Volume 112 Issue 12 by The Stuyvesant Spectator

The Spectator The Stuyvesant High School Newspaper

Volume 112  No. 12

March 21, 2022 SPORTS

“The Pulse of the Student Body” stuyspec.com

ARTS & ENTERTAINMENT

Olympic Breakdown Allowing teens to participate in a competition under a cloud of potentially state-sponsored drug use is irresponsible both to them and the sport, and is something that cannot continue. see page

What a Polka Dot Pumpkin Can Teach Us During the Pandemic Yayoi Kusama is living proof of the importance of self-expression and the human need to strive for creativity, especially during challenging times. see page

SING! Coverage starts on page 12 Mask Mandate Lifted in All Public Schools By SARAH DIAZ and JAMES KANG With the COVID-19 pandemic persisting, many public spaces, including restaurants and schools, made masks a requirement to enter their premises. Following the general decline in cases, with averages showing less than 1000 cases per day, Mayor Eric Adams made an announcement to lift the mask mandate, which had been in effect since blended-learning last year, for all students in NYC public schools starting March 7. Despite this marking a shift in the return to normalcy, the majority of Stuyvesant students still wear masks. This announcement caused mixed reactions from the Stuyvesant community. Some people, such as Principal Seung Yu, felt both relief and anxiety about the mask mandate being lifted. “In one way, I’m relieved as I believe many of us, including myself, are exhausted from the pandemic. I’m ready to go back to some semblance of being around others where we can see [each other’s] faces and feel more comfortable,” he said in an e-mail interview. “Simultaneously, we’re still in the pandemic and there is continued anxiety about our health and well-being. It will still take time for all of us to gain

some level of comfort.” Some students, like sophomore Julia Chernobelsky, felt relief about the lift of the mandate but were also concerned about the risks the new developments would bring. “When the mandate was lifted, I felt relieved. I thought that finally life was going back to normal and COVID-19 rates were declining,” Chernobeselsky said. “Then I was a bit conflicted about whether or not I wanted to stop wearing it because I wanted to be cautious.” Additionally, Principal Yu and Director of Family Engagement Dina Ingram have made e-mail announcements to the student body establishing their commitment to safety. The school will still be providing masks for those who need them and will continue encouraging students who don’t feel well to stay home. Students who experience a five-day isolation period after receiving a positive COVID-19 diagnosis or having COVID-19 symptoms without testing will be required to wear masks for five days upon returning to school. These announcements also acknowledge how the updated mask guidance will be a slow transition depending on the comfort of students, with an emphasis on the importance of respecting everyone’s

decisions. For many students, the factor of peer pressure was a large concern affecting the decision of whether to wear a mask. Therefore, some students took the initiative of creating Instagram polls to aid them with the decision-making process. “I was just going to side with the majority on this one,” sophomore Dinah-Luba Beylison said. “If most people were wearing masks, so would I, if most people weren’t, so would I.” Beylison’s poll showed a result of 90% of students choosing to wear masks. In a survey conducted by The Spectator, it was found that out of 417 responses, the main reasons for students to continue masking despite not having to are health reasons and self-consciousness. Students were permitted to select as many reasons not to wear a mask as applicable to them, with the statistics showing that health reasons was selected 239 times, self-consciousness was selected 217 times, social reasons (detailed as not wanting to be the only student in a classroom unmasked) was selected 179 times, and parent pressure was selected 69 times. 59 continued on page 2

Investigating Stuyvesant’s Representation of Black History Month By MAGGIE SANSONE and SAKURA YAMANAKA February is recognized as Black History Month and is an acknowledgement of Black achievements and hardships that often go unnoticed due to a lack of awareness of African American culture and history. In response to this annual observance, some students have brought up concerns regarding the shortcomings of the administration in promoting education about Black history and culture. In 2021, only eight Black students were admitted to Stuyvesant in a freshman class of 749 total students. Despite efforts by DOE to promote diversity, an underrepresentation of Black students has remained a trend in Stuyvesant’s admission rate. In light of Black History Month, the Stuyvesant administration shared resources and opportunities with the school community to educate students on Black history. The Stuyvesant library also provided book recommendations to spread awareness about the topic. Additionally, Principal Yu shared a message via e-mail in which he recommended that

students visit local events and exhibits to learn more about Black history. The Diversity Equity and Inclusion (DEI) Committee and Equity Team at Stuyvesant also hosted a small group discussion with Black and Latinx families alongside alumna Candice Morgan (‘00). Stacey Wright, a parent involved in the Parent Association, has also created a Facebook group called Stuy Mosaic for Black and Latinx families. “We know there is much work to be done, but hearing their honest feedback and knowing they were comfortable sharing [their stories] made the event a success,” Director of Family Engagement Dina Ingram said in an e-mail interview. Sophomore and Black Students League (BSL) Communications Manager Amanda Cisse noticed the greater effort the administration put into recognizing Black History Month this year in comparison to previous years. “From the morning announcements mentioning specific events to the posters educating students continued on page 2

The Spectator • March 21, 2022

Page 2

News Mask Mandate Lifted in All Public Schools continued from page 1

students said that they were choosing to no longer wear a mask. Additionally, there were 50 written responses excluded from the graph shown, with responses such as “I wear it for brief periods,” “I live with my grandparents,” and “It’s exhausting to smile.” Freshman Brandon Waworontu was influenced by others’ decisions in his choice to wear a mask, but also made his decisions based on safety concerns. “I saw a lot of people at Stuy still wearing their masks, so I thought that was like the norm. I think I may have been judged a little [if I didn’t wear a mask],” Waworontu said. “I [also] just felt more comfortable with the mask on. [...] I thought I would have a smaller chance of getting COVID-19.” Unlike Waworuntu, Chernobelsky ultimately decided to remove her mask because she decided the cases were low enough for her to feel comfortable without her mask. “In our school specifically, the rates are basically zero and where I live, it’s the same thing. I kind of trust the fact that COVID-19 is not dying out, but [appearing] a lot less,” she said. Chernobelsky also mentioned that people’s decisions had a lot to do with the community they were a part of. “It’s a lot about what your communities are and how you’re raised because [...] most of the people who live in my community [...] haven’t been wearing [a mask] at school, and it’s because our parents and the community we’re in couldn’t care less,” Chernobelsky said. “The people whose parents were always on top of [...] might be a little more conscious.”

In contrast to the majority of students who chose to keep their masks, many faculty members have decided not to wear them, including English teacher Katherine Fletcher. Fletcher feels comfortable taking off her mask after the mask mandate has been lifted. “When the mask mandate was lifted, I decided that now was as good a time as any to take off a mask and try to resume some sort of normalcy,” she said. Fletcher also notes that her teaching style has changed with the lifting of the mask mandate. “I got used to teaching in a mask.

specting everyone’s decisions. “In each of my classes, there have been very few students who are unmasked at this point. [...] I don’t discuss with them their personal reasoning behind their decisions because it is not my business and I think a good rule of thumb is not to say anything about anyone’s individual decision to wear a mask or not wear a mask,” she said. But while some faculty members are taking their masks off, some are choosing to keep their masks on. In the case of Dr. Maria Nedwick-Moore, she values the safety and protection of the

Courtesy of Wikimedia Commons and NASA

WORLDBEAT Two employees at the Museum of Modern Art were stabbed by a man after his museum membership was revoked. Various states experienced a gas price spike, resulting from oil prices as much as over $100 for a barrel, due to conflicts with Russia. A gunman who shot five homeless people in Washington DC and New York City was arrested. In China, over 51 million people are in lockdown as the country faces its highest level of COVID-19 cases so far, with more than 10,000 cases scattered across 27 provinces since the start of the month. Judge Ketanji Brown Jackson was nominated by President Joe Biden as the 116th Associate Justice of the Supreme Court, making her the first Black woman to be a justice on the Supreme Court. Lawmakers from various states passed 108 new laws to ban or limit abortion. Most recently, Missouri introduced a bill to criminalize the production and sale of medication used for abortions. Idaho also passed a bill to ban abortion at six weeks.

It took me a little longer to learn my students’ names, but now I can’t imagine having difficulty with that,” she said. “One thing that I enjoy about teaching without a mask is that I like being able to smile at my students and have them know that I am smiling.” In Fletcher’s classes in particular, she notes that most students still have their masks on and emphasizes the importance of re-

Russia attacked Kyiv, the capital of Ukraine, for the second time, killing one and injuring six people.

people around her, especially her family. “I am 29 weeks pregnant, and despite having received all three vaccinations for COVID, the risk to me and my future daughter if I get sick with COVID could be catastrophic,” Dr. NedwickMoore said. “I don’t want to bring an illness home to [my husband] from work or from my travels. And finally, my mother is at high risk. I do not want to jeopardize

her health or limit my ability to see her by engaging in high risk exposures at work or in general.” Despite the sudden change, Principal Yu believes that the Stuyvesant community will be able to adjust accordingly to meet their comfort levels and safety needs. “We will need to take it on a day-

Investigating Stuyvesant’s Representation of Black History Month continued from page 1

tions to the freshman homerooms as well—we were able to edit the slides and coordinate with other unity clubs so leaders could be

Julia Lee / The Spectator

about important Black figures throughout history, the Stuyvesant administration has worked extremely hard to acknowledge the significance of this month,” Cisse said in an e-mail interview. However, Cisse confirmed that while the administration put up posters for Black History Month, they only did so in response to requests from students. Cisse expressed that while initiatives like posters are educational, they are only a first step. “The posters are useful in showcasing that the administration is willing to put effort into spreading awareness about Black history, and it shows great care on behalf of the school,” Cisse said. “But the effectiveness may vary based on how different people walk by and interpret the posters they see. Some may receive it well, but we are concerned others may not.” Despite the administration’s efforts, most of the initiatives and events were spearheaded by student leaders and clubs. BSL and ASPIRA hosted their third annual Talk Circle Around Race, open to all students and staff, both in-person and over Zoom to promote accessibility. BSL also hosted a Black History Month celebration in coordination with faculty and alumni to celebrate Black culture. During the catered dinner, senior and Co-President Asa Muhammad shared a presentation on the ori-

gin and history of Black History Month. Alumni speakers participated in the celebration and shared their experiences over the video

project platform Vidday. The Black History Dinner hosted by BSL received praise from both the alumni and staff in attendance. “I was impressed with the program prepared by BSL and ASPIRA for the Black History Dinner and wish more of our students participated in it,” Ingram said. The administration did work in tandem with BSL and ASPIRA to organize freshman push-ins regarding student diversity for Respect for All Week during Black History Month. “They asked for guidance from the Black Students League on any feedback we had on their Respect for All presenta-

present for some of the lessons,” said Cisse. Student leaders from BSL, Muslim Students Assocation (MSA), Spectrum, Student Union, Stuyvesant Asian Coalition, and other student organizations presented in these push-ins. Many presenters expressed that the push-ins are valuable in creating discussion among students and fostering community. “It is important for students to know that they’re not alone if they are facing some type of discrimination. Sharing that kind of anecdote [during these push-ins] makes you feel like you are in the community,” MSA member and presenter Sophia

Dasser said. “It encourages students to join a cultural club that leads to [appreciation for] their own culture or ethnicity or race.” Though junior and MSA Treasurer Sabiha Amin acknowledges the significance of these presentations, Amin advocates for a wider audience to be reached as opposed to only freshmen. “The whole concept of Respect for All week wasn’t very well emphasized. As an upperclassman, the only reason I knew about it was because I was doing the presentations,” said Amin. “These talk sessions are often only limited to freshmen or offered optionally after school. With many Stuyvesant students participating in other after-school engagements, it is unlikely for students to attend unless they are passionate or already part of the club.” Students and the administration alike plan on continuing to collaborate and host events discussing race and inclusion following Black History Month as well. Students and staff involved in the initiatives Stuyvesant put forward this Black History Month encourage the Stuyvesant community to remain engaged in educating themselves on these topics. “We welcome everyone and try to create an inclusive and educational environment,” Cisse said. “You can learn a lot about Black culture and history by coming to [BSL] meetings.” Moving forward, many hope to see more long-term initiatives

by-day basis as we individually and collectively learn how to adjust to the guidance in allowing for masks to be optional,” Principal Yu said. “I believe as a community, we will handle it with grace, but there will inevitably be some bumps along the way as we traverse this transition together.”

NEWSBEAT The Girls’ Track team and Dr. Markova hosted the annual International Women’s Day run in honor of Women’s History Month on March 7, 9, and 11. Funds raised from the run went to the Malala Fund. The cheer team from Notre Dame University visited Stuyvesant’s Co-Ed Stunt team to provide guidance with routines and practices. Stuy Black Students League (BSL) and ASPIRA hosted a Talk Circle Around Race in the library on March 18. Congratulations to art teacher Karen Leo for receiving the NJ Council for the Arts Fellowship Grant in film and video. Juniors Fu Xing Chen, Hua Huang, senior Joseph Kim, and sophomore Henry Ji made it to the semifinals in the 2022 US Biology Olympiad. regarding diversity, inclusivity, and better integration of Black history into curriculum. “An impactful action would be to enforce more lessons on Black history amidst the history curriculum, and even discuss major black figures in STEM that could be in those types of classrooms,” Cisse said. “Some of the major changes that can occur can start in the classroom, where students are in a closer vicinity and have to listen.”

The Spectator • March 21, 2022

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The Spectator • March 21, 2022

News Student Union Financial Report: Winter 2022 By JADY CHEN, MADELINE GOODWIN, and FIONA SHI Senior and Student Union (SU) President Shivali Korgaonkar and junior and SU Vice President Ryan Lee released information regarding the SU’s yearly allocations, including funds granted to different clubs through the Clubs and Pubs department. With the return of in-person learning for the 2021-2022 school year, apparel and other traditional SU and caucus events, such as Boo!Grams, were added back to their budget. During the winter of 2021, the SU was unable to host in-person sales and events, such as the selling of SING! tickets, which was its main source of funding. Additionally, the pandemic caused many clubs to host activities online and eliminated the need for funding. As a result, only eight clubs received funding, with Speech and Debate being the top-funded club and receiving $2,750, which is a significant decrease from previous years. This year, the SU allocated around $16,000 for 20 clubs, with Speech and Debate earning the most funds as it returned to in-person tournaments, receiving a total of $7,000 to fund tournaments; the second most-funded club was Model United Nations, which received $2,900 for its events and conferences.

Clubs and Pubs Allocations

Why was there an exponential increase in club allocations from last year to this year? Due to widespread virtual learning, most clubs at Stuyvesant navigated an online structure that cut down costs on materials and event fees. Stuyvesant Speech and Debate often receives the most funding, but since many speech and debate conferences were postponed or virtual last year, members did not have to pay for admissions or travel fees. Many clubs have returned to an in-person format this school year, so more funding has been needed to support club activities.

Total Club Grants Requested and Offered

What is the process for getting grants approved for a club? Clubs in need of funding for important resources can submit a request to the SU Budgeting department for a proposed amount of funds. In their proposal, they must outline exactly how they plan to spend their funds and why those materials are necessary for their club. The SU Budget Analysts first evaluate the proposals and determine whether or not the club should move forward in the process for an interview. Afterward, club leaders meet with the entire Budget Committee, the SU President and Vice President, caucus presidents, and SLT student representatives. The funds are only granted to a club once the entire committee of interviewers reaches a two-thirds consensus. The money is transferred to a sub-account of the Clubs & Pubs account in the SU, where club leaders can access their funds. In order for the Budget Committee to grant a club’s funds, the proposal must satisfy a series of requirements. The funds may not be used for religious purposes or to purchase personal items for club members. All items purchased using SU funds must be returned to the SU after use.

SU Expenses and Revenue

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The SU made the largest profit this year with in-person events, specifically with Boo!Gram sales, which made $6,500 in profit. However, there was a slightly negative revenue with the sale of Stuyvesant apparel. Apparel sales are still ongoing, so exact profits may fluctuate later on. “As for how much profit we’ve made, it’s hard to say because we’re still selling merch and are anticipating more sales,” Coordinator of Student Affairs Matt Polazzo said.

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The Spectator • March 21, 2022

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News Secondhand Literature Brings Book Drive to Stuyvesant By ELAINE HUANG and NADA HAMEED

to contribute to the cause. “We thought book donations [were] the easiest way— and most direct way—to get not only us, but also other people in our community, involved,” Chi said. There are currently four locations for the book drives, three of which are schools that Secondhand

the pandemic, the school’s budget had to be cut down. It’s a Title I school, by the way. They couldn’t get any new books for the year. The library had to be shut down and turned into a classroom because they didn’t have enough space for the appropriate social-distancing between students.” Chi and Lau felt that book drives would be the most effective way for students like themselves

Literature board members attend while the fourth is a Queens community center. “Among the [organization], there are people from Stuy[vesant], Townsend Harris, and Francis Lewis, so we had someone from each school reach out to their respective schools regarding setting up a box in the school [...] We [also] reached out to Queens Common Point Center,” Shen said. By the end of the drive, Sec-

Anthony Sun / The Spectator

Student-run organization Secondhand Literature recently held their first book drive at multiple locations around the city. Student organizers established a branch at Stuyvesant, setting up collection bins near the Tribeca Bridge entrance. Throughout the course of the drive, librarians and student volunteers at Stuyvesant contributed to its success. Stuyvesant junior Taee Chi, alongside Townsend Harris junior Joshua Lau, founded Secondhand Literature in late 2021 with the goal of increasing access to reading materials in light of the pandemic. Chi encouraged students and staff to donate books throughout the course of the drive in hopes of involving the Stuyvesant community in Secondhand Literature’s mission: addressing disparities in literature access, an issue that has been exacerbated by the pandemic. “Our mission is to combat the deepened inequities in literacy rates caused by the COVID-19 pandemic,” junior and Secondhand Literature social media director Christina Shen said in an e-mail interview. “We hope to obtain books that have been sitting in people’s houses and redistribute them to those [who] actually need or want them.” Chi was inspired to create Secondhand Literature after being tasked to aid a cause in his community. The disparities in reading materials he discovered in local

schools resonated with him. “I came up with the idea after doing [the] SYEP civics engagement program [...] the final project was to come up with an idea for an initiative that could influence the community,” Chi said. “I was catching up with my old English teacher, and he mentioned how because of

ondhand Literature collected close to 250 books to be cleaned and donated. After each book was wiped down, in accordance with COVID-19 protocols, the donations were directed to schools, senior centers, and daycares. “It’s not really that big of a risk, [...] [since COVID-19] doesn’t really stick onto book pages; it’s more through respiratory contact. But we still do our best to clean the books.” Chi said. “We get the books, [and] we bring them to our worksite, Common Point Queens. Then the first thing we do is clean them, make sure the covers are wiped down, make sure there’s no weird stuff on the pages.” Stuyvesant librarians helped make the drive a community effort, putting up posters to advertise the book drive. Furthermore, they directed duplicate book donations from the Stuyvesant library to Secondhand Literature and provided a number of free books available for Secondhand Literature to collect. However, Stuyvesant librarian Christina Kennedy stressed that the librarians’ role in the book drive was minimal, as the book drive was almost entirely student run. Though the book collection progress was generally successful, student leaders encountered difficulties during the book distribution process. “COVID has made finding recipient locations harder, as people are more cautious with things, especially when books go through the hands of many people,” Shen said. “Also, some locations simply

just don’t have space for books or they aren’t taking book donations at all.” Furthermore, an unexpected issue involving missing donations arose during the drive. “Our box actually got stolen recently, along with the books inside of it. There were around 50 books inside of it [...] I think someone took it, or maybe the custodians cleared it or something.” Chi said. However, the organization plans to continue running book drives. “Book donations are still a huge part of our core operations, and it’s the thing we started with, so I guess it’s always going to be special to Secondhand.” Chi said. “We are trying to stick to our core values, our core mission, which is really to foster a stronger culture of reading in our community. I think that’s a personal goal that I don’t want to deviate from by doing too many things at once.” Since this was the first drive the organization has conducted, Secondhand Literature is hoping to expand their organization’s projects along with the locations that they serve and operate in. “We are building our team [...] [and] virtual learning program[s] [...] [such as] book clubs.” Chi said. “We’re looking to expand to other boroughs as well.” Overall, Secondhand Literature believes that their latest book drive is a success. “It actually turned out better than we expected,” Shen said. “We were able to get more than 200 books in around a week.”

