanced to legendary status with Stella Oh and Jonathan Schneiderman’s frantic flag waving, accentuating the revolutionary aspect of the show and driving it home in spectacular

fashion.

3. Pool Noodle Sword Fight (juniors) Soundtracked by Duel of the Fates, Junior SING! reached a comically dramatic climax that pitted royalty against revolutionary and green pool noodle against pink pool noodle.

4. Senior Finale Streaming confetti, triumphant music, careening balloons, glowsticks, and smiling faces lent themselves to a wholly satisfying Senior SING! finale, providing a truly show-stopping

ending. Literally.

5. L-I-M-O scooters (seniors) With a cardboard limo and letters attached to scooters, the limo transition in Senior SING! was an inventive and hilarious way to bring the theme of Hollywood to life.

Honorable mentions: Red carpet flashlight opener (seniors) “The Princess Bride” reference (seniors) Prince Benedict Tator’s halfbirthday balloons (juniors)

BEST BAND PERFORMANCES

1. Viva La Vida (juniors)

2. When I Was Your Man (seniors)

4. Mr. Blue Sky (soph-frosh)

3. Holding Out For a Hero (juniors)

5. You’re Welcome (juniors)

Honorable mentions: 20th Century Fox Theme (seniors), Disney Theme (soph-frosh)

BEST NON-PERFORMING CREWS 2. Senior Tech

4. Soph-Frosh Sound Honorable mention:

3. Junior Tech 5. Junior Script SophFrosh Art

1. Junior Costumes

The Spectator ● March 13, 2020

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Top Fives BEST SUPPORTING ACTING PERFORMANCES 1. Lord Chad (Max Kahn, man’s taunting performance is stage presence and demeanour

juniors) Max Kahn shone as the prokaryotic frat boy Lord Chad, full of his signature magnetism and humor. His timing was invariably perfect, and after seeing him roll on the ground whilst booming “AND I NEED YOU MORE THAN EVER!” to his stuffed animal, you may want to rush the stage and pledge his fraternity, Kappa Apple Pie. He’s that good.

2. Pamplemousse Lacroix (Emma Linderman, seniors) As fabulous as she is snobby, Emma Linderman’s Pamplemousse Lacroix served as a very entertaining rival for Rowan. She embodied a pretentious French director, with the accent to boot, and made her few appearances extremely memorable. Linder-

as hard to replace as Lacroix’s name is to pronounce, and her on-point French accent will go down as one of the highlights of SING! 2020.

3. Wolfgang Mozart (Derick Fang, juniors) Who said classical composers can’t have a good time? Derick Fang shone as the spacey yet lively Mozart, bringing chaotic comic relief and over-the-top antics, making his wig-wearing, baton-bearing character stand out from a crowded field.

4. Queen of Diamonds (Leah D’Silva, soph-frosh) Classy and sharp as the jewelry she wore, Leah D’Silva glittered as the Queen of Diamonds.

Her voice was sweet, her insults wonderfully sour. Her sassy

left us wanting more flat tummy tea-sponsored content.

5. Timmy Falcon (Adam Cohen, seniors) “The Early Early Show with Timmy Falcon” might be a hard sell for television audiences, but it was perfect for Senior SING!, as Adam Cohen hilariously yelled and hollered his way through a Red Bull-induced fever dream of a talk show performance. His bulging eyes and twitching demeanor encapsulated the sleepdeprived host perfectly, leaving the audience wishing for more scenes with Falcon.

Honorable mentions: Toby (Connor Oh, seniors), Jordan (Victoria Wong, seniors), Napoleon Bonaparte (Emily Gillies, juniors)

BEST DANCE PERFORMANCES

1. Senior Hip-Hop Blink for a second and you’ll miss a whole section of choreography from Senior hip-hop.

Laser sharp precision and pinpoint accuracy with each and every movement allowed this crew to shine.

2. Junior Modern The modern crew’s graceful performance to the somber melody of “Someone You Loved” accentuated each dancer’s strengths and showed off their spins, leaps, and flips. The audience’s hearts soared with Sydney

Yang’s high flip in the air.

3. Senior Step A crowded stage full of dancers might sound like a recipe for disaster, but Senior Step expertly utilized their quantity to their advantage. Their unparalleled SING! spirit elevated their performance even further and left the audience utterly stunned.

4. Senior Belly Emerging as life-size dolls from the Superfan’s lair, Senior Belly delivered an eerie performance. They captivated their

viewers with their uncanny coordination and grace, accompanied by a snake-like charm.

5. Soph-Frosh Latin Soph-Frosh Latin’s rhythmic, invigorating footwork, stunts, and twirls to the tune of “Señorita” and “Shape of You” dazzled, and even included a cameo from coordinator Alec Shafran during the Saturday performance.

Honorable mentions: Senior Swing, Junior Belly

BEST COSTUMES, MAKEUP, AND STYLING

1. Queen Genevieve (Katerina Corr, juniors) 2. Superfan (Emily Rubinstein, seniors)

3. Prince Benedict Tator (Ian St. Germain, juniors) 4. The Suit Queens (Leah D’Silva, Lucy Murphy, and Ashley Choi, sophfrosh) 5. Junior Tap Honorable mentions: Senior Modern, Cheshire Cat (soph-frosh), Junior Modern

BEST JOKES “LIBERTE, EGALITE,” —Joseph (Jonathan Schneiderman, juniors) “FRATERNITY!” —Lord Chad (Max Kahn, juniors) “#thisiswhatafeministlookslike” —Joseph (Jonathan Schneiderman, juniors) “You know what’s also fantastic? Gilbert Papagayo the Lizard’s wonderful flat tummy tea!”— Queen of Diamonds (Leah D’Silva, soph-frosh) “[We’re] only in the most iconic spot of all of Hollywood.”—Superfan (Emily Rubinstein, seniors) “Mr. Ramirez’s childhood home?”—Jordan (Victoria Wong, seniors) “Napoleon, like the ice cream!” —Charlie (Kyron Liu, juniors) “Oh, honey, that’s Neapolitan.”—Tess (Claire Shin, juniors) Honorable mention: “My friend Germaine hooked me up with [a guillotine] from IKEA, and it’s their own brand: IKEAtine.”—Klaus (Michael Russo, juniors)

BEST DISSES “I had it custom made by a member of soph-frosh art crew!”—Jordan (Victoria Wong, seniors) “Ted Sheeran? Again? Well, it’s better than Mozart.”—Queen of Diamonds (Leah D’Silva, sophfrosh) “But didn’t everyone get deferred?”—Klaus (Michael Russo, juniors) “Kidnap him? What is this, Senior SING!?”—Violet (Stella Oh, juniors) “Our audience got to see the entire show on FaceBook Live thanks to the juniors!”—Nate (Joseph Yu, seniors)

The Spectator ● March 13, 2020

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SING! Playlist & Scoreboard Cameras, Comrades, and a Cheshire Cat

By THE ARTS AND ENTERTAINMENT DEPARTMENT

With a psycho villain on rollerblades, a pool noodle sword fight, and an upside-down canvas, this year’s SING! performances were certainly memorable. But if you find yourself forgetting the tune of “Never Enough” or wish to make your way back to Wonderland, check out this revolutionary playlist:

SOPH-FROSH

JUNIOR

SENIOR

Indigo 88Rising/NIKI Pop/Electronic

Holding Out for a Hero Bonnie Tyler Country/Pop

Rondo Alla Turca Wolfgang Amadeus Mozart Classical

Starships Nicki Minaj Pop

Doom Taana Shreya Ghoshal Bollywood

Dilbar Tanishk Bagchi Bollywood

Eine Kleine Nachtmusik Wolfgang Amadeus Mozart Classical

Someone You Loved Lewis Capaldi Alternative/Indie

MIDDLE CHILD J. Cole Hip-hop/Rap

Bezubaan Kab Se Siddharth Basrur Bollywood

Prince Ali Robin Williams Showtunes

You’re Welcome Dwayne Johnson Soundtrack

Total Eclipse of the Heart Bonnie Tyler Pop

Crazy in Love Beyoncé ft. Jay-Z R&B/Soul

Jagga Jiteya Daler Mehndi Bollywood

Ocean Eyes Billie Eilish Alternative/Indie

Oompa Loompa Song “Charlie and the Chocolate Factory” Soundtrack

Money Pink Floyd Rock

Lottery K Camp Hip-hop/Rap

When I Was Your Man Bruno Mars Pop

Mr. Sandman The Chordettes Traditional Pop

Treasure Bruno Mars R&B/Pop

My Songs Know What You Did in the Dark Fall Out Boy Alternative

Viva La Vida Coldplay Pop

Can’t Remember to Forget You Shakira ft. Rihanna Pop

Señorita Camila Cabello and Shawn Mendes Pop

Welcome to Wonderland Anson Seabra Ballad

The Phoenix Fall Out Boy Alternative/Indie

Pure Imagination Gene Wilder Classic Pop

Vroom Vroom Charlie XCX Pop

Merry Go Round of Life Sungha Jung Classical

Do You Hear the People Sing?

Claude-Michel Schonberg Musical

A Dream is a Wish Your Heart Makes Lily James Soundtrack Mr. Blue Sky Electric Light Orchestra Rock Aquarium Camille Saint-Saëns Classical

Shape of You Ed Sheeran Pop Yummy Justin Bieber R&B/Pop

listen to all the songs here:

Tonight You Belong to Me Patience and Prudence Lullaby Once Upon a Dream Lana Del Rey Pop Lalala Y2K/bbno$ Pop/Hip-hop

SING! Scoreboard

I Don’t Even Speak Spanish Lol xxxtentacion Pop/hip-hop Now and Later Sage the Gemini Hip-hop/Rap My Oh My Camila Cabello Pop

Danza Kuduro Don Omar ft. Lucenzo Reggaeton Let’s Get Loud Jennifer Lopez Pop Happy Birthday Patty and Mildred J. Hill Traditional Queen of the Night Aria Wolfgang Amadeus Mozart Classical Duel of the Fates John Williams Classical We are the Champions Queen Rock Party Rock Anthem LMFAO Dance/Electronic

Take Me or Leave Me Jonathan Larson Musical Fixer Upper “Frozen” Cast Soundtrack Can’t Help Falling in Love Elvis Presley Classic Rock Just a Lil Bit 50 Cent Hip-hop/Rap Mashallah Wajid, Shreya Ghoshal Bollywood Enta Omri Umm Kulthum International

Never Enough Loren Allred Showtunes/Pop Tightrope Michelle Williams Funk/Soul Carry On fun.

Alternative/Indie Make it Shine “Victorious” Cast Pop Romeo and Juliet, Op. 64 Sergei Prokofiev Classical Beautiful Liar Beyoncé, Shakira Pop Paparazzi Lady Gaga Pop

The Spectator ● March 13, 2020

Page 23

Science SCIENCEBEAT NASA detected the largest explosion known to mankind on February 27. It came from a supermassive black hole over three hundred million light-years away.

Senior Yevgeniy Gorbachev qualified for the second round of the USA Astronomy and Astrophysics Organization exam.

Seniors Ivan Galakhov and Yevgeniy Gorbachev and junior Keyvon Maybody qualified for the USA Physics Olympiad exam.

Dr. Bruce McEwen, a luminary in the field of neuroscience, died on January 2, 2020. Despite the role he played in expanding the studies conducted on hormones such as cortisol and adrenaline in the brain, his experiments remain mostly unrecognized. His work began in the 1960s, a time when stress was defined as the body’s alarm system, switching on only when a person faces a drastic situation. Dr. McEwen redefined stress as not only a reaction to an extreme situation, but also the body’s way of responding to the obstacles it faces every day.

An example of his groundbreaking research was a project in which his team discovered the profound effects hormones had on the brain. His experiment consisted of placing four to five male rats as well as two to three female rats in a controlled environment.

The male rats quickly established social hierarchies, where the dominant males controlled access to food, water, and to a lesser extent, the females. The subordinate and dominant males were easily identified based on the patterns of offensive or defensive wounding as subordinate rats were attacked when they attempted to access food and water. The stress of try-

ing to survive in a hostile environment was enough for the subordinate rats to experience significant weight loss and after two weeks, death. Analysis of the subordinate rats’ brains revealed that the neurons near the hippocampus, the brain’s memory and learning center, were atrophied, a result of the stress from the hostile environment created by the dominant rats.

One radical idea of Dr. McEwen was that of “good” stress.

He categorized stress into three categ ories: “good stress,” a response to an immediate challenge with a burst of energy that focuses the mind; “transient stress,” a response to daily frustrations that resolve quickly; and “chronic stress,” a response to a toxic, unrelenting barrage of challenges that eventually break down the body.

In his later years, Dr. McEwen became interested in how hor-

mones like insulin and ghrelin, the hunger hormone, affect the brain and explored why people with diabetes and metabolic syndrome (conditions that raise the likelihood of developing heart disease, a stroke, or diabetes) are more likely to suffer from depression. For example, he per-

formed an experiment in which rats predisposed to Type 1 diabetes (an animal model for human Type 1 diabetes) were exposed to chronic stress. Dr. McEwen discovered that exposing the rats to chronic stress made them phenotypically

express the Type 1 diabetes gene much more: 80 percent of the male stress and 70 percent of the female stress animals developed diabetes, compared with 50 percent in both control groups. He also explored how factors like nutrition, physical activity, and exposure to early-life trauma can also alter the brain.

Dr. McEwen’s work is extremely meaningful in the context of Stuyvesant, where a stressful school environment can lead to physiological changes. “Good stress” could be redefined as acing a test that you had doubts about, while an example of “transient stress” would be facing the daily subway delays that cause you to be late to school.

“Chronic stress” in the context of Stuyvesant could be the sleep deprivation that students face on a daily basis.

Changing your breakfast meal from a bowl of cereal to eggs and bacon or eating healthy snacks throughout the day could reduce the allostatic load your body faces. Managing your life in the context of Dr. McEwen’s research may ease the grind of getting through a busy day at Stuyvesant.

Shirley Tan / The Spectator

A division of the Robotics team, FTC-694, came in first place at the Palmetto Regionals.

By GERARD LIN

The Work of Bruce McEwen

On the Coronavirus

Potential Treatments, COVID-19’s Progression, and School Closure

By ANGELINA CHANG, ARTHUR LIANG, and ZOE PICCIRILLO

The coronavirus (COVID-19) outbreak, which originated from Wuhan, China in December, has expanded to over 100 countries in nearly every continent across the world. The number of people diagnosed with COVID-19 topped 100,000 this past week, and there have been over 3,000 deaths, putting the mortality rate at 3.4 percent. The World Health Organization (WHO) declared the outbreak a global health emergency, and said in a statement: “All countries should be prepared for containment, including active surveillance, early detection, isolation, and case management, contact tracing, and prevention of onward spread” of the virus.

Coronavirus’ Progression

Past School Closings in NYC

Potential Treatments

Though the number of new COVID-19 cases in China has dropped to a six-week low, the virus has become an imminent threat in the U.S. as more cases are being confirmed each day across the nation. The coronavirus first appeared in the country when a man in his 30s from Washington state, who had traveled to Wuhan, was diagnosed with the virus in January 2020. Only a month later on February 28, 2020, a patient near Seattle became the first person to die from the coronavirus in the U.S. Shortly after, President Trump took more aggressive action against the coronavirus by issuing a “do not travel” warning to areas in Italy and South Korea most affected by the virus.

Governor Andrew Cuomo confirmed the first case of the coronavirus in New York State on March 1, 2020. According to state officials, a 39-year-old woman contracted the virus while traveling in Iran, and she has since been staying in her home in Manhattan. The next day, a second coronavirus case was confirmed in an attorney who lives in Westchester County. In the following days, at least nine people who came in contact with the Westchester attorney tested positive for the virus.

The number of confirmed cases in New York has jumped at an alarming rate this past week; as of March 8, there have been 109 confirmed cases in the state, 12 of which are in New York City.

In response to the climbing number of confirmed cases, Governor Cuomo declared a state of emergency on March 7. This declaration will allow the state to bypass certain regulations in order to hire more health care workers and purchase more cleaning supplies. It will also secure guidelines so that businesses will be barred from setting exploitative prices for supplies in high demand, such as hand sanitizers and cleaning wipes.

Despite the rapid spread of the virus in the state, Governor Cuomo urged the public to remain calm during a news conference in Albany. “You know what’s worse than the virus—the anxiety,” he said.

While Cuomo did not mention the number of New Yorkers who were isolating themselves at home, New York officials reported that they had asked around 4,000 people to quarantine themselves.

With more and more cases plaguing New York City, talk about closing schools has resurfaced as they did in 2009, with the outbreak of swine flu. An outbreak of H1N1 influenza occurred at three high schools in Queens in April of 2009, infecting multiple students and even an assistant principal. Subsequently, the schools were closed; this was only a few of the many hundreds of schools that closed across the U.S. for swine flu. Perhaps a better example is the more localized measles outbreak in New York City last year when dozens of yeshivas were closed after unvaccinated individuals returned from celebrating Sukkot in Israel, bringing the virus with them.

The outbreak was largely confined within the ultraOrthodox community, where the anti-vaccination movement made a significant mark.

Currently, there is no conclusive treatment for the virus, with patients only receiving supportive care—that is, fluids and medicine to reduce fevers. Nine companies are researching potential vaccines or drug treatments. Most of them, including Johnson & Johnson and Regeneron Pharmaceuticals, are in the preclinical stage of development, in which research is still being conducted and no testing has occurred. Researchers from these companies estimate that it may take at least six months for clinical trials to begin, and it could take another year for a successful antiviral vaccine to be cleared for the market.

Two American companies, however, are already initiating clinical trials for a potential coronavirus vaccine: Gilead Sciences and Moderna Therapeutics. Gilead Sciences announced that it is recruiting 1,000 patients for a clinical trial of Remdesivir, a nucleotide analog drug, on February 26, 2020. This means that Remdesivir disguises itself as a nucleotide, but contains an extra molecular group that can block replication when it comes in contact with a virus. Gilead developed Remdesivir in 2015 in response to the Ebola outbreak, but it was less effective than other drugs tested and did not reach the manufacturing stage.

Gilead hopes that Remdesivir will be more effective on COVID-19 patients. The drug has produced successful results when used to treat severe acute respiratory syndrome (SARS), which shares genetic similarities with the coronavirus, suggesting that it could produce similar results for the coronavirus. It would be given to patients through intravenous therapy rather than through a vaccine. Results from the trial are expected by April.

Just 42 days after COVID-19’s DNA sequence was recorded, Moderna Therapeutics introduced a potential vaccine, mRNA-1273. The mRNA-1273 vaccine differs from traditional vaccines, which typically contain a weakened or dead form of the target virus. It contains a messenger RNA sequence instead, which will direct cells to build a protein on the surface of the virus. The patient’s immune system will produce antibodies that bind to the protein and tag the virus, prompting the mRNA to break down and eliminate it. Despite the speed at which the vaccine was produced, it may take over a year for the vaccine to be cleared for general consumption.

Moderna Therapeutics is currently recruiting 45 people for a 14-month trial in which participants will be given two doses of the vaccine. After this trial, another one will have to be conducted with thousands of participants in order for the vaccine to be approved and manufactured.

Will NYC Schools Close for Coronavirus?

Now, even as the number of cases in New York City soars, only a handful of private schools have suspended schools and others like Collegiate have only recently closed to sanitize their campus.

But despite popular pressure and the inevitable spread of the virus, Richard A. Carranza, the current New York City Schools Chancellor, is adamant about keeping public schools open. With no signs of the city’s 1.1 million public school students showing any symptoms of the virus and the fact that many public schools are also social service centers for hundreds of thousands of poor students whose parents rely on schools to take care of their children during the day, Carranza considers closing schools a last resort.

His rationale is sensible; if short snow days disrupt the social flow of the city, closing schools for weeks could have unfathomably major consequences.

With officials having conflicting opinions on how to deal with the pandemic and treatment unlikely to come before next year, our best bet is to protect ourselves as individuals. The flashing headlines can’t say it enough: wash your hands and stay home if you’re sick. By maintaining personal hygiene, you are not only reducing your own risk of contracting the virus but also doing a service to those around you.

The Spectator ● March 13, 2020

Page 24

Science Gears Turning: The Working Behind Stuyvesant’s Science Olympiad Tech Division

By KIMYA FROOZAN and KAITLYN LEE

own designs. One such machine that required substantial preparation was that of the “Boomilever” event. The objective was to build a boomilever, a static structural machine meant to support the most

during competitions. “Before [a] competition, we have a period to train competitors to make sure they know what to do during competitions,” Chen said. “After most testing periods and also after competitions, we have debrief meetings to talk about future plans and how to improve based on our weaknesses.”

By reflecting on any defects in their plan or design, the Tech Division continues to improve as they compete in more events.

Prior to the creation of their machines, Science Olympiad members are tasked with extensively researching the principles behind each machine in order to come upon a few that could possibly help further their

load with the least possible mass.

The boomilever should be made of wood and attached to a wall from a single point or area that will hold most of the weight to be placed on it. When asked about the preparation behind this machine, Chen said, “When building our instrument, [the members] would design their structures based on our understanding of tensions, compressions, and general structural engineering principles.”

As a member who participated in the Boomilever event, junior Even Chen provided insight into some technicalities that may be unknown to the general public, stating that “The score [being] calculated is through a really simple formula [(weight car-

Dorin Flocos/ The Spectator

Though the recently built Stuyvesant Innovation Lab is unfamiliar to much of the student community, it is no stranger to the Science Olympiad Tech Division, which uses it extensively during competition season. The Science Olympiad is a series of intense science competitions that test students’ knowledge of biology, chemistry, earth science, and physics. This applies especially to the Tech Division; its members have spent long, difficult hours planning, designing, and assembling competition-ready machines. But what makes the team so dominant in competition?

The Stuyvesant Science Olympiad consists of multiple divisions, each focusing on its own specialized events. With so many different events, it is often difficult for team captains to effectively coordinate members in building their machines and preparing for competitions.

But with the success of the Science Olympiad team, it is clear that such a task is managed well. Seniors and cocaptains of the Tech Division Jesse Chen and Mahmoud Elsharawy testify to this fact: “The way we organize tech is that each event […] has an event leader who works with several members […] and we as captains manage the whole division while also doing our specific events.”

Chen also explains the calculated process of building the machines for each Tech event. “Generally, at the start of the year, we have a period of brainstorming and planning while budgeting our materials and waiting for it to arrive,” he explained. “Then, we follow our designs to the best of our abilities while accounting for troubles that come.” The Tech Division not only needs to be sensible about the limited time they have to

prepare for competitions but also be able to adapt to the unexpected obstacles to carrying their plan out.

While the teams construct their machines, they also take extra steps to make sure everything goes smoothly

ried/weight of the boomilever) * 1000]. […] The general structure of [the boomilever] has to follow certain parameters in terms of the dimensions of the structure.” Because this formula or information may not be provided in the Stuyvesant curriculum, SciOly members are expected to use the resources they have at hand to their advantage in preparing machines the best they can.

While the use of outside resources is extremely valuable in the coming together of each machine, there are certain restraints that SciOly members may face when building.

In the Boomilever event, the only materials that can be used to build the machine are wood and glue, and the contraption’s dimensions must meet certain parameters set by the Science Olympiad. Jessie Chen recognized the limitations of the complexity of their machines, acknowledging that high school students aren’t the most equipped to develop complicated structures. “We try our best to incorporate science and engineering principles and techniques into our trial and error processes to make a working project,” he said.

Another Tech Division project that required much more information than prior knowledge could provide was the Ping Pong Parachute. The goals of this event are to create two rockets able to launch a ping pong ball and parachute and keep the ping pong ball aloft for the longest. Elsharawy stated, “[We] find ourselves employing lots of the principles in rocketry.” The team has to apply these principles to deal with several different aspects of the rocket, such as “where the center of mass and center of drag of our rockets are and how that affects the stability of the rocket.” But the rocket is only one part of the project, as the team also has to consider other obstacles such as the length of the

parachute strings; longer strings “allow the parachute to open up more easily” but can “get caught on the rocket.”