Junior Caucus Hosts Virtual Stuy Feud By CRAIG CHEN, IAN KIM, FIONA SHI, and JASMINE YUEN

junior Lefteri Kapnisakis said in an e-mail interview. Participants shared thoughts regarding other aspects of the event that could have been improved

resulting in them leaving the event prematurely. “A lot of people did not feel comfortable with turning cameras on. Also, the host seemed to feel uncomfortable and rushed

upon. For those who were eliminated, there was not much to do if they chose to stay in the Zoom meeting. “For people who lost […], maybe planning a second round to extend their playing time would’ve been nice,” Zhang said. Additionally, being in an online setting caused a lack of connection between some players and hosts. For some participants, the environment didn’t feel engaging, ultimately

us,” anonymous junior A said in an e-mail interview. “[They] also repeatedly mentioned to us how awkward it was. That did not really help. But, I feel like it could have [just been] our specific host.” However, the pandemic has limited certain features of the event and made it difficult for the Junior Caucus to hold the event in person. Jung expressed his desire to emulate this event in the future

Courtesy of Junior Caucus

“Welcome to Celebrity Family Feud! I’m (your man) Steve Harvey, and we’ve got another good one for you tonight!” Inspired by the television game show Family Feud, the Events Department of the Junior Caucus hosted a virtual Stuyvesant Feud event on January 29 that was open to participants from all grade levels. A total of 70 participants attended to compete for a $10 Chili’s gift card. As the event was one of the first of its kind at Stuyvesant, it received mixed feedback from both event holders and participants alike. The event was held online and participants were split into groups of five, competing tournamentstyle in breakout rooms, each with one or more hosts helping to run the match. Teams had to guess the top four to eight responses to the questions of a school-wide survey distributed prior to the event. The team with the most points at the end of the competition would win. Those who were eliminated could leave or stay behind to watch the other teams. “If [participants] answered correctly, the response was revealed. If they didn’t, the question would go to the other team. After four rounds, the team with the most points would face the other highest scoring teams,” junior and Events Director of the Junior Caucus Cynthia Chang said in an e-mail interview. To prepare for the event, a signup sheet along with a survey of 16 Stuyvesant-themed questions was sent to the student body through e-mail as the family-feud; one question was, for instance, “Name a teacher who would know pop culture.” Additionally, flyers and Instagram posts were created in an effort to reach a greater audience and promote the event. “Arguably the most important aspect of the organization of this event was the advertising. Caucus members developed a poster design, which was then posted around the school,” junior and Co-President of the Junior Caucus Daniel Jung said in an e-mail

interview. Initially, the event holders were worried about maintaining participant engagement. “We had about 70 participants,” Chang said. “While I was a bit scared that it might not be as fun, I was overjoyed to see teams [having] fun with [one another], the hosts, and the questions.” Encouragement from friends and the desire to try out something new was a strong motivator for many to attend the event. “To be very honest, I wasn’t expecting much and I really wanted to drop out at the last minute, but eventually convinced myself to just try it out and see how it’ll go,” sophomore Jennifer Ye said in an e-mail interview. While coordinating the event, the Junior Caucus encountered some technical difficulties. “[An] issue that came up was delays in between rounds. Whether it was our fault through disorganization or the fault of Zoom and how hard it is to make breakout rooms, we were left with a good amount of downtime in between rounds,” Jung said. This issue was resolved by the event organizers as they introduced activities to keep participants engaged while waiting for delays and intermissions to pass. “We found this problem easily resolved thanks to [junior and Co-President of the Junior Caucus] Andrey Sokolov and his GeoGuesser regular account. Furthermore, we were entertained by [junior] Jady Chen playing Google’s Snake Game throughout the intermissions,” Jung said. Some students enjoyed these improvised performances and acts by the hosts during periods of passing time, especially those who were eliminated early. “I stayed behind in the main room and we started playing geography games, which was extremely fun,” sophomore Unique Zhang said in an e-mail interview. For some students, the virtual aspect of the event, particularly the Zoom breakout rooms, made their experiences more enjoyable. “The individual breakout rooms of people competing were a lot of fun because it was more interesting to play with smaller groups of people,”

with more engaging props to make it seem more similar to Family Feud. “While we don’t have plans to bring this event back again this year, we would love to hold it in person [and] incorporate more aspects of the game to really immerse the players with things like a physical buzzer, a live studio audience, Steve Harvey, a huge screen, etcetera,” he said. The perceived biased nature of the event was also a demotivating factor for A. “When I decided to participate, I expected unbiased, fair judgment,” A said. “While the event itself was a fun idea, the environment was not free of bias, and our host was opinionated. [They] awarded ‘free’ points to their preferred team and treated them more amiably overall.” Besides the hosts, the questions were another factor some participants felt weren’t fair, especially for underclassmen. “We got a category talking about physics, a class we [sophomores] have yet to take, so [juniors] ended up beating us as they had that extra category advantage,” Ye said. For others, these questions and the answers from students made the event more engaging and interactive on the participants’ end. “The questions and answers came as a surprise as well, which I found very interesting,” sophomore Sophia Zheng said in an e-mail interview. “I felt that having such unique and out-of-thebox answers added to the charm of the event as well.” Even with all the issues that arose, the overall feedback from participants was positive. “While it was indeed quite biased in favor of those who had better social skills, I’d say the event itself was alright, because it was fairly enjoyable,” A said. “[The event] was certainly more organized than expected, and the game ran pretty well.” Many participants would be eager to participate if the event were to be held again. “Yes, [I would participate again]. It was fun to be competing with friends and other students, and I’d really hope to win whatever the next well-picked prize is,” Kapnisakis said.

The Spectator • March 21, 2022

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Features Tales of Valentine’s Day: the Lovebirds, the Heartbroken, and the Aromantic By FRANCES SCHWARZ

a waste of food but I really just wasn’t thinking straight at the time,” student C said. “So not only did I get romantically rejected, I also couldn’t be friends with her. I didn’t really sleep well that night or the next few nights.” Other hearts were spared this Valentine’s Day. “I’m aroace. [...] I used to think that crushes were

anonymous student C said. They reported buying a box of chocolates with a note reading “let’s get along” for someone who admitted to hating them. “I can’t accept this. The note, let’s not. I don’t want to get along with you,” the recipient reportedly said. “I took the chocolate back and threw it out. I guess it was

just this big running joke, some kind of universal prank adults play on children,” student A said. “A good friend had to explain to me that love isn’t usually an unhealthy obsession like they always show in movies. And that people don’t usually feel attraction when their life is in danger. Don’t ask why he had to clarify that. Sometimes I wish I could feel roman-

Courtesy of Sasha Burshteyn

On February 14, the heart of Stuyvesant High School fluttered with excitement. The halls were dressed in pink and candy hearts were tossed in the air like confetti. Students giggled about crushes, sophomore boys attempted to serenade the ladies with their guitars, and rumors flew about renewed activity in the Hudson staircase. Students were definitely not just going about their business as usual, as anyone could see from anonymous junior A’s lively and flowery account of the day. “I studied during Valentine’s Day,” they proclaimed. “Instead of chocolates, they should give us homework passes. Or no homework at all.” Indeed, for most Stuyvesant students, Valentine’s Day was just another day. “Valentine’s day was more tame than I expected,” sophomore Eshaal Ubaid said, mentioning that she took the time to go out with friends and get bubble tea. Other students were more enthusiastic about Valentine’s Day. “I had lots of fun. I spent a lot of time with my friends,” anonymous junior B said, and described buying cupcakes for their friends. “I kinda shoved the cupcakes in their locker, so they trashed my locker with choco-

late, but it was fun.” For some, however, February 14 was a day of heartbreak. “I went out to dinner with my then-recent boyfriend, we had a fun time, then he broke up with me,” anonymous student D said. Heartbreak also went to a level beyond romance. “Valentine’s day was a [EXPLETIVE]-show,”

tic love, but it honestly sounds too tedious to be worth it.” On the opposite side of the spectrum, for senior Katherine Lake, who recently found love after coming out as bisexual, one of the best parts of Valentine’s Day was her newfound confidence. “It was just being able to know that this Valentine’s Day I am more myself, and I had someone incredible to spend time with who has also gone through her own journey,” she said. “To be comfortable in my own skin in that sense has just been incredible in so many ways.” Many believe Valentine’s Day shouldn’t be limited to romance. “I am the best single person to have ever lived. If Valentine’s Day is about loving or doing something nice for your favorite person, I succeeded in that I did something nice for myself,” Ubaid said. “It may sound sad to some, but I think it’s awesome to get to know myself before getting to know anyone else.” Understandably, others have a more cynical view. “You don’t need a holiday to give people flowers and chocolates. It’s a consumer hoax for companies to make more money,” student A said. “Like diamond rings. Did you know that the tradition of proposing with diamond rings are just a result of a brilliant marketing scheme?”

Capitalist ploy or not, the more enthusiastic portion of the student body was busy participating in the Indicator flower sale, which had some trouble this year. “I heard the roses sold out early. I saw a bouquet someone had and all of the flowers looked dead. Very fitting of Stuy,” A said. According to the Indicator, the seller from which they ordered their flowers failed to deliver a large fraction of the flowers. To replace the missing flowers, members of the Indicator spent hundreds of dollars of their own money on candy. While the Indicator wasn’t able to provide refunds for students who received chocolate instead of flowers, many didn’t mind the switch up. “A lot of people were just incredibly thankful for the fact that these people would pay hundreds of dollars to carry this message on,” said Lake. “That, to me, is kind of the spirit of what this day means [...] it doesn’t have to be an $18 bouquet. Just getting a note is enough.” Ultimately, Valentine’s day meant something different for everyone. “Valentine’s Day, I think especially now, is being seen as more than just a couples thing. It’s really just a space for people to connect with one another and show their appreciation,” Lake said.

As-salamu alaykum: South Asian Students On Stuyvesant’s Language Department By MAHIR HOSSAIN

Stuyvesant’s world language department currently offers six languages: French, Spanish, Mandarin, Japanese, German, and Latin. Yet many students feel that if a language such as Bangla, Hindi, or Arabic were to be implemented as a possibility to fulfill the requirement for the Stuyvesant Diploma, they would feel much more comfortable with intertwining themselves with their own culture. Most South Asian students were completely fluent in their language before coming to the United States. As immigrants who then came to the United States, however, they were forced to adopt English in an Englishdominated environment, slowly losing their native tongue. “[Hindi is] a language that I’ve always wanted to learn, and having the opportunity to learn it during school would be a great asset because I don’t have time to devote to other interests,” sophomore Pulindu Weerasekara said. “I cannot write or read it. I can speak it and I can get a basic understanding of what a speaker is saying, but no one around me says it, so I can’t speak it fluently.” Exposure to new types of foreign languages seems to be a major part of getting languages into classrooms. This is especially true with feeder programs, which aim at specializing in different languages. “I think freshman me would’ve still picked French with the mindset that it was a good language. But I also think that some of it is being exposed to non-European languages. So I

grew up with French language in middle school, so freshman me wouldn’t have done Bengali, but if it was me now, I would’ve definitely taken Bengali,” senior Rubaiyat Shahrin said. Shahrin also expressed how difficult it is to pick up Bangla again, as she does not maintain the vocabulary and sentence structure that she once had back in Bangladesh. For others, learning their native tongue gives them something to look forward to by helping them embrace their own cultures while learning the language. “I do enjoy [Spanish] somewhat, but I don’t feel a spark with it. […] if I don’t find enjoyment in doing it, then why am I doing it? Is it just to get the Stuyvesant diploma? I feel l i k e there should be more options so students don’t feel that way and I think the purpose of school at Stuy is to offer great opportunities, and I think adding Bangla would be one of those great opportunities that Stuy could offer,” junior Sayeb Khan said. Khan also expresses how

religious knowledge comes with understanding Bangla, as the ability to understand Bangla can also assist w i t h understanding

in may also have an unfair advantage compared to those who are not already well-versed in the language. “There’[re] a bunch of kids in my class who already speak Spanish at home. Even the teacher recognizes that fact. I feel like those kids have an unfair advantage because there are some Spanish-speakers that take non-AP Spanish for an easy grade, and I can’t blame them because I would do the same. In fact, I’m glad that they do that be cause they get into their own culture as well,” Khan said. The purpose of a language is to not only allow students to delve deeper into the language, but to do so with the pride people take in their own cultures as well. So why are languages like Ara bic, Bangla, and Hindi being held back while other languages are getting the stamp of approval from the city to be put into classrooms? Assistant Principal of World Languages Francesca McAuliffe explained that there is a lengthy process to proceed from wanting a language inside of classrooms to actually having Julia Shen / The Spectator translations of the Quran. teachers who Students who are taking the are willing to teach said language they are already fluent languages. “I don’t know how

many Bangla certified teachers there are in New York. We can’t hire teachers that aren’t certified. I’ve said since I started as a world language teacher 18 years ago that we are far behind other countries where other students can start reading and writing. There are a lot of steps when it comes to certifying teachers and you need to have a minimum of five sections in order to have an in-depth course,” McAuliffe said. McAuliffe encourages students to start to plant a seed for these growing languages, especially those such as Arabic, in an attempt to influence students in the future to take language courses that they never would’ve taken. “My parents were both born in Italy and I grew up bilingual [...] My mom said you know that language, you should take another, and because of that I went to Spanish and became a certified Spanish teacher. I’m now a part of a community that sings old classical Spanish music and I’m very happy that I didn’t focus on just the Italian. It might be a good start to bring in educators of Arabic [who] can then be formalized by the city and then continue from there,” McAullife said. To include languages from South Asia and the Middle East may serve benefits for both the large population of South Asian students at Stuyvesant and educators by diversifying Stuyvesant’s language department. The South Asian community at Stuyvesant may look big on paper, but further representation through diversifying the language program can verify that these numbers are culturally represented.

The Spectator • March 21, 2022

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Features Keep Calm and Read Books By ABIGAIL JIN While Stuyvesant is known for its STEM-focused curriculum, reading is by no means a lost art among students. To further support this pastime, the library held the StuyReads ‘3-in-3’ Challenge from November 31, 2021 to January 31, 2022. Participants read one book from each genre: neurodiversity, nature, and mystery; then, they shared what they loved about their favorite book. The prize for completing this was a free book, and a yellow star with the winner’s name on it displayed at the front of the library. Librarian Christopher Bowlin explained that the intent of the challenge was to steer students toward books they might not normally pick up. The genres were decided by the librarians and they tried to pick categories with a broad spectrum of options. “We try to stretch what folks might normally choose for their reading, and we try to have a diversity in the various categories,” he said. The StuyReads Challenge evolved from librarians annually holding a Book Riot, which they decided may have been too involved for many students to partake in. Therefore, they adjusted the challenge. Instead of one big Book Riot, there would be smaller challenges every few months to make it more digestible and ap-

By JOSEPHINE BURUMA and ABIGAIL JIN Teenagers are no strangers to the concept of sibling rivalry. Competition is a word that virtually lives within Stuyvesant’s walls, so it can be expected that Stuyvesant students feel heightened rivalry toward siblings who attend different high schools. Indeed we do, and whether this competition is friendly, peaceful, or slightly resentful, students have unique views to share on it. It’s not unusual for students to squabble with their siblings to defend their respective high schools. Junior Isabella Chow’s brother is currently a freshman at Staten Island Tech. Chow’s failed attempts at convincing her younger brother to attend Stuyvesant often ended in arguments and debates concerning the two schools. “Probably every day we would have some form of bicker[ing] about [which]

By JULIA CHERNOBELSKY

Twenty people crammed into a four-person bunker. Flames burning all around. Sirens ringing outside. Sleeping for only minutes at a time. Waking up to the sound of screams of mothers, fathers, children, men, women, grandparents. Everything is in chaos. No one knows what will happen next. This is how the kids and family of the woman who raised me are now living in Ukraine. She became my babysitter when I was two years old and stayed with me until I was 14. My parents hired her because they wanted someone who shared the same Russian-Ukrainian heritage as us to take care of me. While my parents were working, she watched me all day and instilled in me my work ethic, kindness, morals, and manners. She taught me all the Russian I know and used to tell me about her happy life back

pealing for students. The librarians understand that balancing reading with schoolwork and other extracurriculars isn’t easy, and that students have their plates full. “We know that time is a premium for Stuy students,” Bowlin acknowledged. Making time to read is recognized as an extra effort in this challenge; therefore, students

anyone interested to participate, not just because of the incentive of a free book, but because it challenges you to read from more diverse genres.” For some, the challenge was not too difficult and they enjoyed participating. “I found the StuyReads challenge easy because it was so straightforward,” fresh-

they explored genres they were unfamiliar with. For instance, junior Vansh Saboo thought that reading these distinct books was able to open him up to new perspectives. “Particularly the neurodiversity category,” he said. “Because I read ‘Flowers for Algernon’, for instance.” “Flowers for Algernon,” uniquely written through diary en-

“I’ve had very little time to focus on reading as a hobby outside of school ever since I started attending Stuy, so actually finding the time to just sit down and read was pretty difficult.” —Ashley Wu, senior are rewarded for it. The winners of the StuyReads Challenge shared their different experiences. Senior Ashley Wu found it to be surprisingly hard, despite having been an avid reader in the past. “I’ve had very little time to focus on reading as a hobby outside of school ever since I started attending Stuy, so actually finding the time to just sit down and read was pretty difficult,” Wu admitted. However, she was able to overcome this and hopes that others will be able to as well. She continued, “I would encourage

man Maisha Thakur revealed. “Personally, I am a very indecisive person, and it takes me so long to pick out which book I am going to read. This made it much easier for me.” She found the guidelines to be helpful and the librarians to be very supportive. “I enjoyed the experience overall as it was laid back, and since I have an addiction to reading, the challenge wasn’t asking me to partake in anything more than doing what I love,” she added. Many participants were able to broaden their reading horizons as

tries, follows a mentally disabled character and his story when a scientific breakthrough triples his IQ. “I found that it helped my perspective toward less capable individuals,” Saboo said. Junior Ryan Chen, who usually sticks to reading fantasy and world-building fiction, was now encouraged to read outside those genres. “I really think that reading diverse genres of books is important and the StuyReads challenge does just that,” he described. Like Chen, Wu agrees that the challenge introduced new genres

Sibling Squabbles

school’s better, whether it be policies, especially with all the new COVID policies, [or] apparently Staten Island Tech decided to keep Regents week, so [we have] tons of arguments about it,” she affirmed. Some siblings have similar opinions about their high schools. This is the case for senior Nora Archer and her brother, who is a junior at Beacon High School. “I think he tends to agree that Stuy is better, but when I was applying to high school, I actually wanted to go to Beacon more, so I was jealous at first,” Archer revealed. Now, according to Archer, she and her brother are in consensus and both feel that Stuyvesant is better. For some students, different high schools between siblings don’t necessarily spark direct competition. Senior Nour Kastoun, who has a younger brother attending Regis High School, ex-

plained, “As an older sibling, you sort of have a responsibility to guide your younger sibling, but this way he doesn’t have to feel pressure to take the exact same classes as me or have the same experience.” Kastoun and her brother feel well-suited to their schools, which is healthy for both their relationship and respective educations. “We have different experiences because we have different learning styles—I do better in bigger learning environments, and Regis is definitely a much smaller school,” she elaborated. Students with older siblings, like freshman Zoe Chun, find themselves with more independence at Stuyvesant, unencumbered by expectations and standards previously set by their siblings. “Here, I’m not in [my sister’s] shadow. In middle school, my teachers always knew me as her little sister—now I can make my own name,” Chun said. Her sister

is currently a senior at LaGuardia High School. Though both sisters are involved in their schools’ music programs, their busy schedules often prevent them from attending each other’s concerts. This helps to create a stronger sibling bond as the sisters find other ways of actively showing support outside of school events. “We had our winter concerts on the same day, at the exact same time, so neither of us could watch each other, but I watch her performances when I can, and she sits with me while I do my homework, when she can,” Chun added. Archer’s brother also shows support for Archer and Stuyvesant by attending SING!. “He’s watched the 2018 and 2020 shows. He actually wears the Stuy SING! hoodie all the time,” she said. Differences in school customs, like varying homework loads and different classes, can spark indignation. Especially con-

Keeping the Hope Alive

in Ukraine. She made sure I had the right priorities and balance in my life. Every day after school, I would tell her about my day and she would always give me advice about school or friendships. In September, she left my family in New York to go back to her beautiful home country of Ukraine. Even though I no longer see her, we still talk at least once a week and update each other about our lives. I would tell her about all my new friends and activities and she would tell me about her new life back overseas. She was expecting to reunite with her kids and grandkids in Ukraine. However, she was told she must stay in Russia until she could get the proper documents for Ukrainian entry. She was scheduled to go to Mariupol, her home city, in March. With one order, all her plans were disrupted. The Russian president made a choice to attack Ukraine without input from his people, yet Russians are all still thought to be in support of and

are blamed for the murders of hundreds of innocent civilians. Most of the civilians in both Russia and Ukraine are related not just through culture and language, but through blood. Most families have members in both countries, and no one wants to fight against their own family. Yet in one of the countries, people are now forced to stop their lives to worry about keeping themselves and their loved ones safe from bomb attacks. For the last three weeks, my nanny has sat glued to her TV screen. As prices go up and everyone sits at home unemployed, she hopes to see something, whether it be good or bad. She hasn’t heard from her sister, who has three teenage kids, in six days. She watches from a distance as her sister’s hometown of Kharkov is being bombed, and hopes that somehow she has found a safe place to survive. This year was supposed to be the year my nanny reunited with her mother after over a decade. Her mother

can no longer walk or speak well, and she barely ever gets up. Due to this, she can’t get to a bunker, so the rest of the family had to leave her for a shelter belowground while she remains in the apartment, prone to bombs or the shattering of glass. Once a day, someone runs to get her food and help her use the bathroom. And then they leave again. This is the effect of war. People have to choose whose lives will come first, and forget the luxuries they were accustomed to, in order to survive. While they are being attacked by soldiers of their own blood, they must struggle to find any grain of food or protection. The only way to get through this is to keep the hope alive that soon everything will be fine. My nanny tells me that she believes her sister is alive and that there is just no connection. She hopes that the food will last and that negotiations will produce results soon. I hope that my babysitter will stop worrying. Maybe, one

to her, and has motivated her to continue to read. “I’m really into mystery novels and not so much nature-related books, which was one of the categories of the StuyReads challenge, so it was an interesting experience to read outside of my comfort zone,” she said. “The challenge helped me get back into reading as a hobby. Recently, I’ve been checking out more books and browsing the library catalog more, so I’m glad I participated.” After a positive experience with this StuyReads Challenge, these dedicated readers are looking forward to the next one, and they hope that more people will try it. The librarians asked their monitors that started this term for genre suggestions to get student inputs. A triple crown of fiction books was recommended. The Triple Crown Wildcard challenge started on March 7 and will end on June 15th. To participate, one can first read a Science Fiction or Fantasy book, then a Sports Fiction or Romance book, third a Historical Fiction book, and finally a nonfiction book, the wildcard. For all the bookworms at Stuyvesant, it’s comforting to know that there is a strong community of readers here. For reluctant readers, the StuyReads Challenge would be a good place to start discovering a worthwhile hobby.

sidering the competitive and busy nature of Stuyvesant culture, it can be irritating for students to see firsthand how other schools have significantly lighter workloads. “[My sister] comes home and has no homework, despite taking four APs, while I have hours and hours,” Chun described. Likewise, Kastoun feels some resentment towards her brother’s lighter workload. “Regis doesn’t have APs and sends a lot of its kids to top colleges anyway,” she said. Whether these siblings’ loyalties are stronger toward their high schools or toward each other, sibling banter is clearly persistent. Going to different schools may not just be a reason to joust—it can also be refreshing for siblings to not have to constantly be around each other. “I know I’d kind of lose my mind if I [had] to go on the train with him every morning,” Chow joked.

day soon she will hear from her sister again. Or learn that her mother is alive and that the Russian troops have retreated. Maybe one day she won’t be scared out of her mind about never seeing her family again. All the people in my RussianUkrainian community have relatives or friends that are currently experiencing the same emotions as they watch their friends fear for their lives or be blamed for an act that they truly had no say in. Although we are so far away, we worry about all the people hiding, fighting, or waiting for any news. We pray for the fighting to end. For families to reunite and for the country to stop burning. Everyone around the world, especially most Russians and Ukranians, are hoping for a solution in order to start peace. They don’t want to keep fighting their own brothers who they were laughing and working with just several months ago.

The Spectator • March 21, 2022

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Features Vexta: The Artist Behind the Fourth Floor’s New Mural

Travel across the fourth floor and you are sure to run into Stuyvesant’s newest mural, Space is the Place: a wall of black dappled with geometric neon jewels. Ever wondered who created the math department’s masterpiece? Meet Yvette Vexta—more commonly known by her artist name, Vexta—a self-taught artist from the streets of Melbourne. Vexta’s impressive art career had an unconventional start. She initially studied journalism in university, so her artistic experience came from working directly on the streets. “Originally, I used stuff from the hardware store,” Vexta remembered. “I got started doing stencils on the street, which is when you get a piece of card and it’s like a silk screen. You cut holes in the card and you [spray paint] through it.” Vexta’s art is particularly known for her use of neon colors, a signature that stems from her background in street art. “As a graffiti artist or an illegal street artist, you find a way to make your work recognizable, so [when] somebody sees something, they know it’s by you [...] I started using those bright colors repetitively, and also because I loved them.” Vexta finds inspiration for different parts of her artwork, including the signature fluorescent colors, in the world around her. “My original inspiration for those bright colors was looking at the colors in nature that nature uses to signify danger or grab your at-

tention,” she said. Another one of her biggest influences is rooted in cultural significance: mythology. “I’m interested in mythology, and comparative mythology in particular. I like to learn when I’m traveling about different myths. The stories and the narrative threads stretched through all different cultures historically have similari-

might come from a dream or a daydream,” she said. Especially when she has music playing, her imagination sets no limits on what she can create. Even holding on to all those sources of ideas and inspiration, Vexta trusts her gut when she creates art. “I always worked really instinctually. When I first

the mural that I painted for the school, I was looking at platonic solids and sacred geometry and 3D shapes,” she said. “I’ve been playing around with those designs for a while. The way that crystals form is really mathematical.” Vexta has found that math lends itself to her art, even when the piece she is creating has little

ties and why we as humans want to talk about those things.” Vexta is inspired not only by her discoveries in the outside world, but also by those within her own mind. “Some of the things I’ll make come from an idea that pops into my head or

start[ed] making I would make what I felt like making,” she said. “Sometimes I would get a picture in my mind and that is what I want to make and see.” For Space is the Place, Vexta took inspiration from the setting: the math department floor. “For

to do with a high school math department. “Art can cross [between] different worlds, of something that’s beautiful to look at and something that’s mathematical, so it’s good for schools to have color and things that can inspire students to think differently

Courtesy of Yvette Vexta

By CHRISTINE CHANG, OLIVIA WOO, and ZIFEI ZHAO

about subjects,” she said. Something that Vexta has found beneficial in her journey as an artist is working alongside other people. “Finding other people to do [art] with is always really great because you push each other and you can give each other feedback,” she said. “I had a particular friend when I was in high school. And we did lots of art together: photography, ceramics, and drawing.” Having someone to do art with not only helped Vexta create more, but also create less. “We would always tell each other when to stop. Like when we shouldn’t add any more drawing. And it was really valuable because sometimes it’s like overcooking a cake. You can overwork a painting or paint on it too much,” she said. While it may certainly be intimidating to let others into one’s creative space, Vexta stresses that having a wall to bounce ideas off of is priceless. “I think when you’re being creative, you want to be in an environment [where] you feel comfortable and supported so that you can experiment [...] I do really enjoy doing stuff on my own sometimes, not having other people around. But I think when you’re first starting out, it can be really fun to experiment with other people.” In the end, perhaps the most important advice that can be given is also the simplest. “Do [art]. Just think about what you really enjoy making creatively,” she said. “If you enjoy drawing, draw more and if you’re not sure, try out lots of different things. And then when you find one that you really like, just make time for it.”

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The Spectator • March 21, 2022

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Editorials The Spectator

To Mask or not to Mask? As of March 7, 2022, face coverings are optional in all NYC public school facilities. For the first time in nearly two years, students are not required to don a mask in school buildings. But despite the removal of the mask mandate, Stuyvesant has not seen an extensive change in student behavior, with few students taking their masks off. In the days that followed the first mask-optional day, there was a small, gradual increase in the maskless population, but most kept their faces covered. Still, it has been a confusing intermediary period in which we all struggle with our own decisions, recoil in shock at our friends’ face reveals, and silently judge, or are judged by, faceless strangers in the halls. The decision to continue to wear a mask is a personal one and depends on individual risk factors. Most children and teenagers are unlikely to develop severe symptoms from COVID-19, especially if they’re healthy and have been vaccinated. However, those who are immunocompromised or unvaccinated may want to continue wearing a mask and socially distancing themselves. Many experts suggest that not enough children are vaccinated in order for the mask mandate to be ending. Others cite the declining case rates and hospitalizations as adequate criteria for lifting the mandate. The Spectator conducted a school-wide survey to gauge why students still wear masks. According to the survey, only 13 percent of students chose not to wear a

mask, with most students continuing to keep their mask on for a variety of reasons. The survey found that almost 60 percent of students cited health concerns as a reason for continued masking. The most surprising finding of the Spectator’s survey, however, was that more than half of mask-wearers do so at least partially for self-conscious reasons. Some written responses in the survey detail how students find solace in hiding their faces: “I feel like I look so ugly without my mask on.” Another common worry beyond aesthetic judgment is character judgment. Over forty percent of submissions cited social pressure as a factor in their decision, worrying that they would be viewed as callous, inconsiderate, or politically conservative. Many fear the silent appraisal of the masses, or as one anonymous submission stated, the confrontation of “getting yelled at in the hallway.” Other respondents explained a tactic in which they selectively choose when to mask up based on the number of maskless peers surrounding them. Similarly, some teachers have opted to go maskless while others adhere strictly to the pre-mandate guidelines, automatically prompting their students to do the same. It is no surprise that these social pressures have been a major factor in students choosing to continue to wear masks. Despite past questions over when we would finally be able to take our masks off, the mask has become an essential accessory to priva-

tize our expressions and faces. It seems that in this transitionary period of society, face masks function as a temporary cure for teenage insecurity. Never before has it been part of the status quo to shield one’s facial features, but the advent of COVID has allowed respite from the daily horrors of letting your lab partner analyze your nose and mouth. Even with the uncertainty, it’s always important to be conscious of the circumstances of those who advocate for mask-wearing and to be considerate of others’ requests to determine their own health and safety. For those who understandably remain concerned, Stuyvesant prioritizes strategies to keep the building safe, such as frequent testing and ventilation, which, in addition to the lowering cases, makes Stuyvesant safer now than it has been all year. The strategies help to keep the cases down while preventing stigmatization and social divide, and perhaps will help you ease into the comfort of loosening your mask. The mask decision is not a simple one, and it’s easy to be influenced by others when making a choice. Social pressure limits freedom to choose. Yes, you are perfectly allowed to thrust your bare face into the Stuyvesant air or you can choose not to. If this limbo stage is the new normal, choose for yourself, not for others—whether your health concerns or wanting to return to normalcy determines if you wear a mask.

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ADV I SE R

Media: So Much, Yet So Little By ELIZABETH KOLBASKO As a Ukrainian, I am shocked by how conversation around my home country has become so prevalent. Before the American media began reporting on the Russian military conflict surrounding Ukraine, I noticed that most people didn’t know much about Ukraine. My eighth grade English teacher didn’t even know Ukrainian was a language until I told her that I speak it at home. Now, I hear about the Ukrainian conflict everywhere, even in my Art Appreciation class. My family and I have an understanding of the events that transpired before war was declared, and we can factcheck all the news through information directly from the source: citizens of Ukraine. Unfortunately, most Americans have to use news sources in English, which may be reliable but don’t come close to capturing the full story of those who have lived through years of conflict. Post-Soviet countries’ histories are intertwined with each other in a way that leads many people to the conviction that they are all very similar. Ukraine and Russia, being in such close proximity to each other, are the prime examples. People who had a hard time differentiating the two countries before are now consuming news of conflict and war. Some who have never even heard of Ukraine are now immersed in its complicated history with Russia. Due to this situation, history is being condensed into a single article or video trying to explain the escala-

tion of the conflict. This oversimplification, combined with baiting titles and jokes on social media, creates a culture of misinformed people fashioning harmful opinions. Misinformation also stems from outlets not reporting on certain past events that are crucial to building the timeline of the war. When news broke of the war in Ukraine, world leaders and the media alike quickly made the statement that it was the first major war in Europe since 1945, which completely ignores the Yugoslav Wars, the Russo-Georgian War, and many other conflicts that have occurred in Eastern Europe. Though the wealthier Western European countries have remained largely at peace, the lesser-known countries have been neglected in news stories. Tensions in Ukraine and Russia started in 2014, but because there has not been major news coverage about their relationship since then, there is a huge gap in knowledge between then and now. Billions of people rely on news sources, so why are events in some countries overlooked until their climax? Most of the time, foreign events are portrayed in a different light in American media to benefit a narrative. A report on conflict and the role of media by International Media Support suggested that the

response of the most powerful governments in the world is heavily influenced by political significance. The media prioritizes one conflict over another mainly due to the concerns of the domestic audience. This behavior is demonstrated by how China and Russia, the main adversaries of the United States, have been prevalent in the media for their current allyship. However, there is relatively inconsistent media coverage of conflicts around the world, such as those in Yemen and Kashmir, and the treatment of Uyghur Muslims. The US and other global pow-

Emily Lu / The Spectator

ers show little to no concern for human rights violations in these situations. The media follows suit. These issues are brought up for a

bit of time, then dropped for the next “hot” topic. The variability of what country is focused on in the news leaves room for people to turn to unreliable sources for information and make assumptions. Repurposing images for a certain narrative has also become a major problem. An expert on disinformation in media, politics, and public policy shared that in this information space, there is a lot of confusion about sources and less time for verification. Since headlines are made to grab attention, they may use incorrect information that has been spread through other sources and social media. For example, a 2012 image that shows a Palestinian girl confronting an Israeli soldier has been circulated as one showing a Ukrainian girl challenging a Russian soldier in the present day. Misconstruing this type of image may not seem that damaging, but looking at the reach this false information has is important. A French media site and Hindi news outlets have fact-checked the spread of similar disinformation in their areas, demonstrating that it is not hard to create an impact on different parts of the world with false reports. Media influences the perception of millions, which determines the extent to which conflicts are recognized in powerful countries. Aside from the Russo-Ukraine topic that most outlets are currently reporting on, civil war situations, such

as those in Yemen and South Sudan, are dangerously being ignored by major news sources. In an interview with a peace and conflict researcher, the media’s effect on overseas situations was discussed. The conclusion was that news coverage brings awareness to these circumstances and promotes humanitarian aid. Therefore, it is more important than ever to properly research and contextualize information. Unfortunately, when covering large crises, many stray away from explaining the entire situation, instead opting to present the information in a more concise format to make it more palatable to the everyday citizen. This constant cycle of compacting information leads to the misrepresentation of communities and overall damage to people’s critical thinking. Along with using multiple sources when watching the news, people should be aware of bias in the media. However, the responsibility cannot completely fall onto consumers of news because it is impossible for them to fact-check every single piece of information. There should be a greater weight on the media because they can dictate ways the public makes decisions. Media coverage of foreign events can improve by actually explaining the nuanced opinions and struggles of the people. Reputable news can be ensured by encouraging high-quality journalism instead of rewarding flashy titles. This progress builds trust in the global newsroom and establishes an expected baseline of reliable information.

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The Spectator • March 21, 2022

Opinions Housing the Homeless Every day, I rush off the 2 or 3 uptown train, down the steep steps, and into Penn Station, trying my best to catch the 4:46 p.m. or 5:29 p.m. train to Great Neck. A busker dressed as Marie Antoinette plays the cello in an attempt to make some money. Drippings from the ceiling slowly trickle down, forming small, murky puddles on the ground. A man holding a briefcase races to catch the train to Long Beach. The crowds that once packed the station when I was a freshman have returned. Penn Station is bustling again, but recently, I’ve noticed something new: a sharp uptick in the number of police officers. This increased presence can be attributed to Mayor Eric Adams’s latest effort to aggressively curb the number of homeless people who shelter regularly in the MTA subway system. There will be a zerotolerance policy for people sleeping in subway cars or stations and for those who violate the MTA’s rules of conduct, which include unruly behavior and loitering in a station for over an hour. Adams’s plan is a response to the spike in violent crime in the subway. The rates of violent crime per million weekday passengers have increased from 2019, and felony assaults have risen almost 25 percent. The most serious crimes have increased five percent from the previous year, including murders, which have been on the rise

since 2018. As a result of these incidents, public perception of the subway has shifted negatively: it’s riskier than it was before. Nearly two years after the coronavirus caused New Yorkers to abandon the MTA subway system, ridership has finally reached half of its

pre-pandemic levels. However, it is still unlikely for the remaining half of riders to return. Many are avoiding the subway because they fear becoming victims of crime. Like crime, homelessness in New York City has drastically increased. There were 48,691

How Much Respect Is Too Much? By SUYEON RYU

Growing up in an Asian household, I was expected to be “respectful” toward the adults in my family, especially my relatives who came from Korea. I put the word respectful in quotations because in reality, it felt more like being subordinate and having to follow their requests unconditionally. The elders of my family never intentionally disrespected or abused their power over me. However, the idea of wisdom that comes with age was rooted in our household and my voice was muffled under this justification. When there were arguments between my elders and me, I was expected to listen and was punished for speaking up. Holding older people accountable for their actions was an act of rebellion, even if I was held accountable for the same faults. I was not allowed to raise my voice or furrow my eyebrows because I was supposed to hide my discontent. The definition of respect in the phrase “respect your elders” extended beyond the baseline of how a person should treat another person and became synonymous with a power dynamic. Young people are constantly expected to uphold this culture of submission in workplaces, meetings, and public places, and they consequently can become people pleasers. They are viewed as less capable of navigating the world, and under that assumption, they are subject to nosy comments, unnecessary advice, and even rude remarks, which, of course, they are expected to listen to with a smile. For instance, young people are commonly asked about their relationship status, and later, when they are married, about pregnancy. These sensitive topics usually cause discomfort

homeless people sleeping each night in New York City’s main municipal shelter system as of December 2021, but this number doesn’t capture the full scope of homelessness in NYC, as it excludes people in other facilities. For example, 107,510 differ-

Christina Jiang / The Spectator

By ASHLEY LIN

for them, but they feel pressured to answer rather than deem the question as invasive, because they don’t want to risk being seen as disrespectful. Even as a toddler, I struggled with saying no to an elder’s physical affection, because I felt that standing up for myself in that moment would disrespect the older person. There is a culture of assuming that age brings success and wisdom. However, not all people will be more successful than those younger than them, which can make the presence of talented younger people seem threatening and result in discrimination against young people in their workplaces. Acknowledging that age is not a determining factor for success will allow for a better working environment and a kinder attitude toward both older and younger people at varying levels of success. “Respecting your elders” also widens a generational gap, as younger generations don’t feel welcome to express their thoughts freely, especially when they know that older generations won’t approve. To suggest that the ideas of an older generation are wrong or in some way unjust is taken as an insult, rather than a meaningful idea. This lack of communication is a result of unequal power. For a conversation to move forward, both parties need to be in an equal position where they can keep an open mind to the possibility of being wrong. Demanding that young people be unquestionably loyal to the old only raises young people to be dependent and insecure of themselves. The vicious cycle of treating younger people as inferior by default needs to stop. Young people are equally deserving of respect.

ent homeless adults and children slept in the NYC Department of Homeless Services shelter system in 2021. “People tell me about their fear of using the system. And we’re going to ensure that fear is not New York’s reality,” Adams

said when introducing his new plan. Not only does his plan entail training NYPD officers to enforce already existing conduct rules, but it also has initiatives for connecting homeless people, especially those who suffer from mental illness or substance abuse, to both housing and mental health services. Additionally, his plan aims to increase the availability of safe haven beds and stabilization beds. While Adams may have the right intentions, his plan does not outline a concrete solution for tackling homelessness. Once people are removed from subways, where are they supposed to go? New York City currently faces a shortage of housing options that are affordable to those who reside in the subway. Mayor Adams should follow what other cities have done to help address homelessness: create tiny house communities, which consist of small, shed-like buildings. In comparison to other solutions, including homeless shelters and housing projects, building tiny home villages is much more feasible because these structures require a short amount of time to assemble and are much cheaper. A single village can be completed in less than six months and costs between $100 thousand and $500 thousand. Providing homeless people with a house where they are safe and sheltered, and have access to utilities like water, electricity, and sanitation will help alleviate homelessness. Forcing homeless people into the freezing

cold and criminalizing them does not. Most of the tiny home villages in LA are operated by a nonprofit named Hope of the Valley Rescue Mission. Their tiny house communities have sprung up in places ranging from North Hollywood to Highland Park. Each of their homes has two beds and provides 64 square feet of floor space, heat, furniture, and air conditioning. In Seattle, similar projects have been undertaken. The Low Income Housing Institute is the main operator for the tiny home villages in Seattle, and they constructed 10 villages throughout the city in less than two years. Each house offers 96 square feet of floor space, electricity, locking doors, and furniture. New York City could follow the examples set by these projects. Tiny house communities are an interim solution: they will not decrease evictions, improve the mental health infrastructure, nor provide people with higher wages in this country. However, in times of crisis like the present, they present a unique possibility for innovation and creativity to flourish, helping to spark change and provide tangible solutions. The pandemic revealed the shortcomings in New York City, but it does not have to stay this way. As New York City continues to recover from the pandemic, it has the opportunity to build back better and do more to support its most vulnerable communities.