Jessie Chen also indicated that there are varying levels of difficulty behind each of the projects Tech completes. Some other projects include “Detector Building,” a project in which participants are required to build a temperature-sensing device that accurately measures and displays temperatures from 0 to 100 ºC using a microcontroller board. In doing so, members utilize multiple equations to model the relationship between resistance and temperature “to determine which will provide the best results [and] minimize the mean absolute deviation behind [the] measured temperature and the actual temperature,” Elsharawy said. Other events such as “Gravity Vehicle” and “Wright Stuff ” were described in short. The former challenges the team to make a ramp and an adjustable car that travels a certain distance using the force of gravity alone, while the latter consists of creating a lightweight balsa wood plane that flies with just the power of a rubber band.

However daunting these tasks may seem to Science Olympiad newbies, the Stuyvesant team primes each of its members carefully for competitions. They demonstrate and apply many different skills–– critical thinking, adaptability, and teamwork––in order to reach the top of the competition. In doing so, the team creates a tight-knit community that preserves the fun and excitement of learning new material and racing through monthly competitions. Most importantly, the Stuyvesant Science Olympiad considers itself not as a team but as a family united by a common passion for STEM.

Researching the Research Club

By SHAH NABIL and RANIA ZAKI

in Space competition, a national competition in which students design an experiment that, if chosen, is conducted on the International Space Station. “The sort of energy and the passion we see in these members show us [their passion to discover past the classroom and] how dedicated they are,” senior and president of the Research Club Justin Lam said.

The mission doesn’t stop there. With the new addition of a research-based magazine, SIGMA, the members of the Research Club also work diligently to collect, annotate, and print student research.

SIGMA is Stuyvesant’s sole science

SIGMA Neil Sarkar said. “SIGMA is meaningful as not only [are the members] being recognized and honored for their hard work but their research is being disseminated for all the student body to read and gain inspiration from.” The latest publication includes research in the treatment of congestive heart failure in muscular dystrophy and the discovery of two new viruses. Currently, SIGMA is published once a year, but they hope to publish semi-annually. Their first edition this year will be available at the end of February and will be dedicated to celebrating the research of others and accomplishments in science

research magazine, and it aims to spread other students’ pursuits in research to every student regardless of their grade or knowledge in STEM. “We annotate the [students’ research] papers so that the entire Stuyvesant community is able to completely understand the paper and all of its scientific jargon,” junior and editor-in-chief of

throughout the decade.

The Research Club has also recently implemented a mentoring program known as the Student Research Mentoring Program (SRMP) which aims to aid students interested in pursuing a career in research through focusing on individual research techniques. Lin describes the program as a way to “further hone

Sasha Socolow/ The Spectator

Perhaps the word “research” conjures images of a fancy laboratory, men in lab coats holding clipboards, a wall of mice in containers, and a flickering light that deems inspection. Seldom does the word evoke images of places close to home, like Stuyvesant’s room 703, where high school students conduct experiments on cancer cells and are rewarded with boxes of pizza afterward. The Stuyvesant Research Club brings together students with an interest in research who display innovative skills without a fancy laboratory. Through workshops, lab experiments, and student research publications, the Research Club strives to provide its members with the opportunity to investigate past their textbooks and foster innovation beyond the classroom.

Stuyvesant may have a grueling STEM program, but its classes are mainly geared toward gaining knowledge rather than developing a passion for research. Biology teacher and Research Club faculty advisor Jason Econome took the initiative to foster that passion in the form of the club. Econome also runs the Regeneron Program at Stuyvesant, a class that is devoted to helping students develop research projects to submit to an international competition. For members of the Research Club, scientific research is not only a passion but also a field that is important to explore. “Science research drives progress in society in almost every way [by] improving and extending the life expectancy for generations of people through such monumental discoveries like penicillin, eliminating bacterial infections and recombinant insulin for diabetes

sufferers,” Econome said.

By performing real molecular biology-based experiments, talking with senior Regeneron research participants, and learning about free summer research opportunities available citywide, the Research Club gives curious students opportunities to see how biological research is conducted in today’s world. One of their experiments used a commonly performed technique in biochemistry called Enzyme Linked Immunosorbent Assay (ELISA). By using ELISA, the members of the Research Club measured antibodies, reaction substances produced in the presence of a specific antigen, to explore the molecular mechanisms underlying diabetes. Another widely used method of measuring the expression of a gene is a microarray. The members of the Research Club measured the expression of different genes in two different types of cells, cancerous cells and non-cancerous cells, by using a microarray. The students were able to measure the different expressions of six genes and their expressions as oncogenes, or tumor suppressors. “We are not just trying to target freshmen that come in [with] no knowledge in biology, but we’re trying to target [...] sophomores, juniors, [and] seniors that are trying to get into labs,” junior and vice president of the Research Club Vice President Ethan Samuel Lin said.

Many of the members are accepted into labs at New York University or Cornell University and submit their research projects to the Regeneron competition. Past members of the Research Club, including alumni Ben Ho and Julian Rubinfien, have successfully placed, respectively, as semi-finalists and winners in the prestigious Genes

the skills of a smaller group of students who have expressed a lot of interest in the field of research.”

The club conducts biweekly workshops where mentors, experienced upperclassmen, work on a specific skill so that mentees will be able to navigate the process of applying to research programs and labs.

There are, however, a number of obstacles preventing the club from granting its members maximum opportunity: the largest one is a lack of research coordinators.

In schools like Hunter College High School, there’s not only one research coordinator but multiple hired faculty members with specialized areas of research to advise students. Stuyvesant, however, has only one teacher who spends his free periods and after school hours managing Regeneron, Stuyvesant’s sole research program. “Regeneron research biology is only run by one person, Mr. Econome. It’s not a job for only one person. It doesn’t make sense that Mr. Econome, one who specializes in cancer biology, can tutor [a student] about protein modeling,” Lam said. Other students report the same struggle. “I wanted my project [geared] towards physics, not really biology. I didn’t get many opportunities to do that,” senior Regenoron participant Hannah Fried said.

The Stuyvesant Research Club brings research to a new level not commonly seen in other schools.

With SIGMA and SRMP, the club strives to foster the skills needed for students to be successful in the research world. Lam said, “Research is like a [positive feedback loop], the more effort you put into it, the more you get out of it. I think that’s the sort of philosophy for us in [the] Research Club. We can open doors for people but it’s up to them to really walk through [it].”

The Spectator ● March 13, 2020

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Arts and Entertainment Food

By KENISHA MAHAJAN and ZIFEI ZHAO Bubble tea: the sweet, refreshing beverage many of us crave randomly throughout the day. Who can blame us? From the chewy, soft texture of the bubbles to the sweet, thirstquenching tea, bubble tea is addicting. From fruit teas to slushies to yogurt drinks to cheese teas, bubble tea is for everyone.

For this review, we chose to judge the quintessential bubble tea: the black milk tea. We made our reviews holistic, evaluating on the store’s drink, bubbles, ambiance, price, and menu. We hope this review will help you on your journey to satisfy your bubble tea addiction.

1. Vivi Bubble Tea Address: 325 Broadway, New York, NY 10007 (13 minutes from Stuyvesant) Ratings: Tea: 3/5 Bubbles: 4/5 Menu & Originality: 5/5 Price: $3.75-$6 Review: One of the closest options, Vivi’s is a hidden gem.

Though the seating space seems small, the secluded atmosphere and pink floral decor add to Vivi’s cozy and memorable charm. Vivi’s is a convenient place for a study session, hangout, or a quick pit stop during a free period. It has the most creative menu out of the stores we’ve reviewed.

They serve not only the typical bubble tea drinks, but also many specialty beverages like their Blue Galaxy drink, the Flaming Brown Sugar Milk, and the Flora Tea. They also serve small eats such as popcorn chicken and sushi, making their menu more diverse than that of other stores. The prices are more reasonable and cheaper than some boba chains; about $5 (after tax) for a large bubble milk tea of average quality, Vivi’s is a reasonable choice for students who wish to enjoy boba on a budget.

The tea is quite mild and

Film

By ALTHEA BARRETT “Suicide Squad” hit theaters with a very mixed reception way back in 2016. Some people loved it; some hated it; and after seeing the film over winter break, I have landed firmly in the latter camp.

Nearly four years later, “Birds of Prey, and the Fantabulous Emancipation of One Harley Quinn,” directed by Cathy Yan and written by Christina Hodson, acts as the sequel to “Suicide Squad”, revolving around Harley Quinn (Margot Robbie). After being dumped by the Joker, Harley finds herself in a tricky predicament, with half the city out for blood for the tricks she pulled under her ex-boyfriend’s protection.

This quickly spirals into Harley’s quest for a diamond to bribe Black Mask (Ewan McGregor), who has a particularly long list of grievances, to spare her life.

This movie is commonly referred to as a hot mess—and it owns it. The whole film is so gloriously stupid, with every character being an absolute moron.

The plot is so convoluted that it becomes completely unpredict-

An Ode to Stuyvesant’s Boba Addiction complements the milk well, but it doesn’t have much flavor on its own. On the other hand, the bubbles have a sweet taste and a nice chewy texture. What surprised us most is that the ice is actually strained from the tea (though you can request for it not to be), which means more tea to enjoy!

Gong Cha is by far the best of the spots we reviewed. The tea isn’t too strong or pungent, and the flavors don’t get lost in the midst of the milk. The balance of milk and tea is satisfactory, with a subtle sweetness enhancing the flavor. The bubbles are chewy and mildly sweet, matching the drink well. In addition to its milk teas, Gong Cha has an 2. Coco Fresh Tea & Juice extensive menu, with items rangAddress: 12 John St, New York, ing from coffee-based drinks, NY 10038 (12 minutes from herbal teas, and yogurt drinks, as Stuyvesant) well as several toppings such as Ratings: pudding, red bean, oreo crumbs, Tea: 4/5 basil seeds, and aloe vera Bubbles: 4/5 jelly. Though Gong Menu & Originality: 5/5 Cha has the best tea, Price: $4.79-$6 it is the most minimal Review: store of them Though less wellall.

The known, Coco exstore is ceeds standards and part of delivers higher quala larger ity milk tea with good shopping taste and subtle flavor. complex Its milk teas include less and more milk than most bubble of a kiosk, tea stores do, so the so it offers drink is more tea-based. no seating Though we reviewed the and isn’t ideal store’s milk teas, its fruit if you’re lookteas and slushies are defiing to sit down nitely the best items on the for a while. If menu. The fruity drinks you are simply are on the sweeter side but looking for a can be adjusted to the cusquality drink, tomer’s preference. They however, Gong also offer a few toppings, Cha is definitely the best of which are the a spot to check Aries Ho / The Spectator out. bubbles and the nata jelly (a solid, chewy jelly made with coconut). Though the store has 4. Kung Fu Tea barely any decor, with only white Address: 234 Canal St #107, New subway tiles lining the walls, it York, NY 10013 (18 minutes has enough seating to accommo- from Stuyvesant) date a few people at a time. All Ratings: in all, Coco is definitely a place Tea: 3/5 worth trying.

Bubbles: 3/5 Menu & Originality: 5/5 3. Gong Cha Price: $3-$6.75 Address: Fulton Center 200, Review: Broadway, New York, 10038 (12 Kung Fu Tea is widely reminutes from Stuyvesant) garded as one of the most comRatings: mon and greatest bubble tea Tea: 5/5 chains. Sadly, the closest one to Bubbles: 5/5 Stuyvesant begs to differ. LoMenu & Originality: 5/5 cated across from the Canal Price: $5-$6.29 Street station, the convenience is Review: compelling, but don’t let it fool

you. This small store has barely any standing space and can get cramped if many people were to order. While the servers are polite, they unfortunately do not make up for the low quality of tea. At the bottom of the drink, there were layers of honey, a signal that the drink wasn’t mixed properly. Additionally, the drink was overwhelmingly sweet, tasting more like a milkshake than an actual milk tea. The large amount of ice and milk alludes that you’re not getting the amount of tea you paid for. Unfortunately, the quality of Kung Fu Tea’s milk tea and boba was disappointing and not worth the high price of $4.75.