Shut Up About NFTs By CHARLOTTE PETERSON

is done by computer, with the mining and ownership processes frequently completed on the highenergy Ethereum blockchain and altogether creating a very high carbon footprint. The creation of a normal Ethereum NFT wastes over 142 kWh of energy, in addition to pumping out greenhouse gases. The average American citizen uses less than 10 percent of that quantity for all daily activities, including Internet usage and travel. French digital artist Joanie Lemercier planned to unveil an NFT of her own artwork. Upon realizing that the 10-second process would require the same amount of energy she had used to power

Recently, Reese Witherspoon, Eminem, Tony Hawk, Jimmy Kimmel, Serena Williams, and countless other celebrities publicly displayed their NFTs to flex their wealth and “taste.” For the past year, non-fungible tokens (NFTs) have gained great popularity in online circles. An NFT is a virtual asset that proves ownership of a specific online product, generally artwork. Many people hate on NFTs for being relatively pointless, but there are many other reasons to dislike the newest “crypto-bro” trend that are more serious and less often addressed. While it may seem that NFTs allow artists to profit off of their artwork in a new way, the reality is that anonymous thieves frequently steal genuine digital artwork and pass it off as their own property to sell online. The sites used for selling and buying NFTs are highly unregulated, so putting someone else’s artwork up as an NFT does not technically violate the artist’s statutory copyright. Since something more akin to a receipt, rather than the actual artwork, is being Vanessa Huang / The Spectator bought and sold online, current her studio for the past two years, legislation doesn’t cover the novel she called it off entirely. Relative concept of NFTs at all. As a re- to everyday activities, the carbon sult, the NFT industry is stealing footprint generated per NFT is rithe work of many artists, and the diculously big for a digital prooflegal system hasn’t been able to of-purchase and simply not worth it. stop this practice. In many ways, NFTs are a Other than the clear ethical problems with NFTs, there are method for the rich to show off physically manifested harms. The their wealth. Some NFTs cost significant environmental effects millions of dollars without physiof NFTs are not often at the fore- cally manifesting as anything. front of the NFT conversation. It is hard to see them as someYet, like the mining of crypto- thing other than a crass display currency, the creation of an NFT of money. The Bored Ape Yacht

Club (a well-known producer of NFTs) sold a “rare” ape for over $3.4 million on October 26, 2021. Headlines were made, with some claiming that this was “an NFT with historical significance,” because less than one percent of NFT apes have gold fur. The price, $3.4 million, is twice the amount the median American makes in a whole lifetime, and spending that sum of money on a hyperlink of an image of a “rare” and “gold” ape is indisputably an ostentatious waste. Some celebrities don’t stop at buying and showing off their NFTs, but try to also profit off of them: many have started to sell personal NFTs to their adoring fans. Instances of influencers scamming gullible followers are not unusual, but NFTs allow stars to scam everyday people on a much greater scale. When celebrities launch makeup brands or merchandise, they usually charge up to $50 for cheap, poor-quality products. Snoop Dogg recently started selling NFTs for, at the lowest, 0.369 ETH (just short of $1,000), which is significantly more expensive than a cakey makeup kit or scratchy hoodie. Although celebrity brands usually offer poor products, these are typically usable or wearable, at the very least. Some fans of Snoop Dogg and other celebrities who sell NFTs are wasting well over $1,000 just for the hyperlink to a pixelated image “supporting their idols.” NFTs are altogether a huge waste of time, money, and energy. They exist inside of a bubble, and since they are non-fungible, they are not an exchangeable future currency. It would be best if we could all just shut up about NFTs and forget about them, like any other damaging trend.

The Spectator • March 21, 2022

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Opinions Preventing Appeasement in the 21st Century By MUHIB MUHIB President of Russia Vladimir Putin declared on February 24 that Russia was commencing a “special military offensive” in eastern Ukraine. Three days earlier, Putin had recognized Donetsk and Luhansk as independent nations and had deployed troops to assist them. The invasion was the conclusion to a year-long military buildup on the Ukrainian border and an eight-year conflict in the Donbas region. This unprovoked invasion of a sovereign nation is outrageous and illegal. Russia invaded without a proper declaration of war and indiscriminately attacked civilians, which is considered a war crime. Putin launched such an invasion because he opposed Ukraine becoming increasingly pro-European and pro-Western, essentially leaving his authoritarian grasp. He repeatedly demanded that Ukraine be prohibited from joining the North Atlantic Treaty Organization (NATO), and these statements were rightly rejected as just another of Putin’s attempts to exert control over Ukraine. In a speech days before his invasion, he declared that the Ukrainian and Russian people were one ethnic group with a shared culture and language, a claim that is heavily inaccurate. The response to this power grab will be one of the most sig-

nificant decisions made in this century. The United States, many NATO members, and the European Union (EU) have rightly placed sanctions on Russia. Many European countries have banned Russian planes from their airspace, causing Russia to retaliate by barring them from Russian airspace. The United States and the EU have removed major Russian banks from the Society for Worldwide Interbank Financial Telecommunication, a major component of the global banking system, and have frozen the Russian central bank’s assets abroad. Germany, a country dependent on Russia’s natural gas, has sanctioned Russia and has suspended construction of the Nord Stream 2 Pipeline. Turkey, which became increasingly friendly to Russia after the collapse of the Soviet Union and the election of a conservative president, has limited Russia’s military ships from using the Bosphorus using the authority it has under the Montreux Convention. The Montreux Convention regulates the Bosphorus under international law and keeps it open to the warships of nations at peace. However, these responses are insufficient. Energy exports have been mostly exempt from these sanctions, and the energy sector is a significant part of Russia’s economy. The United States, the EU, and other NATO members must

sanction Russia’s energy exports in order to significantly attack its economy. Poland and Lithuania have not yet closed their borders with the Kaliningrad Oblast of Russia, which would cut Russia off from one of its few yearround ice-free sea ports, thus further dealing damage to its economy. The United States must be ready to hold Russia and Belarus accountable for their actions. Our government should go through with its plan of prohibiting Russian oil imports and should sanction all individuals and corporations complicit in this war crime. The United States Congress should pass the Ukraine Democracy Defense Lend-Lease Act of 2022, a bill that would establish a lend-lease program with Ukraine, allowing the United States to provide Ukraine with necessary materials to support them in the war, by voice vote in the House and unanimous consent in the Senate. The United States should maintain their sanctions on Russia and Belarus until they comply with international law and withdraw from Ukraine. We must continue to supply the Ukrainians with arms to aid their defense against Russia. The American people must abstain from commerce with businesses registered in Russia and Belarus that are complicit in this invasion. The delivery of repercussions

should be, as much as possible, placed on Putin, Belarus President Alexander Lukashenko, who has assisted with the invasion, and the Russian oligarchy, who is close to Putin. Nearly all suggested measures meet this test, but a few do not, such as a proposal by Representative Ruben Gallego of Arizona and Representative Eric Swalwell of California to expel all Russian international students from the United States. This measure is xenophobic in nature and serves to do more harm than good, as it would deprive this nation of the talent of those who have chosen to come here to learn for the betterment of civilization. The Russian and Belarusian people cannot be equated with the institutions contributing to the invasion. Economic sanctions may hurt the people, but they need to be structured in a way that hurts their governments with greater severity. Repercussions must not just be economic in nature, but legal as well. The invasion in itself is a war crime that must be prosecuted to the fullest extent of international law. Though it is nearly impossible to try Putin, Lukashenko, and the other leaders of this invasion, prosecutors should nonetheless file charges against them. Under the doctrine of universal jurisdiction, prosecutors from any nation can file charges against a war criminal. If the per-

petrators of this war crime enter any jurisdiction where they are being prosecuted or have an extradition treaty with the one that is prosecuting the perpetrators, they will be tried under international law for their war crimes. Russia and Belarus must face repercussions for their actions. Sufficiently punishing Russia and Belarus is essential to preventing a repeat of appeasement in the 21st century. We cannot tolerate this hostile aggression by Russia toward independent nations. Insufficient punishment emboldens Russia’s aggression, as it sees little ramification for its actions and may lead to eventual invasions of other Eastern European countries, which many of these countries fear. Russia may also disestablish the democratic institutions that Europe has slowly gained, given their track record. If Russia is punished, however, their government may feel internal and external pressure to cease and desist with this invasion. The obliteration of their economy through sanctions will likely put pressure on the Russian government through the Russian people who are affected by the crisis. Russia cannot be permitted to be a hostile and aggressive power that dismantles democracy and individual freedoms at every turn, and it must be punished to the fullest extent possible.

Ketanji Brown Jackson: A Step Against Groupthink in Government By AMANDA CISSE During Joe Biden’s 2020 presidential campaign, he made a promise to nominate a black woman to the US Supreme Court, and on February 25, 2022, he nominated Judge Ketanji Brown Jackson, who made it clear when discussing her nomination that she “know[s] very well what my obligations are, what my duties are, not to rule with partisan advantage in mind, not to tailor or craft my decisions in order to try to gain influence or do anything of the sort.” The decision to bring Jackson’s voice to the Supreme Court will leave a lasting impression on the US government and its citizens. Jackson brings many accomplishments to the table, but her nomination also adds value to the Supreme Court’s method of decision making and the way new members are nominated. To understand the value of Jackson’s nomination, it’s useful to consider the phenomenon of groupthink, a social psychological theory in which people strive for consensus within a group. An idea is proposed, and one person agrees. By desire to fit in, so does the next, and eventually, the whole group reaches a unanimous decision. Wanting to maintain a sense of community when working with others is understandable, but with scenarios in which decision makers are focused more on maintaining balance than they are on the potential consequences of their decisions, groupthink can easily become the downfall of a team. NASA’s 2007 Space Shuttle Challenger disaster is a prime example of the consequences of groupthink. Some engineers had safety concerns about the launch of the spacecraft but were pressured to reconsider their position

in order to complete the launch as scheduled. The Challenger took off and broke apart, killing seven crew members. Similar issues can occur in any type of team, including the Supreme Court. During his presidency, Donald Trump nominated two white male conservatives with similar working experience, both from Ivy League law schools and the same private preparatory school. Of course, they have impressive qualifications, but they have exceedingly similar demographics, experience, and education to the rest of the Supreme Court. This example demonstrates another risk. Once a profile of a Supreme Court member is es-

In response, many conservatives have raised concerns about Jackson and her competency. For instance, Fox News host Tucker Carlson demanded that Jackson “show her papers” and her LSAT scores to the American public. Carlson, along with other reporters and politicians, had nothing of the sort to say about some of the white, male, Ivy League law school students who serve as Justices. This difference is because, simply put, Carlson and the like do not trust different perspectives that do not fit in with the expected Supreme Court Justice profile. Carlson allowed his fear of diversity to cloud his understanding of Jackson’s competency, and Trump’s

ruling was a good idea. There were no Justices who had experienced regulation from any of the Jim Crow laws, nor who had witnessed what the word “equal” really meant in the phrase “separate but equal.” Every member lacked experience when it came to evaluating segregation, reaching a decision that did not advocate for the US’s black population. It took about six decades for the Brown v. Board of Education verdict to change that ruling. It’s notable that Thurgood Marshall was chief attorney for the plaintiffs (and later the first Black Supreme Court Justice) and that his experiences allowed him to approach the situation differently, which played

There were no Justices who had experienced regulation from any of the Jim Crow laws, nor who had witnessed what the word “equal” really meant in the phrase “separate but equal.” tablished, it becomes increasingly difficult to introduce new perspectives to the team. Why would Trump, having a profile similar to his nominees, have chosen somebody different? Why would he have nominated someone like Jackson, for instance, when the safer path was to nominate a familiar character who would not disturb the profile of the team? Every team has to have a degree of trust, and trust has a lot to do with implicit bias. People are inclined to fear what is different and trust what is familiar, and we see this tendency in Trump’s nominations.

goal of upholding a unanimous in-group proved more important to him than the benefits of picking new, diverse candidates. As demonstrated by the Challenger disaster, groupthink can be detrimental to a team. The Supreme Court is no exception. Consider the Supreme Court’s position on segregation in the past. In the 1896 Plessy v. Ferguson case, they ruled that black and white people should be “separate but equal,” segregating public facilities for the next 60 years. There were no black members of the Supreme Court who had a say in whether or not they thought that

a key role in the verdict. Despite Marshall’s efforts, the court was divided when the case first came to bat, and Justice Fred Vinson fought to uphold Plessy. It is key to note here that the only reason Vinson’s opinion did not have more serious consequences to the ruling was because he died before it was made and was replaced with a Justice of a different opinion. Groupthink is a serious issue in the Supreme Court because their biases impact the entire country, and their precedents can last decades. It is important that members of the court value making decisions that account for the

varying backgrounds of US citizens far more than they value unanimity or comfort. The comfort of the Supreme Court was more important to the court in 1896 than the 60 years of suffering they caused by segregating America. Not only is there a clear reluctance to invite different viewpoints to the team, but most Justices have also ruled with the same opinions for so long that they easily disregard new perspectives. Nominating a black woman cannot prevent these consequences from happening again in the future. Yes, nominating Jackson brings another voice to the table, but she is only one person. The Supreme Court is ultimately still dominated and imbalanced by white men. The minority is then susceptible to wanting to fit in with the shared perspectives of the majority. As the court decides on cases that require an understanding of different perspectives—for example, abortion or segregation, which are both issues that the Supreme Court has faced before—10 white men are at a higher risk of groupthink because all decision makers share uniform perspectives and experiences. Empirics prove that bringing different genders and ethnicities to the table avoids groupthink and allows decisions to be made with multiple perspectives in mind. The best situation is when everybody, not just a select few, on the team has a different background. This composition removes the desire to conform, because there is no profile to fit in with. Everyone has different viewpoints shaped by different experiences. In the future, Supreme Court nominees should continue to be diverse, until the Justices have backgrounds reflective of the entirety of the United States demographic.

SING! 2022 The Stuyvesant High School Newspaper

Volume 112  No. 12

March 21, 2022

“The Pulse of the Student Body” stuyspec.com

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

p. 13 p. 14 p. 15 p. 16-17 p. 18-19 p. 20-21 p. 22-23 p. 24

The Spectator ● March 21, 2022

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SING! News SING! by the Numbers

By ISABELLA JIA, JANNA WANG, and REBECCA BAO Production costs for SING! 2022 largely came from the Student Union (SU), eliminating the need for external fundraising. Roughly $13 thousand came directly from the SU to cover all expenses in the three productions—excluding fabrics. The Parents’ Association (PA) and Stuyvesant High School Alumni Association (SHSAA) directed additional sums of $6,000 and $13 thousand, respectively. The percentage of PA and SHSAA provisions used has yet to be totaled. However, all leftover funds will be allocated to funding for future SING! productions.

Soph-Frosh SING!

Junior SING!

Senior SING!

Soph-Frosh SING! was led by sophomore coordinator Caroline Stansberry, sophomore producers Eliza Oppenheimer and Eugene Park, and freshman producers Salma Azim and Rayen Zhou. Roughly $3,000 was allocated toward Soph-Frosh SING!’s revitalization of mythological ancient Greece. Compared to the $3,800 spent for Junior SING! and the $4,000 for Senior SING!, the Soph-Frosh budget was notably smaller than its upperclassmen counterparts. “As a whole, we spent a lot less than I expected since I overestimated almost every crew’s spending,” Stansberry said in an e-mail interview. However, the budget for certain crews surpassed initial predictions. “The only area where we went well above what I expected was Flow,” Stansberry said. “Their props are all very unique and expensive, so the final price was surprising, but not unmanageable.” Most notable was the art budget of Soph-Frosh SING! The $1,470 spent was more than the Junior and Senior SING! art budgets combined. The effect of this budget was clearly seen in the elaborate Mount Olympus backdrop, tree props that decorated the stage, and sets, such as the library and village. The $717 allocated toward costumes can be attributed to the intricacies of the Greek ensembles that the cast donned. From fabrics to materials for finer details like laurel wreaths and Grecian meander trim, the setting required additional elements in costume designs. Of the $717, $207 were used to purchase leotards for Soph-Frosh SING!’s modern dance crew. The remaining budget came down to $217 for props, a number on par with the other SING! shows. A large factor that lowered Soph-Frosh SING!’s budget was the efficient spending by its crews. “We did make sure crews were only buying what they needed so that we could proactively prevent having to cut down [the budget later],” Stansberry said.

Junior SING! was coordinated by Lianne Ohayon and produced by Inour Awad, Judy Chen, and Kitty Wang. The majority of the Junior SING! budget was set aside for the costumes crew, which spent $769 on fabrics, ribbons, and the memorable elephant onesies, along with other necessary materials. The costumes crew was followed by the flow and art crews, which spent $709 and $599 respectively. Most costs came from the paint used for the SING! backdrop and the murals for individuals in the cast. Crews generally spent within their allocated budgets, with the only exception being that Latin required an additional $37 for shoes and heels. The directors of Junior SING! highlight the new budget-tracking system the Slate implemented this year to increase organization and efficiency. “[We implemented] this new system of obtaining electronic approval through a Google Form that states all the specific things, materials, costs, and even links to the items that each of our crews [was] purchasing so that we [could] keep a very nice streamline,” Wang said. This year, the production budget leaned toward crews that helped produce the visual elements on stage. “We spent quite a lot on paint as well [...] But for tech, it’s a lot of spending on wood. If you compare us to Soph-Frosh and [the] seniors, we had quite a lot of different elements on our set that did require a lot of setup and preparation,” Wang said. Overall, Junior SING! didn’t exceed its budget expectations, achieved through frequent communication between Slate and different crews. “The Slate was very conscious of how much we were spending and conferred with many directors in order to get the best quality products to put on the best show,” Ohayon said. “Across the crews, we were cognizant of the larger expenses that some crews would have, compared to crews who spent a smaller amount of money.”

Senior SING! was led by director Alec Shafran and producers Avni Garg, Ella Krechmer, Elizabeth Stansberry, and Ava Yap. Dues collected from the members were the primary source of funding for the show, along with donations from the SU and PA, and leftover money the SHSAA donated to last year’s virtual SING! To ease the reimbursement process, a new credit system based on Amazon was established for all three SING! shows. “This year, what the SU and admin[istration] tried to do was [...] set up a school line of credit with Amazon. Instead of us going in and paying manually for every single item, we add items to our cart and divide it among the seniors, juniors, [and] Soph-Frosh. [The administration] orders it and instead of them paying for each thing individually, it shows up as a whole invoice. They just pay that one bill at once instead of dropping money inconsistently,” Shafran said. A bulk of the budget was dedicated to the visual aspect of the show, with the costumes crew spending $1,540 and the art crew spending $845, making up 38.3 percent and 21 percent of overall spending, respectively. “There was a lot of money spent on costumes. We had hoop skirts, draping, and more, which did take a lot of fabric. We didn’t want [the show] to seem flat and two-dimensional,” Shafran said. Additionally, costume changes and dance crews contributed to increased spending in the costumes sector. “We also had costume changes, and that meant more costumes for certain people. We had four more dance crews than everyone else,” Krechmer said. Though Senior SING! managed to meet its budget, there were some difficulties in estimating crew-specific budgets. “Our costumes crew didn’t expect how much it would cost because there were some things you have to rent, and it’s not something costumes make[s],” Krechmer said. “That was a blow to the costume budget because they weren’t able to make as much as they could. We had to deduct from some crews, which is difficult when you already need certain materials.” Other allocations went primarily into dance crews, with Bollywood spending $631, Latin/swing $366, modern $537, belly $59, flow $798, and step $209. Props and tech spent $335 and $223, respectively.

2020 Attendees Maximum number of attendees allowed in a night:

374 Thursday night attendees

808 Friday night attendees

840

801 Saturday night attendees

2022 Attendees Maximum number of attendees allowed in a night:

197 Thursday night attendees

468 Friday night attendees

700

496 Saturday night attendees

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The Spectator • March 21, 2022

Soph-Frosh - SING!