5. U Tea Address: 139 Fulton St Ste 101, New York, NY 10038 (14 minutes from Stuyvesant) Ratings: Tea: 2/5 Bubbles: 2/5 Menu & Originality: 5/5 Price: $5.50-$7.25 Review: Have you ever heard the saying “don’t judge a book by its cover”? Well, it certainly applies to U Tea. Out of all the bubble tea stores, U Tea is by far the most aesthetically pleasing. The meticulous attention to detail with the cup logos, the small heart on the lid, and the design of the straw wrapper make U Tea the best store in terms of ambiance. The drink, however, has a very dull flavor and simply tastes like slightly bitter milk. The bubbles are subpar in terms of texture and taste, as they are inconsistently cooked: either mushy and overcooked or quite tough and raw. The bubbles are extremely sweet, so we would recommend getting less sugar if you choose to go to U Tea. The store has some redeeming qualities, one of them being its original menu. They have unique flavors like Bossy Cheng Cheng (Orange), Brulee Uji Matcha, and Sakura Oolong. Comprehensively, the unique menu does not make up for the low-quality tea, and U Tea is not worth the overpriced $6.48.

Harley Quinn: Idiot Extraordinaire able, and Black Mask is over-thetop in every possible way. There are many problems with “Suicide Squad”—many, many problems—but most of them can be summed up with the overarching flaw that the movie tries to take its silly premise way too seriously, something “Birds of Prey” avoids completely. “Birds of Prey, and the Fantabulous Emancipation of One Harley Quinn” has a premise that is almost as stupid as bribing supervillains into cosplaying as Superman, but doesn’t try to play it straight. The protagonist Harley has a pet hyena named after Batman and shoots confetti bullets. The villain throws a tantrum almost every time he’s onscreen. Little doodles are drawn over every minor antagonist’s face to break the tension and segue into the humorous crimes of Harley’s past. This is a stupid, stupid movie, but it runs with this concept completely, making it glorious.

All of the characters in this movie are great. Alcoholic detective Renee Montoya (Rosie Perez) is hilariously over-the-top. Black Canary (Jurnee Smollett-Bell)

does a phenomenal job acting as the straight man to everyone’s antics, and Mary Winstead’s Huntress is amazing too, though she only appears near the third act.

But the star of the show is ultimately the main character: Harley, the queen of stupid. She acts as both the main character and the narrator of the story, maintaining a constant sense of silliness in what would have been an overly-edgy premise to keep the film from taking itself too seriously. Her personality is overplayed and ramped up to the max at every opportunity, and Robbie does an excellent job of making sure it stays consistent. Harley’s personality also lends itself excellently to the fight scenes, which are a spectacle in and of themselves. Though this movie calls itself “Birds of Prey,” it is not really about the members of the Birds of Prey. It is about Harley—and this is what ultimately saves it from becoming another “Suicide Squad.” Her perspective lends a sense of humor to this movie that its predecessor lacked, which prevents the film from taking itself too seriously and con-

trasts wonderfully with the dark, R-rated situations that the protagonist is thrown into.

It is not a masterpiece, however. Stupid can be fun, but it isn’t everyone’s cup of tea, and it might get a little tiring for some viewers. The villain’s petulant attitude in particular wore me out after a while, and he’s not nearly as interesting as the other characters. The movie also flits back and forth from flashback to flashback, which often becomes confusing. There are more holes in the story than in a block of swiss cheese, but they are small enough to look past for the sake of enjoying the movie.

Overall, “Birds of Prey, and the Fantabulous Emancipation of One Harley Quinn” is fun.

It’s not groundbreaking. It’s not perfect. But it’s fun. All the characters are entertaining in their own right and bounce off of one another decently. Despite its own problems, the film easily ducks all the major flaws that plagued “Suicide Squad” in 2016. If watching something silly is satisfying for you, then this movie is a very good pick.

Playlist Anthems!

By THE ARTS & ENTERTAINMENT DEPARTMENT And that doesn’t just mean The Star Spangled Banner! Spanning a variety of genres and time periods, these are the songs that rouse the spirit of the Arts & Entertainment department.

We Are The Champions Queen Rock Freedom Beyoncé R&B Blue World Mac Miller Hip-hop/Funk Kids in America Kim Wilde Rock 7 Rings Ariana Grande Pop Piano Man Billy Joel Rock My Way Frank Sinatra Traditional Pop Smells Like Teen Spirit Nirvana Rock The Final Countdown Europe Rock Viva La Vida Coldplay Pop Welcome To The Jungle Guns N’ Roses Rock Firework Katy Perry Pop All Star Smash Mouth Pop Country Roads John Denver Country Bohemian Rhapsody Queen Rock Mamma Mia ABBA Rock Live While We’re Young One Direction Pop Hollaback Girl Gwen Stefani Pop Party in The U.S.A. Miley Cyrus Pop Born This Way Lady Gaga Pop

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The Spectator ● March 13, 2020

Arts and Entertainment Television

By MORRIS RASKIN WARNING: SPOILERS FOR SEASON 6 OF “BOJACK HORSEMAN” “BoJack Horseman” is over, and everything’s worse now.

After six years and six seasons, the legendary Netflix series has finally come to a close, capping off what can easily be described as one of the most legendary runs in television history. With one-third of its seasons currently rated at a perfect 100 on review aggregate Rotten Tomatoes, the animated show’s legacy is undeniable.

Set in Hollywood, “BoJack Horseman” follows the titular anthropomorphic horse as he navigates his life in the modern world. Back in the ‘90s, BoJack starred in a TV show similar to “Friends” or “Full House,” but after its eventual cancellation, his life is turned upside down.

Weighed down by the mistakes of his past, BoJack is forced to deal with being a washed-up celebrity living a self-destructive life.

The stellar set-up for the show allows for endless creativity from the writing team, which was able to weave in not only comedy, but also pathos, allowing for

Television

By CAROLINE PICKERING Though the world of modern animation is highly competitive, “Star vs. the Forces of Evil” certainly stands out from the rest.

Running from 2015 to 2019, the television series was massively popular, with a strong fanbase emerging even before its premiere. The Disney show—which can be found on the Disney XD, Hulu, Disney+, and Amazon Prime Video—follows the adventures of the magical princess Star Butterfly (Eden Sher), whose parents banish her to Earth from their home dimension Mewni in hopes of halting the trail of magical destruction their young princess’s wild personality creates. Star stays with the family of the karate-fighting school loser Marco Diaz (Adam McArthur), and the two quickly become best friends. Star, however, isn’t the only Mewman who has arrived on Earth. The evil Ludo (Alan Tudyk) and his henchmen have followed Star in hopes of stealing her family’s wand, but Star has other plans in mind. With her new friends, Star battles—you guessed it—the forces of evil.

Music

By SHIVALI KORGAONKAR Lil Wayne charted number one on the Billboard charts with his album “The Carter V” in 2018. This project was a longawaited addition to Wayne’s legacy and comeback that concluded his career-defining “Carter” album series. Two years later in 2020, this veteran rapper has unexpectedly dropped “Funeral,” leaving audiences once again ap-

Riding Into The Sunset: “BoJack Horseman”’s Final Season a truly multi-dimensional story.

Applauded for its accurate portrayal of mental illness, the show doesn’t pull punches as it tackles difficult topics like depression, suicide, and substance abuse. The show is incredibly funny as well, tying in smart animal puns, sly Hollywood humor, and plenty of visual gags to keep the show fun despite its darker tones.

Good writing, however, isn’t enough to elevate this show to legendary status. “BoJack Horseman” also totes an incredibly talented voice cast. Will Arnett stars as BoJack, and his deep, rough voice is able to perfectly capture BoJack’s broken, vulnerable character. In addition, Alison Brie and Aaron Paul perfectly portray BoJack’s contemporaries Diane Ngyuen and Todd Chavez respectively, each lending a unique voice to a unique character.

While it may be animated, in its sixth and final season, “BoJack Horseman” differentiates itself from shows like “Family Guy” or “The Simpsons.” While these shows rely on lighter tones and more juvenile comedy to entertain the viewer, the writers of “BoJack Horseman” navigate season six through a dark place in the lives of each of the characters, forcing them to confront their demons and attempt a jour-

ney of self-improvement one way or another. BoJack’s mistreatment of his friends and coworkers gets him “canceled” by the general public. His estranged sister Hollyhock, his former friend and ghostwriter Diane, his roommate Todd, and his agent and former lover Princess Carolyn all leave BoJack and his toxicity behind, bringing the horse to his rock bottom.

While the beginning of season six brings a sense of hope to the show, with BoJack going to rehabilitation, making amends, and working genuinely on selfimprovement, the second half of season six, released four months after the first half, sees everything BoJack has built go down in flames. He is forced to admit his past wrongdoings on national television, most crushingly the death of his TV daughter (Sarah Lynn) on his show in the ’90s, “Horsin’ Around.” He reveals her death was a result of a dangerous heroin overdose with the drugs he gave her after a monthlong bender. BoJack is also revealed to have a history of taking advantage of powerless women in his relationships, including his former co-star Sarah Lynn and his former assistant Princess Carolyn. By the end of the season, canceled by the media, drinking

again after nearly a year of sobriety, and all alone, BoJack Horseman finds himself in jail.

Some would say BoJack Horseman finally got what he deserved in season six. After all those decades of abuse, he is finally receiving a fair punishment.

No matter your stance on BoJack’s eventual fate however, the ending is undeniably poignant.

The final two episodes of the show display exactly why “BoJack Horseman” has been such a loved and respected program for as long as it’s been on air.

The penultimate episode is a trippy out-of-body experience of BoJack’s. In a dinner party dream sequence, a drowning BoJack envisions all of the people in his life whose deaths have significantly impacted his story. Two of his co-stars, his parents and veteran uncle are among the figures in attendance. The episode closes the stories of these deceased characters, all of them discussing philosophy at a table before giving a final speech or performance and jumping into an empty, black void, signifying their true end.

The unique, twisted animation techniques highlight the show’s everlasting creativity.

The final episode, however, shows BoJack about seven months after the incident: alive,

but in jail. He leaves his penitentiary for a weekend to attend his former agent Princess Carolyn’s wedding. The episode consists of five conversations, each tying up the story of a character in BoJack’s life. The final conversation is the most heartbreaking, finishing up BoJack and Diane’s stories as they sit upon a roof, reminiscing and talking about their respective lives since BoJack got locked up. “Hey, wouldn’t it be funny if this night was the last time we ever talked to each other?” BoJack jokes to Diane, who stares into space.

This episode gives “BoJack Horseman” a perfect wrap up.

Not everybody gets a fairytale ending, and loose ends are still left untied. The ending brings closure to the stories of the main characters and brings the audience intense remorse, but a strange sense of hope. BoJack has now truly seen his rock bottom, and while his future is clear, he has only one direction to go: up.

The last season of “BoJack Horseman” is a masterclass in television. Filled with genius writing, unique animation, immense voice-acting, and heart-crushing twists and turns, Netflix brings a terrific end to an outstanding show.

Doing Animation Right: “Star vs. the Forces of Evil” As Star matures and trains for her destiny as Queen of Mewni, it soon becomes clear Ludo isn’t the only villain in this Disney series The more Star and Marco explore Mewni, the more they realize it’s not the peaceful, lively, magical place they thought it was.

The dimension is marred by hate, discrimination, and abuse of authoritative power, and the show explores mature themes of sexism, corruption, and imperialism. The delivery of these themes is gradually and tastefully done, with the plot remaining relatively simple in the first and second seasons and later growing more complex.

Gaining popularity before attempting to execute these ideas may have been intentional, since the Disney executives may have disapproved of these themes. In fact, “Star vs. the Forces of Evil” was the first Disney show to feature several LGBTQ+ couples in the background of the episode “Just Friends” in 2017, something its predecessors like “Gravity Falls” (2012-2016) did not do. Even

if this were the case, it certainly worked in the show’s favor.

One of the most interesting aspects o f the fourth and final season is its lack of a specific villain.

Though there are sev-

Sabrina Chen / The Spectator

eral figures who could vie for the title of main antagonist, the real villain is the bigoted society of Mewni. In a time of political disorder, Star realizes that her people and her family have a lot

to answer for and that no one is willing to change their outlook. It serves as a captivating final arc, as the show focuses on internal rather than physical conflict, seldom seen in children’s television.

The show offers more than an enticing storyline. The animation of the cartoon is always bright and cheerful, and while it sometimes appears primitive in earlier episodes, it improves over time to deliver colorful and aesthetically pleasing visuals.

Furthermore, the show has e n g a g ing and naturally delivered voiceovers. The show features a couple of original songs, with one full-length track performed

by Fall Out Boy’s Patrick Stump.

All of these elements make the show fantastic, but what drew me to the show was its protagonist, Star. Dubbed a rebel princess, Star is anything

but your typical Disney princess.

Star begins the series as a naive, reckless party girl with little patience, care for responsibility, or discipline. Her carefree nature, though it encourages Marco to venture out of his comfort zone, often causes more problems than it solves. As the series progresses, Star undergoes significant character development. She realizes how she can help others and becomes the leader she was born to be, channeling her creativity and spunk into improving the world around her. Watching a confident young woman who is unafraid to get her hands dirty at the forefront of a television show is truly inspiring.

“Star vs. the Forces of Evil” is a show I have enjoyed for several years before I ever realized some of its more subtle themes.

It creates an effortless narrative that appeals to both children and adults, providing a compelling social commentary while being a cute, age-appropriate story about a magic princess’s quirky adventures. Without a doubt, “Star vs. the Forces of Evil” is one of the most well-written, captivating television programs I have ever seen.

Was Lil Wayne’s “Funeral” a Failed Experiment? preciative of his sustained success in the competitive hip-hop industry.

As always, Wayne displays his lyrical magic and ageless flow throughout this album with the assistance of many artists such as Big Sean, Lil Baby, and the late XXXTENTACION. “Trust Nobody,” for instance, features Adam Levine, who sings, “Two fingers, I keep ‘em crossed, I can’t be lookin’ for peace / I’ve been lookin’ at the stars, and they

don’t glisten for me / I’ve been lookin’ in the mirror, he don’t listen to me,” demonstrating the rapper’s remaining paranoia and anxiety with the career he’s made for himself.

The peak of this album is undeniably the title “Mahogany.”

Wayne raps over a hypnotic hum of a woman who brings a unique jazzy vibe. His voice is dragged in and out of the song, keeping the listener on their toes, eager to hear what’s to come. Other

standout songs include “Mama Mia” and “Bing James” ft. Jay Rock, both of which display classic Wayne melodies over beats that force you to put each song on repeat.

Unfortunately, while Wayne has some energetic tunes that will inevitably find their way into many fans’ playlists, this album simply lacks consistent, groundbreaking music. A lengthy album of 24 songs, the majority of tracks in “Funeral” follows a ge-

neric beat and fails to bring anything new to the table. “Dream” sounds like a sad attempt of a rock/rap hybrid, in which Wayne’s unusually cheesy lyrics fail to flow properly over a childish, snappy beat that sporadically transitions to Wayne yelling over a soft drum pattern. Similarly, Wayne’s verse in “Sights and Silencers” ft. The Dream was neicontinued on page 27

The Spectator ● March 13, 2020

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Arts and Entertainment Music continued from page 26

ther rapped nor sung and uncharacteristically fit into the veteran rapper’s R&B song. “Get Outta My Head” ft. XXTENTACION began and ended in the blink of an eye, and the only thing listeners could recall was the scream-

Film

By JENNIFER SUN “Miss Americana,” a documentary about Taylor Swift’s career and rise to fame, is hardly a new idea, as celebrities have been making personal documentaries for decades. It follows Swift from her first country songs as a teen to her most recent album “Lover,” attempting to humanize her and shed new light on her career.

The documentary is told in chronological order and includes voiceovers combined with interview clips and behind-the-scenes videos of Swift composing her songs. A disappointment early on in the documentary, however, was that a significant portion of the film comprised of old clips instead of new material. Much of the content in the documentary was recycled from Swift’s past interviews and previous appearances in the media. “Miss Americana” reveals that since so much of Swift’s life has already been documented, there’s not much left to share. Its summary of her

Food

By MATTHEW WAGMAN Pizza is probably one of the most New York things possible.

Even snooty Italian tourists partake in our greasy yellow triangles on their forays into the Big Apple. The sheer quantity of slice joints gives any New Yorker in any part of the city a few options for their pizza fix, even if one were to be sandwiched between the sticky rollers and weak heat lamp of a 7/11. So how about a special group called Stuyvesant students, starved for both time and cash?

There are only two viable options for slices near Stuyvesant, the close and relatively cavernous Cafe Amore (as seen in the previous CAL) and Little Italy Pizza down near the Chambers Street ACE station. Cafe Amore, of which I spoke so highly previously for its great sandwiches, won’t fare as well in this issue.

It boasts a respectable variety of slice options, but is pretty (if not prohibitively) expensive—$3 without tax (so closer to $3.50 with) for the classic cheese, and the prices only climb from there.

So is the slice reasonably worth the extortionate price? Not really. Beneath all the grease, there’s flimsy (but not horrible) bland dough, which is okay as the crust but generally indistinguishable.

The sauce is slightly sweet and just as boring as its depressed fire-engine-red color. The cheese

Was Lil Wayne’s “Funeral” a Failed Experiment? ing of XXX behind Wayne’s subpar rap.

In addition, this album has very few instances of a substantial storyline, so each song is an abrupt introduction to a new plot, making it difficult to understand the album’s purpose. It sounds like Wayne wrote 24 different songs with 24 different

producers over an extended period of time and then compiled them into one large playlist. To some, this isn’t necessarily bad, but I wish Wayne lowered the number of tracks in this album so listeners wouldn’t be forced to weed out the experiments.

“Funeral” hasn’t garnered the same popularity as Wayne’s

previous albums have, and this may be because of how he transitioned out of his old style. It’s clear that Wayne didn’t attempt to fulfill his fans’ expectations as he did with the “Carter” albums.

In this album, we hear the music of an unrestricted artist breaking out and attempting to explore a modern take on hip-hop. Maybe

it is simply too sad for me to see the OG rapper abandon his revolutionary music for a contemporary and overused hip-hop pattern on “Funeral.” We all know this is not an accurate display of Wayne’s full potential, so I truly hope “Funeral” isn’t the album Wayne decides to end his almost 30-year long career with.

“Miss Americana”: A Political Documentary about Taylor Swift early career was unnecessary and detracted from the portion of the film dedicated to where she is now.

But one of the upsides of this documentary is Swift’s vulnerability from her mental health struggles, which allows her to emotionally connect with her audience. One of the most memorable moments is when she talks honestly about her loneliness and how the only person she has was her mother. At one point, Swift wonders, “Shouldn’t I have someone to call right now?”

Another memorable scene is her candid discussion of the unjust treatment of women in the entertainment industry, going as far to say that they are “discarded in an elephant graveyard by the time they’re 35.” Swift talks about her need to reinvent herself in order to stay relevant and how her male counterparts don’t face the same pressure.

In addition to tackling gender roles, Swift decides to speak on her political stance. “Miss Americana” addresses why Swift

has suddenly emerged as a po- Democratic candidate Hillary litical activist afClinton, her endorsement would ter 15 years have done more harm of silence in than good due to her politics. The reputation. It’s clear documenviewers are supposed tary deto feel sympathetic picts how toward Swift, who she fought paints herself as her family to someone previously post an enuneducated about dorsement for politics and scared of two democratic offending the public, but candidates in this message seems Tennessee, destaged. spite how risky The film’s it was for her explanation popularfor why Swift ity at that suddenly point in became an her caavid politireer. Swift cal activist repeatedly is flimsy at explains that best and she stayed despite silent for so its good long in fear of intenIsmath Maksura / The Spectator influencing other people’s poli- tions, doesn’t show Swift in a tics. She justifies her silence dur- more positive light. The second ing the 2016 election by stating half of the 85-minute long film that had she publicly supported is dominated by Swift’s harsh

criticisms toward conservative Marsha Blackburn, who she calls “Trump in a wig.” There is a noticeable shift when the documentary’s focus transitions from Swift to her political opinions.

While her stance on political issues is a significant aspect of her life, there’s a fine line between watching a documentary about Taylor Swift and her personal struggles throughout her professional endeavours and watching a film about her political beliefs.

Despite its flaws, “Miss Americana” tackles more topics than necessary for a celebrity documentary. Swift opens up about eating disorders, anxiety, and the fragility of her career.

This version of her is complex, proving that she’s more than just a pop star who just keeps reinventing herself. This documentary humanizes her, and though viewers should be skeptical, as the purpose of celebrity documentaries is to help them appear more relatable, the audience can’t help but root for her by the end of the film.

Cheap *ss Lunch #6: The Best Pizza Place Near Stuyvesant (Yes, For Pizza) also has nothing to say for itself, just begging for lots of red pepper and garlic. The pepperoni is standard corner-pizzeria fare if a little tasteless. Surprisingly (or not, considering the quality of its sandwiches), the sausage roll with onions and peppers is actually decent but probably too expensive for most people’s tastes.

lunch rush, but it’s much more efficient in moving everyone along, so the wait is less of an issue than the traffic would imply.

There’s pretty much only pizza here, the main exception being an oily stack of greasy cheesesprinkled garlic knots ready to be paired with a cup of steaming, sweet tomato sauce. The build-

There are only two viable options for slices near Stuyvesant, the close and relatively cavernous Cafe Amore (as seen in the previous CAL) and Little Italy Pizza down near the Chambers Street ACE station.

The service isn’t too hot either, with plenty of lag time and a fair chance of a mess up or misunderstanding in your order.

In terms of decor, Little Italy Pizza is the polar opposite of Cafe Amore. Known to most as the one that straddles the Chambers Street subway, the pizzeria trades a serious awning for wraparound glass, putting its steaming pies in full view. Instead of gloom and faux-wood tables, bright lights and cheery red plastic furniture make for a much nicer atmosphere. It does get a tad crowded, and you may be in need of seats in the thick of the

ing itself is quite imposing, but any grandeur is tempered by staring into the gaping maw of the subway as you munch on your slice.

There are numerous choices for pizza at this fine establishment, but the cheese, pepperoni, and sausage are probably the safest bet as they have the greatest turnover (c’mon, how long do you think that cheese and broccoli pizza have sat there?). The slices are true New York creations: so thin they look as if they could collapse at any moment, but still crisp. Inescapably, there is a lot of grease over the vaguely tough

cheese, which isn’t so vibrant but not really bland either, which is as good as can be expected.

Their pepperoni is savory but not overly so, the firm circles liberally scattered over their slices.

The tomato sauce is largely forgettable, merging seamlessly into the carpet of chewy cheese. The dough is sturdy and has a pleasant chew, with a calming, neutral taste, a counterpoint to the more exciting toppings.

Little Italy Pizza has quite a few options beyond what I’d recommend, but which I tried just in case anyone would be interested. Its buffalo chicken slice is disappointing but still moderately tasty, not very unique, and generally forgettable. For a classic topping, the sausage is dense, chewy, and not well-spiced. The Hawaiian, considered by many an abomination, is sadly underwhelming, and I wouldn’t recommend its sad yellow chunks.

Don’t get fooled by the sign outside—drinks aren’t free no matter how much pizza you order.

The normal prices are $3 for a plain, $3.50 for a square, and $4 for a sausage and pepperoni (the same price for most specialty options). I’m not sure if they still have their $6 for two plains and a drink special, but if they did, it would be greatly appreciated by any penny-pinching lunch goer, Stuyvesant student or not.

So, which comes out on top in this pizza-slice skirmish?

Well, if you’ve read this far or just skipped to the end, I have to tell you it’s pretty close. But (drumroll please) I have to say Little Italy Pizza is just barely the best option. It’s minutely cheaper, much faster, well lit, and the pizza itself simply tastes better. The only major drawbacls are its longer distance, lack of good fresh sandwiches (which most wouldn’t miss anyway), and of course, the unavoidable lower Manhattan price. But what Stuyvesant student can go out and get a $12+ Just Salad every day anyway? You need to give up a certain amount of money to get a decent meal, but it shouldn’t be horrendous. And who wouldn’t get tired after eating the same Halal or school lunch week after week? If anything, both of the slice joints will provide you with the steaming slice of New York pizza that you know (and possibly) love (or tolerate, but it’s still fresh and hot either way).

Directions:

Cafe Amore: Down the bridge and past the McDonald’s, on the left side of the street. On Chambers between Greenwich and West Broadway.

Little Italy: Same walk, but another block and a half down, on the corner of Chambers and Church Street, near the subway.