It Was All a Myth By DAVID CHEN and ISABELLA JIA “Seek out Psyche, the Goddess of the Soul. If you find her, then all will be revealed…” Dazzling goddesses. Ancient Greek pillars. Fluffy cumulus clouds. The gateway to Mount Olympus opens before your eyes. Coordinated by sophomore Caroline Stansberry and produced by sophomores Eliza Oppenheimer and Eugene Park, and by freshpersons Salma Azim and Rayen Zhou, SophFrosh SING!’s Greek mythology-themed performance manifested a splendid combination of ancient Greek ideals with modern times. Despite having no prior experience with in-person SING!, SophFrosh delivered a surprisingly enjoyable performance through their enthusiasm and creativity. The show left the audience in awe as it brought to life the Greek mythology stories reminiscent of our childhoods. A suave rendition of “Belle” from Beauty and the Beast floats into our ears as the show starts. While the curtains reveal an underwhelming set of props, the backdrop makes it clear that we are now in the world of Athens. Irene (Zoey Marcus), a mortal girl, wakes up without any recollection of her identity. She then abruptly embarks on a journey to find answers and discover her past. Irene delivers a lively solo of the song, delightfully surprising the audience with her vocals. As Irene continues to wander around an unfamiliar environment, she coincidentally bumps into Olive (Adeline Sauberli), a hearty and flirtatious hamadryad. Fitted in a bulky green dress with brown accents and topped off with a leafy lei headpiece, her costume is a little tacky but deserves

an A+ for the effort. After hearing Irene recount her dilemma, Olive enthusiastically suggests that they ask the Olympian gods for their help. We are then introduced to a place just outside Olympus, where the grandness is somewhat diminished by the lackluster set props but is saved by the actors’ energy. With the Floating Palace of Mount Olympus in sight, Irene and Olive start their long trek toward it. A performance of “Loki” played by the band helps to transition between scenes and rouses anticipation among the audience. Even after an arduous journey walking through forests and villages, the pair encounter even more trouble when Mount Olympus guards prevent them from entering, demanding a completed Health Screening in an amusing manner. A procession of security guards clad in all-black clothing storm in and begin their step performance. The incredibly synchronized choreography highlights the underlying situation. Though the Step crew is relatively small, the fervor of their steps and handclaps in tandem with each other proves to be a stellar performance by the first dance crew of the show. As the guards leave, we are introduced to the gods and goddesses Athena (Chaniyah Brown), Aphrodite (Louise Wang), Hephaestus (River Soto), Artemis (Andrea Wang), Apollo (David Jiang), and Demeter (Vanessa Chan), each dressed in similar, rudimentary layered tunics of various muted colors. The gods argue back and forth discordantly, disputing whether or not to allow Irene into their palace. Some of the conversations are incoherent and it becomes hard to distinguish exactly what is

happening. Athena, given her wisdom, is stern in not letting Irene into the palace, given her mortal status, and Artemis and Aphrodite agree. However, Demeter and Hephaestus advocate for Irene. Hephaestus slyly justifies this by noting Irene’s potential for strategic defense, successfully persuading everyone to let Irene in. The character development for each god is more linear and they all seem very similar, even when their inherent abilities are supposed to be drastically different. We are then abruptly introduced to Eros (Rachel Alvarez), Aphrodite’s son, who is bossed around dismissively by his mother. In a passionate performance, Eros emphasizes his role as the God of Love when Irene belittles him. Despite that, he still advises Olive and Irene to seek out Psyche, the Goddess of the Soul. The scene is short and sweet, segueing nicely into later scenes with Eros as he and Irene seem to be well acclimated to each other already. We are then teleported to Athena’s library to ask her if she has any information about Psyche. The library is an obvious mess from a thunderstorm caused by Zeus and Poseidon, which feels like an irrelevant detail. In the background, a rather unadorned set of bookshelves and scattered books on the ground accentuate the disordered atmosphere. Irene also makes a witty reference, proposing that Junior SING!’s circus, which preceded SophFrosh SING! on the Thursday and Saturday shows, caused the mess, eliciting laughter from the audience. Athena’s calm poise, coupled with Irene and Olive’s kind mannerisms and willingness to help, create a camaraderie that

allows the characters’ dynamic to flow well. Irene has to fulfill her mission, though, so she eventually pesters Athena about Psyche’s background and whereabouts. Athena reveals that Psyche was the most beautiful mortal she ever saw but suffered the fate of being fed to a monster. A lively performance to the prelude from “Carmen” by Georges Bizet by the Latin crew establishes the excitement leading up to the meeting with the nymphs. After the promising scene at Mount Olympus, the characters enter an olive garden, where Olive and other nymphs reside. A wholesome little dance by Olive and a fellow nymph (Arshia Mazumder) to “The Family Madrigal” from Encanto is a clear highlight of the show. After this brief hiatus from their quest, Irene and Olive seek out Hephaestus for a lead on Psyche. We are then introduced to the smoldering hot workshop of Hephaestus, where for a moment we consider Hephaestus to be Psyche’s love interest. The impressive backdrop of realistic, moving furnaces with flickering flames helps bring this scene to life. While Hephaestus reveals his strained relationship with Aphrodite, Apollo pops in and sings about Hephaestus’s relationship with Aphrodite, who despises him because he is not conventionally handsome. He laments that Aphrodite only values people based on their appearance, and only occasionally wisdom, to the tune of “I’m Yours” by Jason Mraz. After a brief conversation with Hephaestus, the duo finds Aphrodite. A rather uncoordinated hip-hop performance accompanies Aphrodite’s appearance, perhaps hint-

ing at her messed-up, arrogant character. The song “Enemy” by Imagine Dragons and JID is, nevertheless, appropriately chosen. A beautifully crafted performance by the Modern crew redeems the dance performances, contrasting with Aphrodite’s harshness and uplifting the tense atmosphere. Dancing to the throwback song by Taylor Swift and Zayn, “I Don’t Want to Live Forever,” the delicate jumps and turns, coupled with the consistently solid performances of the band, set the stage for the climax of the show. Irene has a mid-life crisis after Aphrodite’s revelation and is discouraged about pursuing Psyche. She realizes that she is actually Psyche, an idea that has been welldeveloped over the course of the show. Eros then reveals that he was Psyche’s lover and that Aphrodite was the one who wiped Irene’s memory out of jealousy and because of overprotectiveness for her son. Ending with a fascinating performance by Flow to the song “Immortals” by Fall Out Boys, Irene’s new acceptance of her identity gradually comes into focus. Overall, SophFrosh SING! suffered from a variety of examples of inexperience, such as the set and shyness while dancing, but their collective efforts pulled through to create a cohesive performance in the end. The plot was well developed, though with an excessive amount of foreshadowing, and was supported by the chemistry between the cast and clear eagerness of the ensemble. Under this semblance of discord, the intricacies of love, forgiveness, and friendship prevailed and made for an entertaining show.

The Spectator • March 21, 2022

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Junior - SING!

The Greatest Show? By REBECCA BAO, AVA QUARLES, and EMAN SADIQ “Don’t worry, guys. No one’s leaving anyone. If we just lost a circus, then we better make sure we don’t lose each other.” Coordinated by Lianne Ohayon and produced by Inour Awad, Judy Chen, and Kitty Wang, this year’s 50th anniversary production of Junior SING! featured ringleader Zach (Berry Ongan), the first non-binary character in SING!, and their circus crew as they receive an eviction letter. Their last chance to stay alive comes when they receive a response from acclaimed critic Abernathy (Jeffrey Wan). In preparation for Abernathy’s visit, the circus performers work tirelessly to perfect their acts to meet Zach’s high standards. After the final show, the circus comes together in an emotional moment, realizing that even if they aren’t able to perform as a group, the circus spirit has bonded them as a family. Opening with a jubilant rendition of “Raise Your Glass,” the circus springs to life and introduces all of the circus performers: fortune-teller Opal (Emily Young-Squire), puppeteer Sean (Max Hesse), escape artist Ria (Pimada Phongsuriya), circus clown Bobert (Kevin Xiao), and animal keeper Ellie (Zoe Buff). However, their happiness is short-lived when they receive a notice to submit their overdue rent payments by the end of the month or face eviction. The distraught circus members are bouncing around ideas for raising money

when Opal, searching the future for potential hope, catches sight of Abernathy in her crystal ball. Zach writes the esteemed Abernathy a personal letter detailing how meaningful the circus is to them through a passionate rendition of “Wake Me Up,” a captivating performance with strong lead vocals. The crew then receives Abernathy’s response, in which he agrees to attend a private show and publish his thoughts about the circus performance. Given the fact that they only have two weeks to prepare an impressive show, Zach tells their crew to extensively train for challenging acts in order to secure a positive review. Zach’s expectations increase along with the importance of the next performance, and they push the crew beyond their limits and will in an attempt to heighten the show’s excitement. Bobert tries to juggle bowling balls rather than bowling pins at the risk of his own safety. Sean is told to change his puppet to one that’s more sophisticated and has only a few days to develop the new character George. Ellie is criticized for not training her animals enough, even though she already overworks them. Ria is pressured to outstrip her abilities in life-threatening acts. The show explores Zach’s dynamic with Ria, and their playful banter makes for an interesting transition into their “Butter” duet, during which the two argue about their respective tireless efforts to “steal the stage” while junior hip-hop dances. Despite the complaints, Zach denies the distinction between passion and overworking, instead using their own circus legacy to justify the

stratospheric impact of the private performance. The show reaches a climax when Abernathy arrives for the long-awaited Tiny Orange Circus exhibition. After a few tweaks to the set, the circus begins with an eye-catching flow performance. But just as expected, everything that can possibly go wrong does so. When Ellie brings her elephant onstage in a cameo by Ohayon, the elephant attacks her with feet and trunk, Bobert breaks character as an elephant charges, and Sean is unaccustomed to George. The exhibition comes to a disastrous end when Ria gets trapped in her barred cage and faints. Zach finally realizes the true meaning behind Ellie’s prior remark, “This isn’t just your circus. It’s all of ours.” They apologize to the crew, and in an uplifting turn of events, they create their last memorable show in the circus solely for inner-circus entertainment before the closure. Finally, the circus members read over Abernathy’s review of their performance, and he declares the Tiny Orange Circus to be the best he has ever seen. The critic sees the family atmosphere beyond the fallout of the performance and invites others to pay a visit. Junior SING! ends with Zach and the crew singing about their collective joy at remaining open, highlighting the themes that provide the foundation for the musical: family, friendship, and community. Throughout the musical, an endearing romance grows between Sean and Opal. From the start, viewers see the puppeteer hopelessly in love with the fortune

teller and working through his insecurities with Greg, his puppet. After many fondly awkward moments, the two lovers’ connection is confirmed in their tender duet to “Hey There Delilah.” Before Abernathy’s review of the performance is released, Sean physically “falls” for Opal from a trampoline in a cheesy interaction. She extends the touching moment when she kisses him on the cheek, closing the show with a successful relationship. As the only developed romance in all the SING! performances, the corny intimacy was innocent and sweet—a relationship the audience can root for. Aside from a few notable moments, the overall plot of Junior SING! comes across as cliché with a classic theme of “family first.” The production bears stark similarities to “The Greatest Showman,” not only with the circus theme, but also with the conflict in character development. But despite lacking general originality, several dance crews within the show are extremely remarkable. Junior modern performs a stunning routine during Ria’s solo to “You Say,” focusing on the pressure she feels to live up to Zach’s expectations. Led by Brisa Lin and Elizabeth Paperno, the dancers execute a moving piece with impressive turns, jumps, and lifts. Junior flow, as the initial act in Abernathy’s performance and also the only act that doesn’t end disastrously, puts on a dazzling show with a unique variety of lights to “This Is Me” from “The Greatest Showman.” In the final dance, junior step’s unison and choreography stand out, despite the small size of the

crew. The crew’s integration into the plot seems random, as they are introduced as “people from [the] show,” but their strong performance and energy are able to overcome this issue. The dance crews’ liveliness is certainly necessary to keep the plot of the show engaging. With that said, the Junior SING! band felt surprisingly lacking throughout. While SophFrosh and Senior SING! sport almost entirely live music, the circus show seems flooded with pre-recorded music. In set transitions, dance performances, and songs, the absence of live music is certainly felt. Recorded electronic music between scenes simply can’t compare to the flowing bands of Soph-Frosh and Senior SING! With such a large crew, the band is extremely underused. Though the circus art is very impressive, with well-crafted posters specific to the abilities of each circus member and a stunning themed backdrop, the technical aspects of the show reduce its potential. Throughout the show, there aren’t many dynamic setting changes or impressive sets, especially in comparison to Senior SING!’s elaborate masquerade ballroom and props. The seniors are able to execute complex transitions quickly, while the juniors’ set is relatively immobile. Junior SING! doesn’t seize the circus theme opportunity for a captivating setting. As a whole, the stellar individual crews are the backbone of Junior SING! amid a linear plot, making for a less-than-cohesive circus show.

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The Spectator • March 21, 2022

Senior - SING!

Masquerade Murders By MOMOCA MAIRAJ and MAYA NELSON When a white letter with a blood red seal containing an invitation to a masquerade ball is handed to you, how could you possibly say no? After producing SophFrosh SING! in his freshman year and coordinating SING! for the past two years, Alec Shafran was back in action for his final year as Senior SING! Coordinator. With producers Avni Garg, Ella Krechmer, Elizabeth Stansberry, and Ava Yap, the group worked tirelessly to create a performance with daring twists and innovative choreography, nailing the mysterious theme of “Masquerade” with detailed sets and costumes. The show opened to sparkling dresses and a jazzy rendition of Copacabana sung by Candy (Leah D’Silva) and Kanye South (Michael Borczuk), the heads of the traditionally wealthy South family. This year, they hosted the STD (which stands for Sing the Dance, not what you were thinking) masquerade ball at the KanCandy mansion to celebrate the couple’s 25th anniversary as well as their daughter North Dakota South’s (Cynthia Tan) entrance into high society. The costume crew’s work

shone through in Candy’s green dress and later in her white hoop dress, as well as in the elaborate masks of the characters. The opening sequence set the stage (literally) for a lively, dramatic show with dazzling sets and an upbeat soundtrack. The scene suddenly transitioned to Café Ramirez, with the chorus singing Bohemian Rhapsody. We meet Scaramouche (Samuel Espinal Jr), Fandango “Dingus” (Clara Shapiro), and Frances Francis (Christine Lin), low class commoners desperate to fit into upper class society. When an invitation to STD is dropped in front of them, along with many sausages, the three decide to attend the ball in hopes of finding love, climbing the social ranks, and, of course, eating more sausages. We then went back to the KanCandy mansion where North and Montana Hanna (Katherine Yo), best friends since childhood, prepared for the ball. When Candy entered, the tension between her and Montana was clear—Candy refused to let her daughter associate with her, for reasons that were never fully explained. Audiences were left expecting a resolution to this conflict that never ended up arriving, one of the major lacking

points in the plot. Midway through the scene, the Belly and Bolly dancers, the only Belly and Bolly crews of all of the grades, sashayed in. The choreography began with a traditional belly dance, but halfway through, the music switched to a modernized beat and the Bolly crew with lehenga costumes took over. The alluring dancing made for an engaging and unique performance, one of the highlights of all of the dancing crews across all shows. In the ball, Bolly had another performance creating a romantic ambience with Frances inserting cheesy pickup-lines throughout. Soon after, North met Frances and hinted at a possible love interest that was unfortunately never developed in the story. In a confusing interaction, Fandango and Scaramouche suddenly appeared on stage and accidentally took Montana, thinking she was Frances, while Frances lay on the floor. After Frances woke up, Kanye introduced the guests to the ball reading off of speech cards, the humor of the scene landing due to Michael’s delivery. The garden was elaborately decorated, with floral bouquets, a banquet table, and beautiful statues. Hip-hop and Stap (Step and Tap) then took

The Spectator • March 21, 2022

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Senior - SING!

the Competition the stage as Scaramouche sang “Beggin’,” with the lyrics changed to express his desire to be a member of the upper class. Nearly 40 minutes into the show, we finally arrived at the actual substance of the plot: murder! Montana was poisoned and fell to the ground while North wept over her body in an emotional and tragic moment made genuine by the acting of Katherine Yo and Cynthia Tan. The Modern dance, paired with the blue lighting and spotlight of North singing “The Night We Met,” arguably rivaled the performance of the Belly and Bolly crews. Tan’s heart-wrenching delivery and beautiful vocals earned her first place for best acting performance. While the scene was one of the highlights of the show, its placement was far too late. Up to this point, the audience had been bombarded with exposition upon exposition, leaving the actual plot unclear until the murder. With only 20 minutes left in the show to find out who-dunnit, the pacing was forced to be rushed and left little time to explore the motives of the murderer. But we’re getting ahead of ourselves—let’s meet the suspects! In a cover of “Cell Block Tango,” Scaramouche, Fandango, Candy,

Kanye, Frances, and Marion Wadsworth each presented their case for why they were not the murderer, with “imposter” “Among Us” jokes being taken too far. It was later revealed that there was a mask switch-up between Frances and Montana before the murder, a plot device used to add an extra twist at the expense of character consistency. Following the close of the Cell Block Tango, it became clear all too quickly that Candy was the one who killed Montana, a reveal which had little build-up and overall impact due to the rushed pacing. Candy revealed that her intention was to murder Frances in a scene where she sings “Gasoline,” with Senior Flow dancing in the background. Her motive, though, was unclear, as the tension established between Candy and Montana at the beginning of the show led audiences to think that Candy would want to kill Montana. The mask switch unnecessarily complicated the situation since Candy believed she was killing Frances rather than Montana, someone she had only met hours before and had little reason for killing. Had the switch been left out, or Frances killed instead of Montana, the plot would’ve felt significantly smoother. Ad-

ditionally, the class divide conflict setup by Scaramouche, Fandango, and Frances was not addressed, with Scaramouche’s insistence on joining high society defeating the overarching message about class equality. The performance reached the one hour mark and was abruptly cut off on Thursday, omitting the Latin crew’s performance and resolution of the plot. During the other two days, however, Latin and Swing were able to perform impressive lifts and tricks to conclude the show in an equally dramatic manner to which it began. They ended with a final scene with all of the performers as the band played “Good 4 U.” Despite being outscored on Thursday and Friday, the seniors were able to come back with dramatic fashion in the last show, bringing their total to 1757 points and beating the juniors by just 52 points. What Senior SING! lacked in plot and character depth is masked by (pun intended) the captivating sets, musical and dance sequences, and costumes. Though Senior SING! masqueraded as a conventional murder mystery, the culmination of wellcrafted elements was able to create an enchanting atmosphere.

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The Spectator ● March 21, 2022

Top Fives BEST MAIN ACTING PERFORMANCES

1. North Dakota South (Cynthia Tan, seniors) North Dakota South, played by Cynthia Tan, was the disgruntled daughter trying to escape the South family’s poisonous generational wealth. Tan epitomized the emotionally stunted and rebellious attitude that accompanies her lavish upbringing. North Dakota’s growth when meeting Frances Francis, a poor girl from the village, was palpable, though their romance never came through. Broken by the death of her best friend, Montana, Tan painted the classic portrait of loss and indiscriminate anger. Tan’s moving performance of “The Night We Met,” gaining even the sympathies of underclassmen, secured Tan the best main acting performance. 2. Candy South (Leah D’Silva, seniors) Leah D’Silva embodied the passive-aggressive mother Candy South, who served as the foil to her free-spirited daughter, North Dakota South, and her carefree husband, Kanye South. From the lively opening scene to her confessional rendition of “Gasoline,” D’Silva personified the character of the tormented socialite, despite the confusing plot and lack of mo-

tive for Montana’s murder working against her. Instead of portraying an indiscriminate villain, D’Silva brought humanity to her character by illustrating the conflict between her many identities: an overprotective mother, a resentful wife, and a guardian of her family’s legacy. She was a vocal powerhouse, never failing to bring the vigor to any sequence and producing electrifying performances throughout.