The Spectator ● March 13, 2020

Page 28

Humor These articles are works of fiction. All quotes are libel and slander.

Rejected SING! Applications

By HELENA WILLIAMS and JORDAN BARAKAT It’s SING! season again! For the people who decided to participate in this Stuyvesant tradition, February is a month of exhaustion. And for everyone else, it’s also exhausting, but they have other less important excuses for staying up until 2:00 a.m. every night. Still, it’s important to remember that not everyone who wanted to participate in SING! was accepted, no matter how qUaLiFied they may appear to be. In some cases, pectator it really / The S e sre

ha

Raj

on a commercial, so I’ll probably only be able to show up to one or two rehearsals because, you know, priorities. I’m also n o t sure if I’ll be able to participate in any of the performance dates because my time is in s u ch high demand. Still, I should clearly have t h e l e a d

l Pau

was “based on many factors” and because of “a large pool of talented applicants” (too soon, seniors?). In other cases, however, there were some people whose applications were just… too unique.

Compiled below are some of those applications. Names have been removed to protect their anonymity.

1. I know that I’d be great for Junior SING!’s cast because I’m a VERY qualified actor. I’m actually in the middle of acting for three different teen television shows and am also working

By ASA MUHAMMAD

role because I actually know what I’m doing, unlike the other plebs applying to SING!. I bet that I could out-act everyone else who’s applying, but because of my humility, I will do my best to not intimidate other cast members with my skills.

I’m sure that they would learn a great deal from standing off to the side and watching me shine like the star that I am.

2. If I were accepted into Soph-Frosh SING!’s Art Crew, I would bring my unique artistic style with me. I’m a selfproclaimed abstract artist, and

I’d love to see my work, which derives major elements from Pollock and Dalí, on stage. In general, I think this would be a great direction to take the Wonderland theme in because I believe the fantastical world of Wonderland would best be represented through incredibly confusing and splattery paintings that serve as metaphors for Alice’s winding journey through Wonderland. This is something I will not compromise on: I refuse to limit my artistic expression to the bland world of “realistic” set painting, and I hope that this makes sense to you.

3. There is no reason not to accept me to Senior SING!’s makeup crew! I have an extensive body of experience with clown makeup, and since Hollywood is FULL of actors playing clowns, I believe that my knowledge will allow me to be incredibly useful to the makeup crew.

I mean, who could forget the iconic Frowny the Clown played by popular actor Eli Roth? I don’t do scary clowns, though, so I can’t actually make someone look like Pennywise. Still, if you want to put an inside joke about the famous Shakes the Clown into this year’s SING!, you can honk on my door! Get it? Get it?

4. It is vital that I am accepted into Junior SING! band, for you see, I am an absolute MASTER at the triangle. I have mastered all the triangle tricks.

I can even do the Pythagorean,

Stuylin: A Guide

With the recent passage of Valentine’s Day, there is no doubt the vast majority of you are all single despite taking part in Principal Eric Contreras’s Sweetheart Initiative (This is a shameless plug.

Take a peek at issue nine!). One of the primary reasons people get rejected is that they’re… beauty deficient; while we can’t alleviate that affliction, we can make sure you dress to impress. Here are some of the hottest new fashion trends to keep the attention on your fit rather than your face!

Option 1: The Gym Uniform Have college apps added a few gray hairs to your head? Did final exams highlight your wrinkles? An easy way to replenish your youth is by wearing the classic Stuyvesant gym uniform. A ubiquitous classic, the pairing of a beautiful heather gray T-shirt and navy blue shorts will have you causing an unforgettable stench in the hallways.

Though these sets are available exclusively through the pop-up in the first-floor administrative office, they are quite affordable and extremely versatile. The shirt can be worn tucked-in for a chic, sporty look, or you can wear the shorts oversized for a high fashion runway look.

Option 2: Club Gear The best way to flaunt your hobbies and heighten your aesthetic is with some stylish branded club gear. These pieces are generally only available to club members, so the exclusivity alone will

take your fashion to the next level.

In addition, styles vary based on your club affiliations, ranging from an iconic monogrammed letterman jacket to “athleisurewear” windbreakers to a sleek classic tee with a logo. Some clubs even offer limited release accessories, like the muchcoveted bucket hat. With club gear, you’ll turn heads and maybe even get some new members too.

strangely attractive artist your parents are afraid you’ll become. This jaw-dropping outfit accessorizes well with your childhood stuffed animal and the eye bags from last night’s cram session!

Option 4: The Raunchy Hoodie

If you have a teacher you absolutely despise, this is the most aesthetically pleasing way to wage psychological warfare in their Option 3: class. Whether you choose The Pajama your preferred spicy site or Suit a hoodie plastered with the faces of anime Have you girls experiencing… ever arrived late something like pure because you were euphoria, this choice literally stuck conwill definitely turn heads templating what to and raise questions. The wear to impress evtrue utility of this outfit is eryone? What if you the dilemma it imposes on could simply leave the your teacher. Will they adhouse without getting mit to being familiar with changed and look hot the subject matter you’ve while doing so? With adorned yourself with, the pajama suit, now risking their reputation you can! Perfect for and control of the class, a morning after the or will they simply look much-dreaded allupon you with disdain, nighter, pajama suits forsaking their morals require no prep and to preserve their pride? function as the ulEither way, they lose timate statement as much as your piece. The pajama grade point averis the much-needage. Your peers will Cadence Li / The Spectator ed juncture bebe so impressed tween by your utilistrong taridefiance anism and utter and leisure. confidence that they Time-saving and ridiculously will have no choice but to swoon comfy, the pajama will have you when you turn their way. Date looking like the struggling yet guaranteed!

which is best described as hitting each side of the triangle about twice—honestly though, it’s pretty hard to keep count.

My triangle skills are revolutionary, which is great for Junior SING!’s theme. A little warning for the songwriters though: I demand a solo song for my triangle skills to SHINE. I’m thinking about performing a version of the Star-Spangled Banner but without those pesky “lyrics” and “strings” or whatever, so I can truly shine.

5. I believe that I am perfectly fit to be part of Soph-Frosh SING! chorus. My voice is an-

school, people are so ashamed of their voices that they cover their ears and run away from me. Honestly, there’s no need for me to audition: just tell me when the performances are, and I’ll meet you there!

6. I’m gonna be real with you chief, I don’t know which department this is. Like, I’m a senior, so I’m gonna assume that this is Senior SING!, but beyond that, I don’t know anything. All I know is that I wanna go to the SING! afterparty at least once during my school life here.

Freshman year I wanted to go, but when I asked Moran how to

“I’ll probably only be able to show up to one or two rehearsals, because, you know, priorities.”

—anonymous gelic. When I tried out for chorus during Camp Stuy, Ms. Liliya Shamazov just stared at me and said, “Well, your voice has… something. Try again in about 10 years?” Let’s be real: we both know she just didn’t want the Oratorio kids to feel bad about themselves. I’m so good that whenever I sing on my way to

get in, he just called my mom.

Sophomore year I was too busy with work (this was when I still cared about this school), and junior year I couldn’t go because I got so bored during Soph-Frosh SING! that I slept until Tuesday.

I need to go at least once. Please let me be in this department.

Thx.

Dead Art

Sammi Chen / The Spectator

“When dead weight kills you.”

Submit your own caption ideas to our Facebook and Instagram caption contests in the future!

The Spectator ● March 13, 2020

Page 29

Humor

By JAKE LIN and IVAN WANG

What could be going on inside? Did the escalators consciously break themselves, knowing they’d just be abused?

The addition of the new walls blocking our view of the escalator only makes the construction more ominous. It looked

fine before; what’s there to hide now? At this point, with the light never on and the air all humid, it’s probably all moldy and smelly in there.

Hmm, why does it smell like that? It’s quite possible that the rats of Stuyvesant have already made the broken escalators their new clubrooms after their rooms kept on being screwed over due to StuyActivities approving the same room for two clubs. Maybe a sophomore just fell in by accident; it’s not like anyone would have noticed. But maybe the broken, walled-off escalators are just being worked on by some Oompa Loompas singing about Trump’s impeachment. The walls are there to soundproof the area, so we can’t hear their musicals they’re putting on that are delaying the work.

Many expectations rode on the three to five. It was promised that it would be fixed by January 1, 2020. It has been more than two months overdue. An obscure theory formu-

lated by a secret society residing in Stuyvesant is that the escalators are now officially the garbage heap where all the discarded apples from the lunchroom “donation table” are dumped (nice doing your jobs, Urban Ecology kids).

And who knows what could be living in the two to four? No one has opened it in a while.

Maybe it has a biology project gone rogue. Perhaps it is the resting ground for the souls of freshmen who have Art Appreciation first period. Some have even speculated that it had been intentionally blocked off to prevent any students from gazing at the second floor and generating hope they may one day leave the math dungeons on the fourth floor.

And perhaps Principal Eric Contreras has teamed up with the gym teachers. It’s a wellknown fact that moving a lot makes you lose brain cells, which is the reason why many Stuyvesant students actively avoid exercise. Closing escala-

tors lead to everyone having to exercise, a win-win for Contreras and the gym teachers.

Contreras gets to enjoy his elevator and save on electricity

every once in a while, and for some reason, the escalators seem to stop shortly afterward.

There has been no evidence to suggest that they are correlated

while the gym teachers get to do less work. Allegedly, it has been leaked from the morning announcement officers that Contreras owns a large red button in his office that he pushes

as of today.

To conclude our conclusion, please fix the escalators. We beg you. Do it or our editors will burn themselves alive.

Daniel Berlinsky / The Spectator

“New semester, new me,” the distressed freshie thinks on January 21. “There’s no way it’s still broken… right?” The freshman looks toward the two to three escalator. “Score! The two to three is as reliable as ever!”

He slowly paces toward the three to five, fingers crossed, toes crossed, praying for his good fortune to continue. His heart skips a beat. “No way… how is this possible?” he whimpers. He stares at the blank white wall covering the escalator and knocks before sliding down to the ground and putting his ear up against the wall. “Mr. Moran, are you there?”

Into the Depths of the Escalators

Progressive Initiatives Completely Eliminate Class Cutting

By VERONIKA KOWALSKI Below is the progress report on several school-wide initiatives that have been undertaken in the past year: • • • • •

• • •

The class cutting count has officially been brought to zero documented cuts per week, thus completing our goal. With the purchase of our handy scanners and the implementation of our efficient reporting system, students will be under the surveillance of their teachers at all times.

We purchased six new scanners for select locations in the school, including the Innovation Lab and the third-floor gym, in addition to a portable scanning station for each of the school safety team leaders.

We launched our pilot scanning program at the entrance of the cafeteria during December of 2019. Through a unanimous vote, it was decided that students were permitted to cut class only during periods one, two, and three. Students are prohibited from cutting class from periods four through eight because there is a greater probability of food fights ensuing during those periods.

Due to the evident success of the cafeteria scanners, we expanded our program to include other venues. The scanner at the junction between the stairs and the fourth floor keeps traffic moving in one direction. The scanner in front of the gender-neutral bathroom on the fifth floor verifies there is only one user in the restroom at a time.

We invited the deans to approach students at the senior atrium and interrogate them about their schedules. Unfortunately, the sophomore bar had to be closed down because it had two entrances and could not be monitored effectively without causing confusion and/or panic. Certain students have opted to stay in their classes through the passing period for the fear of being carded, or “scheduled,” in this five-minute window. Others have been spotted climbing in and out of windows to avoid being marked absent by their teachers. More than one student has attempted to translate Snapchat’s Face Swap filter to real life so they can appear in the class they were assigned to for that time.

The library has ensured that students do not have access to the library during their science frees. Access to textbooks would detract from time that could be spent studying.

Students are rewarded for reporting instances of their peers cutting class. Rewards include decorative tape, whiteout, and free pencils. Repeat reporters are sent to the office of Assistant Principal of Safety Brian Moran and are given a $25 gift card upon release.

It is essential that we recognize the importance of prohibiting students from applying their own schedule stickers to the back of their ID cards. Without this regulation, the stickers would certainly be applied upside down in many cases, and the free periods on the schedules would be inverted.