3. Zach (Berry Ongan, juniors) Berry Ongan brought zest to the circus with their portrayal of Zach. As the ringleader of “Tiny Orange” circus, Ongan illustrated the dichotomy of the tyrannical leader attempting to keep the circus afloat and the empathetic friend to their fellow performers. Out of every SING! lead, Ongan’s character had the most significant development, realizing that the circus’s success was secondary to the family they had found at “Tiny Orange.” Ongan’s skills went beyond acting, featuring stunts like splits and baton twirling. They were a triple threat—acting, theatrics, and vocals—with their stellar performance of “Wake Me Up.” 4. Olive (Adeline Sauberli, soph-frosh)

Adeline Sauberli’s portrayal of Olive lived up to the spritely nature of the mythical nymphs. Sauberli’s interpretation of the enthusiastic sidekick was a refreshing twist on the classic archetype. In addition to her natural chemistry with Irene (Zoey Marcus), Sauberli offered comic relief and some striking vocal performances. The strengthening of Irene and Olive’s relationship over the course of the play, despite Irene’s individual turmoil, offered an uplifting storyline throughout the show. 5. Irene (Zoey Marcus, sophfrosh) As the principal heroine Irene, freshman Zoey Marcus brightened up the show with her exceptional dramatics and euphonious singing. Her portrayal of a girl struggling to discover her identity was remarkably executed through her interactions with the nymphs and gods, and especially eminent when it was revealed that she was Psyche. Marcus also shone through her vocal performance of “Belle,” which immediately served to captivate the audience and consequently helped to invest them in the story. Honorable mention: Ria (Pimada Phongsuriya, juniors)

BEST VOCAL PERFORMANCES 1. Gasoline (Leah D’Silva, seniors) Leah D’Silva’s powerful voice coupled with the haunting tune of Halsey’s “Gasoline” was one of the most memorable scenes of Senior SING!. The song makes up for the shortcoming of the plot, allowing D’Silva to take the stage and explain her reasons for Montana’s murder. D’Silva’s belting on the chorus interspersed with the more mellow verses highlighted her painstaking vocal control. Combined with a stellar band performance, a flow sequence, and red lighting, D’Silva’s performance left nothing to be desired besides a few more stanzas of the ballad. 2. The Night We Met (Cynthia Tan, seniors) It takes talent to sing on stage and it takes even more talent to believably fake cry; Cynthia Tan did both, together. She mourned her best friend’s death with heartfelt lyrics through genuine sobs that enhanced the impact of her vocals.

Tan’s performance was a perfect blend of singing and acting, delivering plot-driving lines and emotions as well as a sonically pleasing performance. Tan was able to deliver beautiful melodies that held audiences’ attention, even with a well-paired modern performance in the background. 3. Wake Me Up (Berry Ongan, juniors) Berry Ongan’s voice during their execution of Avicii’s “Wake Me Up” had forceful strength that permeated through the room. Their incredible projection carried their voice through the auditorium— no mic required. The enthusiasm from Ongan’s acting performance persisted in their singing, as they delivered a spirited performance that enthralled the crowd. 4. Belle (Zoey Marcus, sophfrosh) In the opening scene of SophFrosh SING!, Belle (Zoey Marcus) found herself in a dull neighbor-

hood surrounded by mountains. Marcus consequently transitions into a rendition of Disney’s “Belle,” where her vocals were emphatic throughout the audience. Her performance not only served as a well-crafted introduction, but also helped the audience become invested in Belle’s journey to discover her identity. 5. Beggin’ (Samuel Espinal Jr., seniors) While most of us recognize Maneskin’s “Beggin’” from our TikTok “For You” pages, Samuel Espinal Jr.’s take on the charttopping song served as both a plot device and an audibly enjoyable performance. Espinal Jr.’s soft yet persistent vocal performance, paired with the crew’s movement, made for a memorable moment. Honorable mentions: The Family Madrigal (Adeline Sauberli, Arshia Mazumder, soph-frosh), My Petersburg (Zoey Marcus, soph-frosh)

BEST DANCE PERFORMANCES 1. Senior Bolly and Belly Belly’s hip movements, coordination, and coin belt sounds were hypnotizingly harmonious. The Belly and Bolly performances had a perfect transition: half the Belly dancers stayed on as partners for the Bolly dancers for another jawdropping performance, leaving everyone raving about the performance during intermission. 2. Senior Modern Senior modern’s basket catch was easily one of the most impressive stunts of the night. Their seam-

less, delicate choreography melded perfectly with Tan’s graceful voice. 3. SophFrosh Step Soph-frosh step walked onto the stage in unassuming costumes, but their performance defeated all odds. With various formations, unprecedented enthusiasm, and some of the most in-sync moves of any performance, SophFrosh stepped their game up on the SING! stage. 4. Junior Flow The first act in the circus, Junior flow was an elaborate light show

that flowed seamlessly. Glowing batons and ribbons flew through the air in colorful, synchronized routines. The routine felt like a firework show, an appropriate start to the junior circus. 5. Junior Step Junior step’s sequence of stomps and claps was unique in its variety and unification. The sounds were sharp and pronounced. Not a member stepped out of line in the perfectly executed routine. Honorable mention: Senior Latin

BEST COSTUMES, MAKEUP, AND STYLING 1. Candy’s hoop dress (Leah D’Silva, seniors) 2. Frances’s dress (Christine Lin, seniors) 3. North’s mask (Cynthia Tan, seniors) 4. Zach’s costume (Berry Ongan, juniors) 5. Aphrodite’s costume (Louise Wang, soph-frosh) Honorable mentions: Bobert’s clown outfit (Kevin Xiao, juniors), Opal’s dress (Emily Young-Squire, juniors)

The Spectator ● March 21, 2022

Page 19

Top Fives BEST SUPPORTING ACTING PERFORMANCES

1. Fandango (Clara Shapiro, seniors) Decked down by a scarf of giant, connected wieners across her shoulders, Clara Shapiro’s character was the perfect comic relief. Every time she came on stage, you expected to laugh. Her eccentric acting and witty remarks brought comedy to the murder mystery.

2. Frances Francis (Christine Lin, seniors) Christine Lin shone as Frances Francis, a charismatic friend to North Dakota South. Lin was able to portray the lower class view of the affluent half of society while simultaneously on the

search for a romantic companion.

3. Kanye South (Michael Borczuk, seniors) Michael Borczuk played the part of the “quirked up rich boy with a little bit of swag.” He was a simp and doting husband with a funny ego problem, perfectly balancing Leah D’Silva’s composed and more practical character. 4. Sean (Max Hesse, juniors) Max Hesse flawlessly played the part of both the puppet master and the puppet. So much so that it seemed as though the puppet was played by another

voice. That swift tone switch and humorous puppet quips filled the cliché puppet-guy role with pizzazz. 5. Aphrodite (soph-frosh) Portraying the goddess of love is a tall task. Luckily, Louise Wang rose to the occasion, going above and beyond in her role as Aphrodite. Wang portrayed her manipulative attitude and back-handed comments to great lengths, earning the respect of the audience as the snarky antagonist of the show. Honorable mentions: Scaramouche (Samuel Espinal Jr., seniors), Apollo (David Jiang, soph-frosh)

BEST MOMENTS

1. Senior Opening Scene (seniors) The Senior SING! opening scene was as lavish as the South family. The energetic rendering of Barry Manilow’s “Copacabana” featured Micahel Borzcuk and Leah D’Silva’s booming vocals and lush instrumentals created a glistening introduction. This bustling sequence featured some of the best chemistry between Mr. and Mrs. South. The strong vocals over the triumphant instrumentals offered an exhilarating start to the show. 2. Senior Alibi Song (seniors) In search of Montana’s murderer, six suspects were picked out of the masquerade ball, each of whom provided justification for their innocence. The scene was rhythmically appealing,

with the senior chorus providing vocals and bringing anticipation to the investigation by creeping in on each subject, cornering them to confess. In addition to driving the plot, the song helped showcase the immense vocal talent of each Senior SING! cast member. 3. Irene’s Breakdown (sophfrosh) After receiving a coldhearted talk from Aphrodite (Louise Wang) about the triviality of searching for Psyche, Irene (Zoey Marcus) went into a complete breakdown. Marcus’s ability to so aptly showcase Irene’s distressed state of mind in contrast with Aphrodite’s fury and indifference made for a heartwrenching scene that certainly moved the audience members themselves.

4. Montana Carried Off Stage (seniors) Senior SING! understood that dead characters can’t walk off the stage…they’re carried on a table by the tech crew. Now that’s commitment. 5. Elephant Cameo (juniors) The audience went wild when Junior SING! Executive Producer Lianne Ohayon pranced onto the stage in an elephant onesie and revolted against her trainer Ellie (Zoe Buff) for being overworked. It’s ironic, as SING! participants always complain about the directors overworking them. Honorable mention: Sean and Opal Duet (juniors)

BEST JOKES “Weiners of great size, and most importantly, personality!”—Scaramouche (Samuel Espinal Jr., seniors) “No, a hamadryad is a type of nymph. Seriously, a Brooklyn Tech student could tell you that.”—Olive (Adeline Sauberli, soph-frosh) “These hands are rated E for everyone, including hot goddesses.”—Olive (Adeline Sauberli, soph-frosh) “What are you, an anti-masker? It’s my first amendment right, you fool!”—Fandango (Clara Shapiro, seniors) “What are you doing out of the forge? Aren’t there broken escalators to be fixed?”—Aphrodite (Louise Wang, soph-frosh)

BEST NON-PERFORMING CREWS 1. Senior Costumes Senior Costumes stole the show with gala-worthy, graceful dresses that were presented by the cast. Both Leah D’Silva’s opening green dress and hoop dress from the ball, as well as Christine Lin’s yellow dress, were particularly notable, showcasing the costume crew’s astounding talent. 2. Senior Set The Masquerade theme set aesthetic expectations high, and the senior set crew carried through. The palace had sturdy construction, vibrant colors, and

multiple levels of elevation. The stage was full, glamorous, and creatively executed. 3. Junior Art Junior art certainly showcased their exceptional aesthetic talent, with glamorous designs shining on the sets. Murals of the main cast (Sean, Bobert, Ria, Zach, Ellie, Opal) were wonderfully designed, with careful attention to detail. 4. Soph-Frosh Tech The soph-frosh tech crew gets kudos for their coordinated set changes. They were swift and

speedy during transitions and didn’t leave props on the stage, though that may also be credited to the set being light. 5. Senior Lights Good lighting is a theater fundamental for, one, letting the audience see the action on the stage and, two, creating an atmosphere that accents the stars. Senior lighting’s use of spotlights and colors streamlined the audience’s attention and emphasized the mood of the scenes. Honorable mention: Junior Costumes

BEST BAND PERFORMANCES 1. Copacabana (seniors)

2. This is Me (juniors)

5. The Other Side (soph-frosh)

3. Love Grows (soph-frosh)

4. Immortals (soph-frosh)

Honorable mention: I Don’t Wanna Live Forever (soph-frosh)

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The Spectator • March 21, 2022

SING! Features

Behind the Scenes of SING! By THE FEATURES DEPARTMENT

SING! this year returned in-person, off the back ends of last year’s green screen shows. Even with less time on their hands—and for most crews, fewer people— each grade was still able to create fantastic spectacle. Dive into the behind-the-scenes stories that made these shows possible.

By SOOBIN CHOI

By JOSEPHINE BURUMA

Phoebe Buckwalter / The Spectator

A panel of four carnival posters graced the stage on all three nights of Junior SING!. A fierce tiger roars into one frame while the uncanny faces of two clowns stare at one another in the next; from its supreme precision and stunning use of color, it quickly became the crowning jewel of the stage set. The same sentiment is mirrored by Junior SING!’s assistant art director Natalie Soler. “I’m super proud of the canvas; the process for that took ages. But we had a very good initial sketch and collaborative little painting piece that we did.” Soler remembered the perseverance for all the unexpected difficulty of the piece, and the subsequent pride afterwards. “We figured out the general concept pretty quickly. But then the actual execution was much harder than expected, as it was a lot of complex shapes and finding the correct paints. Mixing them properly was always a struggle, but it looks super good,” she said. In addition, there were problems with money and having to manage it. “We had to go through a new vendor for our paints this year, and we had to actually be in charge of buying everything. That was a new experience for us. But we got through it, and everybody had a good time.” Like many other crews in Junior SING! this year, there was a shortage of members, but art was able to finish on time with a relatively relaxed environment. “The vibe was very chill, because nobody was super stressed at all. We had finished everything ahead of time, which is [very] different [from the] performances we had in the past, where it [had] been very down to the wire. This one, we only had to finish two posters before show day, which was very fine,” Soler elaborated. But for all the efforts of the Junior SING! department, there was still disappointment at the loss. “I feel crushed, absolutely obliterated. I wish we had won because I feel like we put so much work into this. And it turned out so good,” Soler said. Even with the terrible feeling of a close race, Soler is looking forward to next year’s SING!. “I will learn to accept this defeat with time. [...] Go Senior SING! class of 2023!”

By SHIVANI MANIMARAN

Afra Mahmud / The Spectator

Dressed as Cupids in flowing pink skirts and holding bows and arrows, the senior bollywood crew released love into the air through their performance. They danced to instrumental versions of Hindi songs “Nainowale Ne” and “Mere Khwabon Mein Jo Aaye,” which translate to “the one with beautiful eyes” and “the one who appears in my dreams” respectively. It may have come as a surprise for some to see them, as Bollywood isn’t often included in the lineup for SING! out of concern that it would be too rooted in Indian culture and language to fit the theme. However this isn’t necessarily always the case, as director Etiha Ahmed explained. “When I was a sophomore, the seniors also had bolly because their theme was Hollywood and they were able to incorporate it really well,” she said. She also described the role of Avni Garg in adding bolly to the lineup this year. As one of the producers of Senior SING!, as well as a director of Bollywood herself for the Stuysquad ‘21 and ‘22 performances, Garg aimed to give her crew a moment in the spotlight. “I really just have to thank Avni. She is the main person who was able to include bolly and let bolly be a crew this year,” Ahmed said. Being usually excluded from the crew lineup created added expectation for Ahmed. “I also had the pressure to make bolly perform really really well so that they would want a bolly for the next senior SING! and so we wouldn’t get cut,” she said. Ahmed spent hours with her crew choosing songs, scrutinizing the choreography, and most of all, drilling and drilling their set. On the flip side, the hours spent together with friends solidified the bonds within senior bolly’s dancers. “It’s a really stressful part of the whole experience, but nonetheless I think it was really worth it,” she said. “The best part was my crew and being with my friends. That’s just the main thing for Sing, being with your friends.” Bolly also collaborated with another crew not often expected in a SING! show: belly. “Over break, bolly and belly would have practices together because half of our group was in both crews,” Ahmed explained. “It was really fun having both crews there together, especially since we were all friends. I loved it.” She went on to detail the meticulous planning, scheduling and spreadsheet-ing that went into dividing the members and practice time between crews to perfect both sets by opening night. Bolly’s commitment certainly shone through in their performance, and has created great expectations for the future. “I’m just really glad the show went well and that they were able to incorporate us. I really hope that there’s a bolly for next year’s Senior SING!,” Ahmed said.

By ANDREW OH While the actors, chorus, and stage crews were hard at work down on the SING! stage in this year’s soph-frosh performance, the lights and sound crew made their contribution from the booth in the balcony overlooking the theater. Each change in lighting, every use of the microphone, and each turn of the spotlight was the product of the lights and sound crew’s skillful control over the auditory and visual landscape of the stage. It was the well-coordinated efforts of lights and sound that ensured that the actors could shine. “I mean, if SING! wasn’t well lit, and the actors couldn’t be heard, then the quality of the Chloe Huang / The Spectator show wouldn’t be that great,” sophomore and soph-frosh lights and sound director Dorothy Ha stated. “I think that’s why we are so important.” As a Soph-Frosh director, Ha spoke about some of her responsibilities within her leadership position. “I just introduced my crew to the sound equipment, such as the sound board and the light board, and I taught them how to use it and deal with problems regarding it,” Ha said. “They all picked it up really well and I’m really grateful for that.” On top of the crew’s aptitude for working the booth, Ha attributes a lot of this year’s SING!’s success to not just one crew, but the amicable effort of all of the SING! members at once. “I think it was generally the cooperation between people [that made the show special]. Everyone this year was really sweet and willing to put in the time to make the show great,” Ha elaborated. The crews’ appreciation for one another did not go unnoticed, either. “There were a lot of people that came to the booth and said ‘thank you,’ and it made me really happy,” Ha added, reaffirming the SING! family’s stellar cooperation. Despite the jubilation of seeing dedication coming to fruition in a performance like SING!, the production is notorious for its high commitment. It is up to the members to juggle long rehearsal hours on top of other responsibilities. While lights and sound’s commitment was lower than that of other SING! crews due to the limited time they had in the booth, Ha still had to put thought into how they could efficiently divide the workload among the team while providing a meaningful experience for each individual. “I tried to split the time between members in the booth evenly so that they wouldn’t be overwhelmed, but they [still] got experience [operating the booth],” Ha said. The impressive collaboration within SING! crews shined especially in this year’s return to in-person SING!. Ultimately, Ha feels like the dedication of lights and sound paid off in Soph-Frosh’s three performances. “I think we did really well and we deserved more points, but it’s the experience that really matters,” she reflected, fulfilled by a successful SING! season.

Stacey Chen / The Spectator

This year’s soph-frosh band was able to pull off remarkable performances, despite not having any inperson SING! experience. This lack of experience did not faze soph-frosh band director sophomore Kyle H. Chan, who explained that the unique circumstances actually eliminated some of the pressure typically associated with SING!. “I think one of the best parts of sophfrosh SING! is that there really isn’t that much pressure when it comes to winning. We’re all just here to learn and have fun,” Chan wrote in an e-mail interview. Another divergence from SING! in previous years was the change in the music requirements for each band. As opposed to playing every piece of music live, the band was only required to perform five pieces throughout the show. This change was especially helpful given this year’s time constraints and the relatively small size of the soph-frosh band. “One example is our opening number, Belle, which turned out to be really hard for the band to play. We were able to use an mp3 for that song instead, and that really saved us,” Chan wrote. Even with the changed music requirements, however, the time constraints posed a nearly insurmountable challenge. “If we[‘d] had a week or so of more time, our band would’ve been exponentially better; we just needed some extra time to clean up some of the songs together, especially on integration with the cast,” Chan explained. In spite of Soph-Frosh SING!’s lack of in-person SING! experience, as well as the standard challenges associated with student-run productions, the band’s impressive performances were a testament to their hard work throughout the SING! season.well and that they were able to incorporate us. I really hope that there’s a bolly for next year’s Senior SING!,” Ahmed said. Natalie Soler / The Spectator

Natalie Soler / The Spectator

By JUNI PARK Many members of the audience were awestruck by the striking performance of this year’s soph-frosh flow crew. With the pitch black setting, flow’s glow-in-the-dark props stood out more than ever, twirls of multicolored lights flying across the stage. However, this performance was not executed without struggles. Flow director sophomore Freda Dong faced many obstacles while managing her team. The flow performers had little time to learn and practice their choreography in the days leading up to the show. “It wasn’t a typical show season,” she said. “We only had three weeks for everyone to prepare for their Lauren Chin / The Spectator choreo, which isn’t a lot of time.” During these three weeks, Soph-Frosh performers spent many hours, many right after the end of their school day, vigorously drilling choreography and practicing the same dances hundreds and hundreds of times. To add to the weight of balancing flow practice and schoolwork, many flow performers were struggling with burnout from StuySquad. “The month before, StuySquad immediately ended, and then SING! began, so a lot of the members who just came back from StuySquad were pretty tired of dancing and doing shows back-to-back,” Dong explained. Despite this, the performers found the flow experience worthwhile. “One of my favorite memories ever was probably drilling tosses in the dark before the show began,” Dong recalled. “I realized after we saw the stage: it’s too dark to see the stage when doing tosses. So I made everyone go into the band room in the dark to practice there, and one of my members found a really dark room next to it, and I thought, ‘This is perfect for drilling tosses!’” Little moments like these helped bring the team closer as not just as members of the same club, but as a group of friends having fun together. “While we were drilling tosses, we were doing karaoke night. A lot of my members were singing the songs [that] other SING! members were performing, like classic Disney songs, and we were singing during drilling practice,” Dong elaborated. While struggles and hurdles came along the way, getting through with a team turned the pain and exhaustion into a more enjoyable experience. Dong has high hopes for next year’s Flow team. “I think you guys are pretty solid,” she said to this year’s performers. “I’m sure you guys will do great next year and we look forward to helping you out as juniors next year.”

The Spectator • March 21, 2022

Page 21

SING! Features By MOMOCA MAIRAJ

By TIFFANY LIANG Working alongside the other tech crews, the soph-frosh props crew displayed their craftiness through their creatively-designed props, which were displayed as part of their set. For soph-frosh props director Ryhanna Shanneilia, this year’s SING! was the first she’d both participated and directed in. Despite participating as a member of STC’s previous two shows, she remarks it was not as stressful as directing for SING!. With little experience directing a crew and having to do so in such a short time frame, Shanneilia and her co-director had to pick up things quickly. “I think the hardest thing was learning,” Shanneilia said. “Learning how to compromise, learning how to anticipate, and learning everything that was needed to be a director.” She emphasized the responsibility included in ensuring good communication between props and the other tech crews. According to Shanneilia, Soph-Frosh made the decision to keep their set simpler in order to make their performers stand out. Most of their props were incorporated into the background, bringing the setting to life. The props matched the character and their personality, such as Hephaestus and his tools and Aphrodite and her vanity, which was adorned with a sizable number of flowers—Shanneilia’s favorite prop—crafted out of paper and pipe cleaners. “There were flowers on those bushes that you could actually pick out and remove. It was nice to pick them out for fun,” she said. Additionally, sophfrosh props collaborated with the tech and art crews to build the tree trunks featured in the set. Their most impressive prop was the small furnace fire featured in Hephaestus’s scene, its red glow emitting a warm and comforting vibe. Shanneilia reveals how they created a realistic-looking fire: “We had to tie the streamers onto the shell of a fan.” Even more impressive was that the prop was made the day of the dress rehearsal. “I honestly expected it to break at some point because it was paper streamers along with the fire, but it worked! I [was] actually really happy as it was created,” she said. Overall, Shanneilia enjoyed her SING! experience, despite it being so highcommitment. “Even though I am so glad that I can avoid the blisters I got from walking around in my heeled boots, I am super glad I did it!”

By SOOBIN CHOI

Eleanor Chin / The Spectator

Vivian Teo / The Spectator

It sort of looks like the ballet you’ve seen before, but at the same time more expressive and, well, modern: welcome to the modern dance crew of SING!. Led by juniors Brisa Lin and Elizabeth Paperno, this year’s modern dance crew only had seven members. However, they were still able to pull off a lovely performance with impressive stunts, which are common in contemporary dance routines. The stunts were taken both from knowledge from prior SING! shows as well as from online, and were practiced regularly. “We had one of our crew members, Natalia, who had never stunted before, fly for most of our stunts, so we made sure to get in a lot of practice,” Paperno said in an e-mail interview. “Also shoutout to Ryan, Justin, and Giridhar for helping us stunt.” Like the other crews, junior modern struggled with the time constraints of the SING! schedule. “It was really stressful because we lost Arianna Peng / The Spectator like two weeks because there was StuySquad before. So the first two weeks of SING! were very divided,” Lin said. “I took a lot of time to make the choreo and teach it to them and clean it with them, and it turned out pretty good, but if we had more time it would have been better.” Lin has been a part of the SING! modern crew and was a director for the crew during her sophomore year as well. This year, Lin noticed a general decrease in enthusiasm for SING! through her difficulty finding dancers. “This year, because of COVID, many people didn’t want to join and many people didn’t want to dedicate time to SING! this year. I feel like our grade, we don’t really have the spirit any more. We ended up having our friends join and it worked out,” she said. Ultimately, however, Lin is satisfied with her crew’s performances and is looking forward to participating in Senior SING!. “Modern doesn’t need that many people so it was fine. We pulled through [...]. I’m definitely going to try and do it next year too because I won’t have much work to do,” she said. “I love everyone in my crew; they are all amazing.”

Eleanor Chin / The Spectator

Adrianna Peng / The Spectator

Celeste Hoo / The Spectator

By MOMOCA MAIRAJ Dressed in plaid and marching to the stage, junior step put the audience to silence with their powerful aura, despite only having seven members in total. Step is a type of dance with African origins. Unlike most dance crews, step doesn’t use music: it creates its own beats with rhythmic clapping and stomping, so synchronization and volume are especially important. One of the directors, junior Raymond Zou, has participated in SING! step since freshman year Nelli Rojas-Cessa / The Spectator and was assistant director in his sophomore year. He shared that his sources of inspiration to create the choreography come from both research and experimenting “I would take inspiration from past choreographies I’ve done and also professional step teams’ choreographies that are on YouTube. To make the beats I would sometimes think about songs or just keep moving around until I hear[d] something I like[d],” he stated in an e-mail interview. The crew had some challenges deciding whether they wanted to follow through with directing the junior step crew due to a lack of participants. “Honestly, directing Junior Step was a difficult journey as my codirector, Raymond Yang, [and I] weren’t even sure if we wanted to have one, seeing [that] there were only five people, and as mentioned, loudness is a major part of step,” Zou said. Ultimately, though, they pursued showcasing their work and plan to direct step in Senior SING! next year as well. He acknowledges that his crew did well, but hopes that next year there will be more dancers. “I know we were in sync because I was on stage but tons of people complimented us on our loudness,” Zou said. “Yes [I will participate again], and hopefully with a bigger crew because although our small crew did great, there [are] limit[s] in [the] formations we can do with them.” Overall, both the directors and crew had a good time despite their small numbers. “We decided to go through with it because we thought it wouldn’t be fair for those who wanted to learn, and I’m so grateful that we did,” Zou shared. “It was really fun directing for the first time in-person and even if there was a major time crunch I feel that our crew was in-sync and really loud.”

Justine Kang / The Spectator

The billowing white fabric of a ball gown detailed with dark green accents was just one of the numerous costumes created for the Senior SING! performance. Costumes director Cynthia Li has been a long veteran in this area. “I’ve been directing it since junior year. [...] It’s always a fun time, it’s a lot of work.” With her three years of experience, Li noticed the decline in SING! participation this year. “Not as many people participated in SING! as in freshman and sophomore year. We were pretty much just dragging in all our friends and trying to get as much interest as possible.” Nevertheless, the effective management by the directors helped the department work in a collaborative and organized manner. “We would allocate jobs to everyone and split up the group within crews and other costume genres. It was definitely hard knowing every day what you had to do, who had to do what, and getting all of that organized,” Li elaborated. Perhaps this efficiency helped them clinch the win, or perhaps it was the precedent of Senior SING!’s victory. “Everybody expects seniors to win no matter what—it’s kind of how it works,” Li said. Regardless of the actual win, she respects the friendships formed between the grades and the quality of costumes they produced. “All the grades got close with each other while trying to get back into the swing of things and there [were] a lot of friendship[s] [...]. While I’m happy we won, I also really admire all the work that the other grades did because their costumes looked amazing.” Between doling out congratulations and the final judging on Saturday night, this year marked the end of an era—the very last SING! for seniors. “You’re not gonna have this sort of experience again where you [get] to make costumes by yourself for such an important show,” Li said. “We wanted to make as [few] mistakes as possible, and to make sure that everything ran as smoothly as it could.” With the pressure on to leave SING! with a bang, Li felt higher hopes for this show compared to previous years. “My expectations for this year were higher. But also, I feel like we reached those expectations. I’m very happy with how everything turned out.”

By SABRINA CHEN In the moments leading up their entrance, a group of adrenaline-filled seniors hide under the staircase, waiting for their cue. Moments pass, nerves settle, and the music of “No Lie” by Dua Lipa fills the theater. Latin’s electrifying performance, despite the little rehearsal time, is a testament to the crew’s hard work and dedication. Vincent Zheng, a director of senior latin, feels pride in the crew’s work. “I feel like a lot of them put in a lot of effort […] a lot of people showed up [for practice] even during the break.” Being both his first time performing in SING! and directing it, Zheng also pointed out the newness of it all. “I feel like we spent so much Rachel Chuong / The Spectator time and effort into putting on a show and I’ve never done something like that before, so it was a new experience for me,” he said. One of the most notable parts of directing senior latin for him was being able to both learn and grow alongside his fellow crew members. “Getting better at dancing with my crew […], learning along with them, and helping them out with the choreo was amazing to do, and then especially the pride we had after putting on a good show—it was rewarding to see everybody was happy we did well,” he reflected. The crew’s dedication to practicing and putting in the hours solidified their friendships. “During break, the practices there were really, really fun because we came to school and instead of doing work, we hung out with our friends,” Zheng said. All the hours spent learning choreography, dancing, and getting to know one another helped create a tight-knit community. “I really liked working with people that I was just acquaintances with and then we got closer as a group,” Zheng explained, “The stunts especially, since stunts require so much coordination and trust in your partner. I feel like that really highlighted how close we’ve gotten with each other.” While this will be the last SING! for seniors, the memories and performances left a lasting impression on everyone who was involved. “I realized how fun it was, especially the three show days where everybody comes together and puts on this show together […] It’s definitely a highlight of my Stuy experience,” Zheng concluded.

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The Spectator ● March 21, 2022

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

SING! Reviews SophFrosh SING! is… Good? What?! Clowning on Junior Sing! By OLIVER HOLLMANN

By OLIVER HOLLMANN and ERICA CHEN

Okay, okay, hear me out—I know that many readers may have already gone into a fit of passionate rage after taking nay but an errant glance at the title of this article, but for those who have not yet taken a leap out the window, hear my words! The degenerate losers known to many as “sophomores” and their little orphan hatchling “freshmen” somehow managed, against the will of nature itself, to throw together a decently adequate performance. Did that sentence give you a stroke? Don’t worry, you’re not alone—the SophFrosh SING! Thursday show caused an immediate commotion amongst the eight audience members who had not yet left after Senior SING!. One disgruntled junior, after doing five laps around the theater in a bout of confusion, blurted, “I DIDN’T want to commit a murder-suicide after watching this? How? Why is this NOT terrible?” After being asked if he had any flaws to point out, a furious senior remarked: “Do I have any criticisms? Like, the set was super bland and the plot ran a bit thin at the end, but that’s LEAGUES BETTER THAN NORMAL!” The question I’m sure many are asking is: how the heck were these tiny a** people able to staple together a show that didn’t make anyone bleed internally? Fear not, for your question shall be answered! A lone Spectator reporter braved the depraved depths of the Sophomore Bar (wearing full hazmat gear) to talk to one of the show’s cast directors, Brandon Phillips. The sophomore explained that Ms. Maggio, a faculty advisor of the production, had “fashioned a medieval-style torture device to assure that no underclassmen stepped out of line.” The freshman beside him added that “no performance-enhancing drugs were used in the making of our show.” She then got up and did a triple-cartwheel into the East stairwell.

Junior SING! 2022 really put the “hat” in “yeah, I guess that was a show?” That is to say, they sucked lol. No, I kid, I kid. Junior SING!’s production went against the odds, with the script going through 300 rounds of half-hour cuts only eight minutes before the Thursday show. A scriptwriter on the crew asserted that “the original script involved Lianne Ohayon in an elephant costume. We actually planned on cutting the elephant part, but Lianne said that she would ‘literally murder’ all of us if

Senior SING! Steals the Show! By ERICA CHEN and OLIVER HOLLMANN Prepare for your heart to be moved, your mind to be excited, and your eardrums to be ruptured by feedback, because it’s time for Senior SING!. The seniors, to the dismay of many audience members, failed to fix their microphones in time for the production. This shortcoming meant that many lines were kept a secret, and members of the audience were left wondering what was happening. What was going on with the wieners? Why were they talking about STDs? WHAT WAS HAPPENING? North’s song about Montana’s death would have had us bawling—if not for the terrible mic screeches. We were too busy crying from the pain of our broken eardrums to be worrying about what was going on in the performance, not to mention empathizing with a character’s death. If anything, Senior SING! should have been a rom-com instead. The cheesy lines had us all cringing so bad! Many revealed in an anonymous Google Form that they had wished to jump into the Hudson River to forget they had heard anything. ‘My puckering pineapple’? ‘My sweetest, most promising pomegranate’? What’s with all the nicknames?? The seniors also had some really interesting character names. I certainly wouldn’t want any of them to name my child. Like, North Dakota South? That’s enough to give anyone an identity crisis. The lead actress, Cynthia Tan, later admitted in an interview that she had multiple breakdowns during rehearsals: “So… am I North, or am I South? Why is this so confusing??” Though the show had an interesting array of screeching tech, cringy lines, and confusing names, the seniors did a pretty decent job—as decent as they could in a high school show, anyway. They won because they deserved it… right?

she didn’t go on stage. In the end, she only murdered half of us.” Oh yeah, the plot! The circus workers do their best to put on the “big show” that will save their circus from something that only writers from a school with a 50 percent poverty rate would think of: an eviction notice. Among the cast of Junior SING! were an array of wacky characters, including a ringleader, psychic, clown, and normal guy in flannel and boots. Speaking of characters, Junior SING! starred ringleader Berry Ongan and stressed-out Stuyvesant student Zach, whose megalomania was shrouded by the trance–inducing nature of their vocal talents. Emily Young-Squire played Opal, a psychic whose powers operate on a “does the plot need me?” basis. There was also Max Hesse as Sean, a ventriloquist whose mouth is covered by a mask, and Zoe Buff as the character whose name and circus role I do not remember. I do recall that there was something about rampant elephants… They should have really brought in some live animals. I’m sure all of us would have enjoyed it! Besides, the animal actors would have kept the juniors too occupied to make so many roasts toward the SophFrosh and Senior SING!s, something that I’m sure all of us would have enjoyed. I like my jokes how I like my steak—not dry. So 0.5/5 stars for Junior SING! on that aspect. Although the Spectator has received reports that there was a chorus for Junior SING!, the auditory evidence is undeniable: it simply did not exist.

The Spectator ● March 21, 2022

Page 23

SING! Humor An Exposé Into SING! Expenses ers, who couldn’t think of any three clown noses, $9 spending from the directors. jokes besides those insulting 2/12/2022 Old Clowns: Seniors spending $6 per cup of Stuyvesant’s SING! is a their competitors. four yards of red fabric for coffee? What kind of desperaunique musical event with a swaggy ringmaster’s coat, $28 tion drives them to such madhistory of excellence, but be2/11/2022 Toddlers: two 2/13/2022 The STD ness? And what kind of fabric hind that prestigious reputation lies a world of corruption. SING! whistleblowers stole documents detailing SING! 2022’s expenses, which revealed a pattern of SING! directors abusing funds for perStuyvesant’s SING! is a unique musical event with a sonal gain. We tried to dig up receipts from previous years history of excellence, but behind that prestigious repubut came to a dead end when tation lies a world of corruption. an anonymous informant told us that the receipts were ritually burned at the end of every SING! season. However, we used our connections with SophFrosh SING!’s assistant Costumes director Michelle yards of black fabric for emo/ Sages: three gallons of cream did SophFrosh buy to warrant Huang (who, by the way, is punk rock Eros, $40 white paint for their excellent spending $20 a yard? But the super hot and funny and de2/11/2022 Toddlers: one set, $60 crimes do not stop there. Let’s serves all your money) to save gallon of gasoline, $150 2/17/2022 The STD Sag- examine the records from the a few receipts to publish. 2/11/2022 Toddlers: five- es: six cups of coffee, $36 days leading up to the show, Note: To clarify, “Toddlers” pack of lighters, $30 2/17/2022 The STD Sag- which is when the expenses refers to SophFrosh, “Old 2/12/2022 Toddlers: six es: 5,000,000,000 masquerade truly get out of hand. Clowns” refers to Juniors, and olive trees, $90 masks, $5 “The STD Sages” refers to Se2/12/2022 Old Clowns: 2/18/2022 Old Clowns: 3/1/2022 Toddlers: 40 niors. The insulting nicknames one mannequin with incred- one Among Us poster, $69 “Clout Goggles,” $520 describing the other grades ibly unrealistic proportions, 3/1/2022 The STD Sages: imply that these records were $80 It’s only the first week, six-pack of 5-Hour Energy, curated by Senior scriptwrit2/12/2022 Old Clowns: yet we already see ridiculous $20 By MICHELLE HUANG

3/2/2022 Old Clowns: two tigers, $2,000 3/2/2022 Old Clowns: two elephants, $40,000 3/3/2022 The STD Sages: one 2021 Rolls-Royce Dawn, $360,000 3/4/2022 Old Clowns: How To Get Women by Chad Brodude, $14 3/5/2022 Toddlers: 36 pack of juice boxes, $24 3/5/2022 Old Clowns: 12pack of sparkling grape juice, $48 3/5/2022 The STD Sages: 12-pack of champagne, $200 The only useful purchase made in the last few days of SING! was How to Get Women, since the Juniors seriously needed to fix their sad romance side plot. However, this was the exception, not the rule; overall, most transactions were unnecessary and extravagant, costing Stuyvesant valuable money and time. We can only hope that with enough public outcry, this financial dishonesty will soon be stopped, restoring SING! to its former glory.

Top Fives BEST MISTAKES 1. Thursday: I’m Yours Acapella (David Jiang, soph-frosh) As Olive and Irene seek out Hephaestus’s knowledge on the whereabouts of Psyche, Apollo (David Jiang) cuts in with a solo of “I’m Yours” acapella accompanied by the soph-frosh band. However, within the first few seconds of his vocal performance during the Thursday show, the musicians abruptly cut out. In a turn of events, Jiang admirably was able to improvise his execution of the song, with an accompaniment of claps reverberating from the audience in support. Thus, an unexpected miscoordination between the band and the cast proved to accentuate SophFrosh SING!, with Jiang receiving praise for his quick thinking and ability to rile the audience. 2. Thursday: “Do you think it’d look better if I put the blue shawl on top?” (seniors) Throughout the opening night, the microphones stayed on backstage, blessing the audience with an earful of whispers. While these audio issues largely distracted from the performances, a few

errors broadcasted funny quips to the audience. Of these, the most memorable occurred when Candy South (Leah D’Silva) stood on stage, waiting for her fellow thespians to walk out, while they were still figuring out the placement of their blue shawl. “Do you think it’d look better if I put the blue shawl on top?” roused some well-needed laughs from the audience, and added comedic relief to a milieu of technical errors. 3. Thursday: Leah Standing Alone (seniors) While Thursday shows are notorious for being less polished than their weekend counterparts, Senior SING!’s technical errors gave way to a wonderful mistake. As she waited for her co-actors alone on stage, D’Silva improvised by talking to the audience and cueing her co-actors to hurry up. Her confidence on the stage was appreciated and at least somewhat compensated for the awkward situation. More than just D’Silva, the cheers and claps from the audience added camaraderie to the SING! show that was sorely missed in 2021.

4. Friday: Flow Fling (seniors) Flow lights are spun with such ferocity that you can barely see them individually. They form lines of multicolored LEDs, circles of flashing lights, and imperceptible formations; so when a dancer loses grip of a light revolving at 100 RPMs, things end badly. If you were sitting in the front rows on Friday, you may have just narrowly avoided a yo-yo to the head. 5. Friday: Mic Issue “What’s my line again?” (soph-frosh) It’s been mentioned that Thursday shows lack some polish, but the same goes for the first show the following night. Despite SophFrosh SING!’s domination on Thursday night, leaving the Stuyvesant building past 11:00 p.m. does not do one’s sleep cycle any favors. The lack of rest and overconsumption of caffeine wore away the memories of some participants, leaving one of the actors clueless about their next line, which was revealed through a technical error. At least the mistake was off stage.