Trump’s Twitter Timeline During the Impeachment Saga

By JONATHAN XU and DAVID NACHMAN

The impeachment proceedings against President Donald Trump unfolded over the course of several weeks. When the Senate proclaimed him to be innocent, he was compensated with absolutely no peaches (must be the worst trade in the history of trade deals). After a grueling finals week, everyone is too tired to remember what the whole impeachment fiasco was about in the first place. The Spectator has compiled a timeline of Trump’s tweets starting from his indictment in the House to the final vote of acquittal in the Senate.

“So the Radical DEMS in the House, led by that Crazy Bat Lady Pelosi, just declared me a traitor to the American people! She and socialist Sanders are getting too OLD

and SMELLY for politics! Sad. p.m., December 18, 2019 There’s enough Jennif er Sun / The Specta tor gas in “Babbling Biden COERCED Ukraine into ending an investigation into his ohso-wonderful son, who has not even killed half as many elephants as my son, Donald Jr. (named after me, Donald Sr.); […] now I come along and ask them to do me a favor by stamping out corruption, and I’m the bad guy?

Go do yourselves a favor Dems, and stop this Witch Hunt.” —8:19 p.m., December 19, 2019

their farts to power the whole of the SPACE FORCE and then some.” —5:36

“Cold Feet DEMS are too scared to send the articles of impeachment over to the Senate.

Cold feet or no feet, this whole impeachment hasn’t got any legs to stand on, cold or otherwise.” —2:30 a.m., December 23, 2019

“Can you have feet without legs?” —2:31 a.m., December 23, 2019 “Wait, this isn’t Google?!”

—2:34 a.m., December 23, 2019 “You know what would be really cool? If the Dems tried to impeach me, and they subpoenaed my officials, but I told them not to go, and then I like said the Dems had no basis to impeach me because none of my officials testified.” —3:41 a.m., January 9, 2020 “I think I had the wrong number for that last tweet. I was supposed to send it to Mitch McConnell.” —3:43 a.m., January 9, 2020 “Mom? Are you there? I’m really scared. Someone just banged on my door and said he’s a cop. He said he’s got a warrant, and he’s gonna send me to jail just because I abused the office of the presidency for my own personal gain. It’s MY

office. I can decorate it and invite whoever I want to it, but I’m not allowed to use it for my own benefit? Help mommy, I’m really scared.” —4:40 p.m., January 14, 2020 “In the debates, silly Amy claims she never lost an election but forgot she was fourth place in Iowa! SAD!” —10:15 p.m., February 5, 2020 “Crepey Joe polling at fifth in New Hampshire! Is the DNC meddling with the election again? Maybe Joe should challenge Pocahantas to a push-up contest if he’s so good at them for fourth place behind CRAZY BERNIE!” —6:25 p.m., February 10, 2020 “Andrew said in an interview he would pardon me when he’s elected president. But I was just acquitted, and he has just dropped out. NO MORE $1,000!” —9:30 p.m., February 11, 2020 (For more tweets follow @ HumorSpec on Twitter)

Page 30

The Spectator ● March 13, 2020

Sports Athlete of the Issue

Balling with A College Baller

By AKI YAMAGUCHI

Anthony Sun / The Spectator

Rebeca Morel Height: 5’6” Eye color: Dark Brown Hair color: Black Birthday: 4/27/1982

1. When did you start playing basketball?

I started playing basketball in elementary school in the third grade. I played with a neighborhood league and they introduced me to a youth basketball [team]. I trained with them and I continued to play until I got to high school where I played on my high school team. All the while, I was playing after school and summer ball with the Henry Street Settlement down on the Lower East Side. I continued basketball with my high school team, the High School for Environmental Studies, and

I played there for four years.

2. How was the experience of playing college basketball?

Playing college basketball was a dream; the one goal I had as a ball player was wanting to play in college. I was given that opportunity at Mount Holyoke College and it was demanding. Mount Holyoke was academically very rigorous, and so combining that with basketball was definitely a challenge. But I made some longlife friends, including my coach whom I still connect with to this day. We also got to travel a little bit. It was Division III, but we really had a good time.

3. Do you have any tips for anyone who wants to play college basketball?

You have to be dedicated.

You have to be dedicated to your craft. Work on your skills constantly, and I think it’s a matter of reaching out. There are so many coaches, so many teams, so many colleges, but they can’t go everywhere. If you’re a serious student-athlete and you want to play college ball, reach out to the schools you’re interested in and send them videos of you playing your entire game—not just highlights so they can get a sense of the athlete you are. Fill out the questionnaires, use social media, and make sure you market yourself to the schools you are interested in.

4. How did your own recruiting process go?

So I reached out to the schools I was applying to.

When I knew I wanted to play basketball and I knew what kind of schools I wanted to go to, I sent the coach an e-mail and I filled out the online questionnaire. The coach reached back and said when you get on campus, come to my office and meet with me. So that was after I was accepted. But when I was in high school, I was being recruited by the Stevens Institute of Technology. [The coach there] was my AU coach, so he really wanted me to go there, but I wanted to go farther away from home. After I reached out to the campus, the coach invited me to some preseason workouts and that’s how I was able to join the team.

5. What position did you play and what were the skills you were always trying to improve at?

I played the 2-3; I was the shooting guard/small forward but mainly the 2. I tried to become a better shooter. I considered myself a defensive specialist and I hustled. I would go after every loose ball and I would play some defense, but I was not a confident shooter. I would go backdoor and always hit the backdoor cut and get the layups, but I would pass before I would shoot. That’s what I would have worked on a little more.

6. Did you continue to play basketball after college?

I played after college a little bit when I was working, and so after college, I coached. I

team—the top team in our division—and it was down to the wire. We were down by a few baskets. I struggled with free throws as a ball player and I

“I struggled with free throws as a ball player and I managed to make a drive to the basket, get fouled, and make the two free throws in order to get it into overtime. That was the highlight of my career.” —Rebeca Morel, PE teacher played with my team for the first maybe five to six years and then taught. I would play with my students. I’ll jump into a game of pickup here and there.

But competitively on any adult leagues? No, not anymore. I will give someone some challenges in the gym, though.

7. Funniest memory?

In practice, I took the most impossible shot. I don’t know to this day how it went in. It did not not have an arch; it literally went horizontal and into the basket. It was silly, it was crazy, and that was the silliest moment I’ve had.

8. Proudest memory so far?

We played a really tough

managed to make a drive to the basket, get fouled, and make the two free throws in order to get it into overtime. That was the highlight of my career.

Drink of Choice: Lemonade and flavored seltzer, mix the two together and it’s a home run Favorite food: Pizza; Supreme with onions, peppers, pepperoni, sausage, and the little black olives Motto to live by: Be kind, always be kind and smile Fun fact: I have fifty two aunts and uncles

Boys’ JV Basketball

By VERNON HUGHES continued from page 32 Their veteran experience has come in handy as their passion and determination have led their young team to another playoff push. “For me, it was heartbreaking to not make it [to playoffs] last year, when we had a 10-4 record,” Maheshwari said.

With only two games left in the regular season, the Runnin’ Rebels rank right behind Baruch College Campus High School and ahead of School of the Future in a tight race to clinch the last playoff spot. “We plan to beat both Baruch and Chelsea to propel us into the playoffs,” Ly said. While the team’s desire to make the playoffs is clear, the Runnin’ Rebels will have to dig deep to execute their ambitious goals for the season. The team started off the season on a very strong note, beating Bayard Rustin Educational Complex in its opening game on a buzzer

Runnin’ Rebels Prepared Prior to Playoffs beater. “We are the first JV team to beat Bayard in a long time,” Fingeret said. The fact that Bayard currently leads the division, with its only loss being against the Runnin’ Rebels, shows that the Runnin’ Rebels certainly have the talent to compete with the best. The fact that Bayard currently leads the division, with its only loss being against the Runnin’ Rebels, shows that the Runnin’ Rebels certainly have the talent to compete with the best. The Runnin’ Rebels continued to shine as they won four consecutive games by doubledigit margins.

The real test for the Runnin’ Rebels came in January when the team was scheduled to play against the three fiercest teams in the division: School of the Future, Baruch, and Bayard. In addition to struggling with numerous injuries, many players were not getting proper sleep due to finals week. Though all three games were close, the Runnin’ Rebels succumbed to

three consecutive defeats.

Just when the players had almost given up hope, February brought a promising new chapter for the team. They restarted their ways with a massive 48-24 win against East Side Community, where Maheshwari, Ly, and Fingeret scored an impressive combined total of 43 points.

Earlier in the season, they had only managed to beat East Side Community by nine points, showing major offense improvement. After the victory, the team triumphed in three more games, most recently against School of the Future. “We had a few tough losses but we played really well this past Thursday to keep us in the playoff hunt,” Fingeret said.

Coach Howard Barbin has been instrumental in leading the Runnin’ Rebels through such an impressive comeback. “Coach Barbin’s power is unquestioned.

If he says something, everyone listens.

He is always telling us, ‘I would rather lose and play the

right way than win and not,’” Maheshwari said. Even though each season brings a completely new group of players and team dynamic, the Runnin’ Rebels have consistently been in the fight for the playoffs for the past three seasons. This is greatly due to Coach Barbin’s ability to make adjustments based on each player’s strengths and weaknesses. In practice, he has fostered a competitive mentality in all his players and makes them work hard to achieve their ambitious goals.

While the team’s defense has been very strong thus far, it has been working on improving its offense, especially because one of the team’s best three-point shooters, sophomore Kamran Chowdhury, has been injured for most of the season.

Maheshwari has also been vital to the success of the team.

As a freshman, he averaged double-digits and led the team in scoring. This season, he has averaged nearly 20 points and nine rebounds per game, which are

some of the highest statistics in recent years for the boys’ junior varsity basketball team. He also scored 30 points in the recent win over School of the Future, his highest tally of the season.

With guidance from Coach Barbin and a fervent determination to achieve greatness, the Runnin’ Rebels can persevere through their next few challenging games to earn a spot in the playoffs and advance in the standings. “We have been on the grind and putting in hard and consistent work to get that competitive edge to make playoffs and to maybe even win the championship,” Ly said. The Runnin’ Rebels are especially driven by the fact that for the sophomores, this is their time to cement their legacy in their second ever playoff appearance.

For Shau and Tan, the future looks bright and hopefully they will bring more success and experience to the team next year with its promising players.

Sports Editorial

The NBA Trade Deadline: A Day of Big Moves

By ETHAN KIRSCHNER and SAM LEVINE continued from page 31 Andre Drummond heads to Cleveland In one of the more puzzling

trades of the day, the Detroit Pistons sent Andre Drummond to the Cleveland Cavaliers in exchange for Brandon Knight, John Henson, and a 2023 second-round pick. Drummond was one of the players who was bound to be moved by the 3:00 p.m. deadline,

but Cleveland wasn’t the expected suitor. The Cavs, who already have big men Tristan Thompson and Larry Nance, who are playing well, acquired yet another big man, instead of possibly going after a young forward to pair up with young guns Colin Sexton

and Darius Garland. This leaves Thompson to seemingly rot away on the bench, not to mention the Cavs having to continue to pay Drummond’s massive contract.

But on the other hand, the Cavs didn’t seem to give up much for a former all-star like Drummond.

Maybe there was something going on behind the scenes in Detroit that we don’t know about, but Drummond wasn’t happy about the trade, as shown by his angry tweets on Twitter, where he called out the Pistons for being unloyal.

A puzzling trade all around.

The Spectator ● March 13, 2020

Page 31

Sports

Sports Experiences

A Run Down Memory Lane

By THE SPECTATOR SPORTS DEPARTMENT We asked the members of the Sports Department to take a run down memory lane. Here are their favorite sports memories:

“My favorite sports moment is when I was in eighth grade on my middle school soccer team. It was the coldest game of the season. I had not scored and had barely crossed the halfway line all season. In the semi-finals, I scored two goals, both off of corner kicks, in a 3-1 win.” —Aidan Fingeret, sophomore

“My favorite sports memory is when I watched the final minutes of the 2016 NBA Finals. The teams were missing a lot of shots and they were going back and forth. I remember when LeBron James blocked a shot toward the end and when Kyrie Irving made a three-pointer to seal the game. It was mesmerizing, and I was so excited when they won.” —Alicia Yu, sophomore

“My favorite sports memory is the combination of events that surrounded my club soccer team winning dual championships last season and making club history. I had been on the same team since the fourth grade and this was our first time winning a state cup. The buildup to winning the New York State Championship was unforgettable, with penalty kicks in the semi-finals and a close final game. We celebrated our win with an amazing party right after and showed up all dressed up (and sweaty) with our medals and a huge trophy.”

—Aki Yamaguchi, junior

“My favorite sports memory is my eighth grade lacrosse season: my school’s team advanced from being the lowest-ranked team in New York City to one of the top-seeded teams. We had many close games and impressive goals and ended up winning our playoff game 8-3 but losing 3-2 in the championship. Despite our loss at the end, the whole season was an amazing experience.”

—Deven Maheshwari, sophomore “My favorite sports memory is when I watched my favorite soccer team, Chelsea, play in person. I was there with my dad and brother as Chelsea faced Newcastle. I remember watching the warm ups: it was crazy to be so close to the players. Then, during the actual game, Chelsea let in the first goal but came back to win 3-1.”

—Vernon Hughes, freshman

Andrea Huang / The Spectator

“My favorite sports memory is when I went to a La Liga soccer game in Seville in which they played Atlético Madrid.

The atmosphere was absolutely electric: 45,000 strong fans bellowed their team’s chants, with the visitors’ section holding their own, surrounded by riot police. It was crazy to see how passionate and loud the fans were, and it really showed how important sports are around the world. Atlético ended up thrashing Sevilla 5-2, with a hat trick from Atlético’s Antoine Griezmann, silencing the boisterous crowd.”

—Krish Gupta, sophomore

“My favorite sports memory is when I was in fifth grade and my dad pulled me out of school to go to a Mets game.

It was in the middle of the day and I was completely surprised. The Mets ended up beating the Royals after a back-and-forth game, but the best parts were the peanuts and crackerjacks with my dad, and that day made me fall in love with baseball.” —Maya Brosnick, freshman “My favorite sports memory is in eighth grade when I won the MSAL Manhattan soccer final for the middle school championship with my team.

The game went into overtime thanks to a goal from my teammate in the final minutes, and eventually into penalty kicks. I hit the game-winning penalty kick for my team into the bottom-left corner, and then got mobbed by my teammates at the bottom of a dog pile.” —Ben Hamel, sophomore

Sports Editorial

Katelyn Tuohy: The Greatest High School Runner of All Time

By ALICIA YU

Nike’s annual Nike Cross Nationals (NXN) is the most prestigious meet in high school cross country (XC). Elite high school runners race against each other after qualifying through regional meets. In recent years, the boys’ race has been unpredictable because there is no single male runner that has consistently dominated the high school running world. However, the girls’ race has recently exhibited a completely different trend, in which one female runner has dominated the standings so consistently that many consider the NXN to be a race for second place.

On the chill morning of December 5, 2019, all eyes were on North Rockland senior Katelyn Tuohy. Given Tuohy’s wins the previous two years and her dominant XC season, she was the clear favorite to win the race. After taking up cross country during her sophomore year, Tuohy has consistently been the

Sports Editorial

top-ranked high school long-distance runner for the past three years.

However, this was not the case for this year’s NXN. The conditions of the race-course were some of the worst that they have been in years. The muddy ground and rainy weather made it hard for the runners to grip onto the dirt. The air was frigid and sharp.

In the past two years, Tuohy has won with a staggering lead; this year was different. Two other runners, Taylor Ewert and Sydney Thorvaldson, were right on her heels coming down the home stretch, nearly matching her stride for stride. Dashing as fast as she could, she seemed to be in immense pain and repeatedly glanced behind her shoulder, something that she almost never does when racing. It was a fight to the very last second, but Tuohy showed why she was, is, and will likely continue to be the best high school runner in the nation. Despite the grimace on her face, she executed her plan

to finish the race strong.

Every year, Gatorade presents the Player of the Year award to distinguished high school athletes in a variety of sports.

Athletes that have previously received this award include LeBron James, Peyton Manning, and Kobe Bryant. This year’s Gatorade Player of the Year honor was awarded to Katelyn Tuohy.

She has been named the Gatorade Player of the year twice already— once as a sophomore and again as a junior.

In addition, she has set numerous cross country and track records, making her a true force to be reckoned with. Her personal records (PR) in the mile and two-mile are 4:33 and 9:51, respectively. These records are especially impressive as most high school girls can’t even run a mile under five minutes, let alone maintain this pace for two miles.

Her XC personal record in the 5000-meter race is 16:06, a time that clearly separates her from the rest of the field.

Having racked up almost

90,000 followers on Instagram, Tuohy has certainly become a celebrity within the running world. But behind the glory and plethora of awards lies an incredible work ethic and mindset.

She practices every day and takes her training very seriously, usually running longer and harder than the workout calls for. In addition to her spectacular resume in running, she is a straight-A student and is likely to be the valedictorian of her high school.

In an interview with runner and YouTuber Billy Cvecko, better known as “the Toad,” Katelyn describes her daily life as a student-athlete: “I get up on a school day at 4:30 a.m., and I go to the gym. And then I shower up, go to school, go to practice, do all of my homework, maybe go try to get another workout in.

I like training a lot…and I go to bed at 8:30 p.m.” It is clear that Tuohy has disciplined herself to meet the needs of her demanding schedule, from waking up at the crack of dawn to sleeping at a very early time.

Her coach, Brian Diglio, praised her work ethic. “I always tell [people] that my favorite part is always the workouts. Because getting…to see her do it day in and day out [and to see] what she’s able to do is a lot of fun for me as a coach,” Diglio said.

“You write up workouts with a specific goal and you hope the girls can kind of hit them. With [Katelyn], she’s kind of like a metronome. When you write it up, she’s going to run it the way that you want or faster. I’ve been coaching for a long time and it’s a special thing to see.”

Given her amazing work ethic and undeniable talent, Tuohy will undoubtedly go down as one of the greatest American high school athletes in history.

She has constantly pushed the limits of running and will continue to be a powerful force at North Carolina State University, and eventually at the professional level. Her goal is to make the 2024 Paris Olympic team, which will be no problem for her at this rate.

The NBA Trade Deadline: A Day of Big Moves

By ETHAN KIRSCHNER and SAM LEVINE

available to add important complementary pieces.

continued from page 32

Marcus Morris Sr. Perhaps the most underrated move of the NBA Trade Deadline was the Los Angeles Clippers’ trade for Marcus Morris Sr. The Clippers took advantage of a rebuilding New York Knicks team looking to move large contacts and acquire picks. They were able to acquire Morris Sr. by giving away an unprotected first-round pick.

The Clippers, however, are a potential top two seed, so their draft pick will be low and they are looking to go all in to win the championship this year. As

Analysts remarked that while the offense had worked during the regular season, come playoff time, teams would be locked in on stopping James Harden, which would force inexperienced players into high-pressure situations. On the Hawks’ side, though they probably will not make the playoffs this year, their big three are in place. To make the deal even sweeter, the big three for the Hawks are all making less than $17 million per year, so there is still cap space

perhaps the best shooter on the Knicks this season, Morris Sr. was asked to take on a big scoring role for the first time in his career. He showcased his ability to score from all three levels, which will allow him to fit right in with this year’s Clippers team.

The Clippers are already loaded after signing Kawhi Leaonard and trading for Paul George this summer while retaining all the players from last year’s team who took the star-studded Golden State Warriors to six games. This team is extremely deep, but Morris has the ability to become the third leading scorer and send the Clippers over the hump in a loaded West-

ern Conference.

D’Angelo Russell for Andrew Wiggins D’Angelo Russell’s short stint as a member of the Warriors has come to an end. With this trade, he gets sent to team up with his long-time friend Karl-Anthony Towns in Minnesota in exchange for the young forward and former numberone pick Andrew Wiggins. This seems to be a good trade for both parties. Russell didn’t seem to be a great fit in the Warriors, and he now gets to pair up with Towns who possesses a lethal inside and outside game. This should make for a lethal combo,

especially in the pick-and-pop game where Russell excels. As for Wiggins, he hasn’t had the start to his career that most people expected. His shot selection seems to be poor, and he isn’t shooting at a high percentage, along with a sub-par playmaking ability. He’ll be given a chance to restart with the Warriors, and playing alongside Stephen Curry and Klay Thompson next season should give him many more open looks to help boost his confidence and shooting percentage. Everyone’s a winner here. continued on page 30

The Spectator ● March 13, 2020

Page 32

THE SPECTATOR SPORTS Boys’ JV Basketball

CALENDAR

Runnin’ Rebels Prepared Prior to Playoffs

By VERNON HUGHES

Professional Sports:

Team Captain(s): Deven Maheshwari, Aidan Fingeret, James Ly Score of Last Game: 55-46 Win Against School of the Future Season record: 9-3

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UEFA Champions League (Second Leg): Juventus vs. Lyon @ 1:00 p.m.

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UEFA Champions League (Second Leg): Bayern Munich vs.

Chelsea @ 1:00 p.m.

Clint Capela In the days leading up to the trade deadline, arguably the most

UEFA Champions League (Second Leg): Real Madrid vs.

Manchester City @ 1:00 p.m.

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wednesday

UEFA Champions League (Second Leg): Barcelona vs. Napoli @ 1:00 p.m.

Stuyvesant Sports: Francesca Nemati / The Spectator

The NBA Trade Deadline: A Day of Big Moves

The trade deadline is always an action-packed day in the NBA, with contenders looking to lad up for a championship run and other teams starting their rebuild. This year’s trade deadline was no exception. Below, we examine four pivotal moves that could shape the NBA in years to come:

tuesday

wednesday

Sports Editorial

By ETHAN KIRSCHNER and SAM LEVINE

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tuesday

The only season in which the Runnin’ Rebels, the boys’ junior varsity basketball team, has ever made the playoffs was the 201718 season. It was an exciting moment for the Runnin’ Rebels, as it proved that the team was capable of being a strong contender in its league. Though it is a tall order, the Runnin’ Rebels hope to repeat that success again this season.

Of the 17 players on the roster, only two are freshmen: Jefford Shau and Jeffrey Tan. Shau and Tan both agree that playing with the team has been a special opportunity for them, despite being the two youngest members on the team. “It’s cool, but you have to work hard. We are not really treated differently. Coach calls everyone a freshman,” Shau said. “It’s nice playing around older people ‘cause it makes you improve a lot,” Tan said.

With only two freshmen on the team, the Runnin’ Rebels have heavily relied on its large number of sophomores. However, most of the sophomores are new to the team. Sophomores and cocaptains Aidan Fingeret, James Ly, and Deven Maheshwari are the only returning players from last year’s roster. continued on page 30

march

high-profile move was made.

Clint Capela was the centerpiece of a four-team trade that sent the young center to the Atlanta Hawks to team up with rising stars Trae Young and John Collins. The move was somewhat surprising for the Houston Rockets, who gave up their best big men in a season where they are hoping to contend for the title. However, the move showed Houston’s willingness to go all in on the five-out offense by acquiring forward Robert Covington. Houston management felt that Capela was

clogging up driving lanes for Russel Westbrook and James Harden and thought that spreading the floor with five shooters would be Houston’s formula for success.

Houston’s revolutionary offenses have come with criticism in recent years. It was the first team to rely on the three-point shot as the primary weapon on offense. Houston’s offense in 2019 focused on the isolation of James Harden. continued on page 31

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tuesday

Girls’ Varsity Softball @ 101st Street & Amsterdam Avenue @ 4:00 p.m.

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wednesday

Girls’ Varsity Badminton @ Seward Park HS @ 5:00 p.m.

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friday

Girls’ Varsity Badminton @ Stuyvesant @ 5:00 p.m.

friday

Boys’ Varsity Baseball @ Randall’s Island Field 43 @ 4:00 p.m.

SPORTSBEAT

Michael Hu / The Spectator

The boys’ and girls’ track and field teams won first and second place in the PSAL Manhattan Borough Championships, respectively.

The Penguins, the boys’ swimming and ond in the PSAL City Championships.

The Lemurs, the boys’ gymnastics Long Island City Championships.

diving team,

team,

placed sec-

placed second in the

In the newly-designed NBA All-Star game, Team LeBron beat Team Giannis 157-155, winning $400,000 for his chosen charity.