The Spectator ● March 21, 2022

Page 24

SING! Playlist & Scoreboard SING! 2022 Playlist

By THE ARTS AND ENTERTAINMENT DEPARTMENT

SOPH-FROSH Belle Beauty and the Beast Soundtrack The Family Madrigal Encanto Soundtrack Loki Theme Loki Soundtrack

JUNIOR

Universal Opening Theme Universal Studios

Raise Your Glass P!nk

Sweet Creature Harry Styles

The Other Side The Greatest Showman

Entry of the Gladiators Julius Fucik

You Say Lauren Daigle

Wake Me Up Avicii

Euphoria Fanfare Labrinth

I’m Yours Jason Mraz The Swan Camille Saint-Saens

Enemy Imagine Dragons I Don’t Wanna Live Forever ZAYN, Taylor Swift Listen to all of the songs here

SENIOR

Every Summertime NIKI Love Grows Edison Lighthouse

Circus Britney Spears 76 Trombones The Music Man Butter BTS

My Petersburg Derek Klena I Can Go The Distance Hercules Soundtrack

Finesse Bruno Mars

Immortals Fall Out Boy

Hey There Delilah Plain White T’s

We Don’t Talk About Bruno Encanto So Am I Ava Max This is Me The Greatest Showman Part of Me Katy Perry

Copacabana Barry Manilow

Gasoline Halsey

No Lie/Don’t Start Now Dua Lipa

River Deep Mountain High Ike & Tina Turner

Take Five Dave Brubeck

Good 4 U Olivia Rodrigo

The Way Ariana Grande

Introduction et Rondo Capriccioso Saint Saens

The Night We Met Lord Huron Cell Block Tango Chicago the Musical

Beggin’ Maneskin Among Us Theme Among Us

SING! Scoreboard Thursday

Soph-Frosh

Junior

Senior

Friday

Soph-Frosh

Junior

Senior

Overall Impression Script

118

116

102

130

122

Overall Impression Script

Acting

Dance

Band / Orchestra Vocal / Musical Elements Sets

Technical Aspects Costumes

Total

561

576

532

Total

444

624

614

Saturday

Soph-Frosh

Junior

Senior

Overall

Soph-Frosh

Junior

Senior

Overall Impression Script

116

102

132

318

348

356

Overall Impression Script

154

167

169

Acting

166

174

184

Dance

155

174

178

Band / Orchestra Vocal / Musical Elements Sets

132

173

182

175

184

Band / Orchestra Vocal / Musical Elements Sets

157

188

208

Technical Aspects Costumes

146

139

136

Technical Aspects Costumes

153

168

180

Total

551

515

631

Total

1556

1715

1777

The Spectator ● March 21, 2022

Page 25

Science SCIENCEBEAT

Trading Sleep For Time By ALEX ZHENG Struggling to get enough sleep, commuting before the break of dawn, and barely surviving throughout the day, you yearn for a place to lie down at school. Sound familiar? Stuyvesant students are no strangers to sleep deprivation. Barraged by daily assignments and tests, students try to squeeze in some sleep during free periods or even class. While breaking up one’s slumber may seem bizarre to the modern world, segmented sleep was the norm during pre-industrial times. The olden times were a period without clocks, artificial light, and caffeine. Sleep depended solely on whether there were things to do. People often fell into their most natural patterns of sleep, and according to Roger Ekirch, a Virginia tech professor who researches preindustrial resting habits, ancient civilizations most likely adopted a system of segmented sleep. Thousands of sources across various languages, including Charles Dickens’ Barnaby Rudge, mention the existence of a “first sleep” and “second sleep,” leading Ekirch to theorize that people in the past utilized biphasic sleep—sleep divided into two parts. At sunset, people would begin their first sleep in response to the decrease in natural light. After a four to five-hour nap, people would wake up at midnight, work, socialize, or relax for a few hours before falling back asleep for another five hours. According to Ekirch, it was only during the industrial revolution that the practice of split sleep was entirely abandoned. People

began relying on alarm clocks to follow rigid factory schedules and adjusted to artificial light and caffeine. The resulting product of this time, monophasic sleep schedules, has endured to modern day. However, there remain some Mediterranean and southern European cultures that still use a less dramatic version of biphasic sleep, opting for a nap or siesta during sweltering afternoons.

reverted back to versions of biphasic sleep. Scientists have developed intricate polyphasic sleep schedules to explore the effects of taking these naps and have theorized and recognized various forms of polyphasic sleep schedules, which break a typical long rest into four to six different periods. Schedules are classified into the categories everyman, uberman and dymaxion. In an everyman Ekirch’s schedule, theory of bione long five phasic natural to six-hour rest is supportdoze at night is ed by a 1992 study supplemented by by psychiatrist Thomthree 30-minute naps Ivy Jiang / The Spectator as Wehr, where subjects throughout the day. In were subjected to a fourteen- the more intense uberman schedhour night instead of a ten-hour ule, a total of three hours of sleep one. This meant longer periods is broken down into six naps of darkness and reduced periods spaced evenly throughout the of natural lighting for subjects. day. Finally, the “one-step-away By the fourth week of the study, from an all-nighter” dymaxion participants had adopted Ekirch’s schedule involves taking 30-minbiphasic sleep schedule, sleeping ute naps every six hours, resulting for shorter periods of time and in a total of two hours of sleep waking up for one to three-hour per day. While extreme, it has intervals in between. been documented that Leonardo Since the onset of the pan- Da Vinci and Nikola Tesla both demic, napping has become in- followed the uberman schedule creasingly common due to its while working, getting only three convenience and numerous ben- hours of shut-eye every day. efits. A survey of 2,000 American Though having more awake-time workers in 2020 found that more might seem more efficient at first, than 33 percent reported tak- modern research has revealed ing naps during the day, while in both benefits and negative side some states, the numbers were as effects of this type of sleep that high as 67 percent. Stuck at home should be considered. during the pandemic, people have Some people suggest that

these schedules lead to increased productivity, cognitive function, and memory retention. There is a lack of research supporting these claims, and some scientists have attributed these feelings of greater efficiency to the extra hours one might have following a dymaxion schedule. A more apparent benefit is for shift workers or other jobs that require unusual wake cycles, where napping is required to maintain awareness and concentration throughout the day. The side effects of polyphasic sleep are more well-known and apparent to researchers. According to a paper published last year on the adverse effects of polyphasic sleep, no evidence was found supporting the benefits of split sleep. In fact, the paper cited strong opposition to both the uberman and dymaxion sleep schedules, citing reduced reaction times, disruptions to circadian rhythms, and sleep deprivation as side effects which could ultimately lead to irreparable physical or mental damage. Overall, the researchers reached the consensus that splitting sleep is not recommended. People have reported various degrees of success when trying these odd sleep schedules. Some reported having more energy throughout the day, greater academic success, and reduced effects of insomnia. On the other hand, others cited gaps in attention throughout the day and lower cognitive function overall. A more practical concern for some people was that these schedules clashed with their work or social lives. Some people were willing to adopt these schedules only if

Scientists have identified a new COVID-19 variant Deltacron circulating in France, the Netherlands, and Denmark. Cases of Deltacron have also been reported in the U.S. and U.K. David Bennett, the first person to receive a heart transplant from a pig, has died though the cause of death has not been revealed. The invasion of Ukraine has taken a toll on Russian science, with many Western nations cutting ties and pausing current collaborations. entire societies were also structured around it. Currently, there’s no clear research stating the exact effects of each polyphasic schedule. Results remain mixed and based on personal preferences as well as trial and error of finding the perfect sleep schedule. For Stuyvesant students, it may be most efficient to retain a monophasic sleep schedule to maximize homework efficiency, but it does not hurt to try a different form of sleep. Who knows, trying out a three-hour nap after school or possibly a thirty-minute rest during a free period could lead to a better grade on that next chemistry test. Of course, this is not a system that works for everyone and it may be more damaging than beneficial. Design sleep schedules for your own needs, use this knowledge at your own discretion, and find the best schedule for yourself.

The New Avian Flu and How to Beat It As COVID-19 cases are declining, another concern has recently arisen in America: the avian flu. Though a case has not yet been documented in humans, the increase in cases amongst poultry still poses a considerable threat, as animal food is one of the main sources of protein in an American’s diet. In extreme cases, the virus can be contracted by a human after undergoing many mutations in the form of the Asian Influenza A (H5N1) virus. In sporadic outbreaks such as those we have seen recently, it is important to look at past outbreaks and recognize important findings and mistakes in order to respond quickly and effectively in the present. The avian flu, caused by the Influenza type A virus responsible for influenza in humans, is a highly contagious respiratory illness. It occurs naturally in wild waterfowl around the world and can infect domestic poultry. The virus can also be found in other animal species such as pigs, dogs, and cats. Symptoms of the avian flu in birds include lack of energy, loss of appetite and coordination, swelling, and reduced production of eggs. In rare occasions where humans are infected with avian flu (by coming into contact with infected birds or animals), the symptoms resemble human seasonal influ-

enza as well as pneumonia and abdominal pain. The situation that many farms are facing in America involves the widespread infection of a certain mutant of the avian flu called the Eurasian H5N1, which originated from a chicken farm in Delaware. This farm, in particular, is a commercial farm home to one of the country’s largest concentrations of poultry, which would mean many other farms around the country could have had contact with their supply. Since then, more outbreaks have been detected in flocks in Iowa, Nebraska, and Massachusetts, and, according to the World Organization for Animal Health, more than 40 countries have experienced new cases of the avian flu in the past six months. Some zoos, such as the Detroit Zoo in Michigan, have taken further precautions to protect birds from the virus. Though it may not pose a significant danger to humans yet, this form of the avian flu virus has been found to be closely related to the highly contagious Asian Avian Influenza A (H5N1) virus, which has been infecting people since 2003. Despite their rare occurrences, human infections with bird flu viruses can happen when enough virus gets into a person’s eyes, nose, or mouth, or is inhaled. In fact, in 2003, H5N1 first appeared in a widespread outbreak that originated in Asia and then spread to Af-

rica, Europe, and the Middle East. Starting out in livestock, the virus was transmitted to humans, which resulted in 18 reported infections, 13 of them lethal. This demonstrates the danger of how transmissible the avian flu is, especially due to the presence of long-distance

of preparedness. This can be in the form of a slow federal response, withholding medical information, or the lack of public knowledge in how to deal with the issue. For the avian flu, though, we have a significant amount of research to prepare with. For instance,

migratory bird species. In this way, experts are concerned about the virus’s quick growth, which increases the possibility of the virus mutating into variants that would be deadlier to humans. Other than the importance of the development in technology and medicine, an important tool recognized by scientists in dealing with new diseases and conditions is past reports of similar cases and diagnoses. Novel outbreaks such as the avian influenza outbreak in 2003 share a similar characteristic to other outbreaks: lack

scientists could analyze the devastating consequences of the avian flu in the 2014 outbreak, which sent poultry and egg prices soaring and cost the industry over $3 billion. Along with the economic effects, the outbreak also caused the deaths of 50 million birds. Regarding humans contracting the virus, in 2003 in the Netherlands, two infected poultry workers transmitted the H7N7 virus subtype of the avian influenza virus to three family members who all got conjunctivitis. From these past cases, organizations such as the Center

Tina Siu / The Spectator

By SUBAAH SYED

for Disease Control and the Occupational Safety and Health Administration (OSHA) have been able to implement regulations in order to inform and advise the public on what steps to take to protect themselves and farm animals from contracting the virus. For example, the requirements of OSHA’s Personal Protective Equipment standards call for the use of gloves and eye, face, and respiratory protection for workers prone to catching the avian flu, like poultry workers. OSHA also advises poultry workers to keep poultry flocks isolated from wild animals and bird populations and to provide clean and adequate ventilation to poultry houses in order to limit the possibility of transmitting the virus. To protect ourselves from the rare occasion in which we may catch the virus, it is advised to receive the seasonal influenza vaccine yearly. Unlike the COVID-19 pandemic which dealt with a novel virus and a lack of past references, we have the advantage of looking at the past for guidance when dealing with the avian flu. The recent outbreak of avian flu across the country has become a concerning issue, but with the help of what we learned in past cases of this virus and the influx of resources that are readily available to us today, we can handle this outbreak with more efficacy than ever before.

Page 26

The Spectator ● March 21, 2022

Science By SOPHIA WANBRODSKY and KARINA GUPTA David Bennett Sr. lay in a hospital bed under the darkness of amnesia on January 7. Tethered to a tube and submerged in a murky solution was the vital organ that would be the key to this man’s life. It wasn’t a human organ, though. It was the heart of a pig. Bennett was 57 years old, terminally ill, and in end-stage heart failure when he underwent surgery. His uncontrolled arrhythmia (irregular heartbeat) made him a bad candidate for an implantable heart device. Being labeled a “problem patient” was another dilemma that made it challenging to receive a human heart transplant. Bennett missed doctor’s appointments, did not always take medications, and frequently ignored doctor’s orders. Without a transplant, he would surely die. This operation, given emergency authorization by the FDA, was his last chance for survival. Chief of Cardiothoracic Surgery at the University of Maryland Medical Center Dr. Bartley Griffith was the lead surgeon on

the case. Throughout Dr. Griffith’s 40-year career, he has received numerous honors and awards, such as induction into the Royal College of Surgeons. This surgery wasn’t the first time he made history in the field of xenotransplantation, the transplanting or grafting of organs or tissue across organisms of different species. He performed a groundbreaking procedure that used both animal and human donor tissue to reconstruct the top two chambers of a woman’s heart in 2003. Dr. Griffith’s colleague, Dr. Muhammad M. Mohiuddin, with whom he co-runs the University of Maryland’s cardiac xenotransplantation program, also played a central role in the revolutionary surgery. Dr. Mohiuddin was in charge of the lab work that studied the transplantation of pig hearts. This accomplishment was no spur-of-the-moment surgery. The procedure had been in the works for five years. Bennett had to undergo four psychiatric evaluations to make sure that he was able to consent to the surgery. The pig heart itself was the result of years of work. Pigs are typically used in the practice of xenotransplantation

due to their anatomical similarities to humans, ease of breeding, large litters, variety in size, and ability to be genetically modified. Both Dr. Griffith and Dr. Mohiuddin knew that they needed to make some changes to the pig’s heart in order for it to be compatible with their patient’s body. As a result, the pig, raised by Revivicor, a U.S. firm that spun off from PPL Therapeutics, was genetically modified. This company helped create Dolly the sheep, the first mammal to be cloned from an adult cell. Three genes largely responsible for the production of a sugar molecule called α-gal were knocked out. Normally, this molecule would be on the surface of the pig’s cells, which would trigger an immune response once transplanted. Additionally, six human genes that control the coagulation cycle (the process which creates clotting after an injury), antibody function, and inflammation were added to the pig in order to make the heart more compatible with the human

Anjali Karunadasa / The Spectator

A Pig at Heart immune system. Lastly, one gene was knocked out to control how fast and large the heart could grow. Specifically, the heart would not be able to grow after transplantation. Kept active and cold by the constant flow of a fluid consisting mainly of saline and cocaine, the bodiless heart was ready for operation. The rest of the surgery was laborious work, beginning with an eight-inch incision in Bennet’s chest and the sawing of his breastbone. The entire operation was eight hours of painstakingly precise and purely focused stitching, tucking, and connecting. In the end, though, the heart came alive. To prevent rejection of the foreign heart, he was prescribed a strong, experimental immunosuppressant drug, KPL-404. This drug binds to cell receptor CD40, suppressing B cells and T cells, both responsible for triggering immune system attacks. Two months after this surgery, Bennet’s health began deteriorating, and he passed away on March

8, with the primary cause not yet identified. Scientists and doctors are still optimistic, which brings up the ethical question of whether humans should raise animals for the express purpose of harvesting their organs. On average, 17 Americans waiting for organ transplants die each day, and xenotransplantation could be the solution. However, campaigners argue that animals are not human resources, but living beings. Furthermore, the genetic modification process may have unknown effects that impact the pigs’ quality of life, not to mention that they would be raised in bio-sealed, controlled environments. Bennett’s surgery did not end up saving his life, but it did provide valuable insight into this novel field of medicine. Xenotransplantation operations are risky, and most are experimental, as the procedure for entire organs, rather than sections of organs or just tissues, is relatively new. For now, such xenotransplants will only be used as a last resort. Regardless, this development has broken boundaries in the field of medicine, forcing us to confront the future of xenotransplantation in both a practical and moral sense.

Sugar-Free Gum: The Cost Effective Way to Prevent Preterm Births By JOVANNA WU Over 374 billion pieces of gum are sold every year. Initially founded by the Mayans and Aztecs as a way to quench hunger and thirst, chewing gum later evolved to become a sweet treat and a way to freshen your breath. This tasty and addictive version took off in the late 1800s. However, dentists and doctors soon began considering its harmful effects, leading to healthier versions of gums filling the shelves. Made as an alternative to sweet, flavored gum, sugar-free gum not only provides oral benefits but may prevent preterm births. Preterm births are births of babies that occur before 37 weeks, which results in them being un-

derdeveloped. Their lack of maturity causes short and long-term complications, many of which are the leading causes of the high mortality rate of children under the age of five. Such complications include trouble breathing due to an immature respiratory system, metabolism problems from their smaller glucose storage, and a higher risk of developing chronic health problems. With the many complications that exist after birth, many preterm babies do not survive past their first few months and fall victim to Sudden Infant Death Syndrome. Premature babies have been a common issue near the Lilongwe area of Malawi, Africa, with a 19.3 percent of babies being born preterm. The lack of resources

and technology is a significant factor contributing to the high premature rates. Additionally, past studies have shown the link between preterm births and periodontal disease due to composition change occurring in the oral mycobacterial community. The change allows bacteria to inflame the gums and enter the bloodstream, reaching various organs in the body. The link is supported by another study that found that 70 percent of pregnant and postpartum Malawi women are more prone to cavities and gum diseases. Scientists conducted a study in Lilongwe in an effort to find cost-effective prevention of premature births. The study enrolled over 10,000 pregnant and nonpreg-

nant women, giving advice to all women on how to prevent preterm births and improve dental health. Additionally, half of the 10,000 women received sugarfree gum that contained xylitol, a natural sweetener from fruits and vegetables that is found to help reduce plaque buildup and tooth decay. The decrease in preterm births in the group that chewed the xylitol gum is promising. The group of women who were given gum had 13 percent preterm births compared to the 17 percent preterm births in the control group. Even after the study was conducted, scientists kept track of the children’s growing progress. As of right now, the children are growing at a healthy rate for their age, which is a huge

improvement from the slower growth usually exhibited by preterm children. The positive changes brought by this experiment provide our generation with a cost-effective way to help prevent preterm births in the future and improve our gum health in the meantime. As we are still young, pregnancy may not be of concern to us right now, but taking care of our dental health will always be important. Chewing xylitol gum offers benefits besides preventing preterm births for all generations by decreasing the chance of cavity growth and oral health diseases. The many effects of chewing gum is proving to be more and more helpful with time, paving the way for a minty-fresh future.

The Enemy of My Enemy Is My Friend: Bacteriophages in a Post-Antibiotic Era By OLIVIA ZHENG In 2011, a 43-year-old recent lung transplantee arrived at New York City’s National Institutes of Health (NIH) hospital with a Klebsiella pneumoniae carbapenemase (KPC) infection. KPC isn’t just any ordinary bacteria—it’s a superbug: a bacteria highly resistant to most antibiotics. The NIH had never encountered this pathogen and took extreme precautions to contain KPC. These efforts were to no avail, and several patients contracted the bacteria, with 11 deaths from the infection over the next few months. Since then, KPC continues to live in the hospital and has made its way to other hospitals in at least 44 states. KPC is just one of a growing number of superbugs. Our overuse of antibiotics has led to the evolution of numerous bacterial strains that are resistant to our antibiotics. Examples of antibiotic abuse by humans include taking antibiotics for nonbacterial infections, not completing antibiotic prescriptions so they make their way to landfill, and using nearly two-thirds of our medically important antibiotics in animal feed to mitigate the spread

of disease. Given a population of bacteria, a small percentage might be resistant to the antibiotic due to a spontaneous mutation—however, the resistant bacteria multiply. Mechanisms for resistance include restricting antibiotic entry, digesting or deforming antibiotics, and mutating to no longer have or use components targeted by antibiotics. Gram-negative bacteria, like KPC, have an outer membrane that allows them to better prevent antibiotics from entering. Counterproductively, as the use of antibiotics has ramped up, antibiotics research has dwindled. Most major pharmaceutical companies have abandoned the relatively unprofitable field. As a result, we are entering an era in which previously commonplace bacterial infections could be lethal. In fact, someone in the US dies from an antibiotic-resistant infection every 15 minutes. Fortunately, a new method of treating bacterial infections is being looked into: phages. Bacteriophages, or phages, are viruses that parasitize bacteria. They generally have an icosahedron protein capsule containing their genetic material and numer-

ous filaments protruding from their tail. To attack a bacteria, they inject their genetic material into the bacteria, hijacking the bacteria to produce copies of the phage. For virulent phages, these new phages quickly lyse the bacteria and are released into the environment. Temperate phages, on the other hand, remain in the host bacteria and multiply as the bacteria reproduces, lysing the bacteria after a trigger. Once phages are free, they begin attacking surrounding bacteria. Using the phages as treatment proved helpful for one patient. One woman, who experienced a broken femur, contracted KPC after doctors operated on her thighbone. For two years, the patient remained infected with KPC as dose after dose of antibiotic treatment failed to eradicate the bacteria. Her medical team then looked into phage therapy as a solution, and cleared her infection after 15 rounds of phage therapy that combined the use of phages and antibiotics over the course of three months. The sheer quantity of phages already makes it a more promising avenue for bacterial infection

treatment than antibiotics. There are ten times as many phages as there are bacteria on the planet. The population of phages (and bacteria) is also orders of magnitude higher than the number of available antibiotics, which means that the likelihood of there being a phage capable of attacking a particular bacteria is greater. Phages also have the capacity to change in response to bacteria gaining resistance. Bacterial resistance to phages occurs by cleaving the phage’s genetic material using restriction enzymes, remembering parts of phage genetic sequences, or initiating cell death upon phage entry. In response, phages have evolved to bypass these bacterial defense mechanisms. For example, a phage may trick a bacterium into extending methylation to phage genetic material, thus preventing its degradation by restriction enzymes. Phages may also lose the sequences of their genetic material that have been memorized by bacteria using CRISPR. Phages are able to make these adaptations quickly due to their high genetic variability. Luckily, human cells are not victims of phages’ ruthless parasit-

ism and incessant evolution. This is because human cells are eukaryotic while bacterial cells are prokaryotic and have structures that allow phages to replicate. Phages are unable to penetrate eukaryotic cells but can penetrate Gram-negative bacteria membranes effectively. Though there are other clinical examples of phage therapy use, the field is still budding and significant public skepticism of the treatment remains, largely due to the way that antibiotics have previously dominated antimicrobial development. Some people fear that bacteriophages may not be as benign to eukaryotic cells as we may have previously thought. Nonetheless, phages have roamed this planet for ages before us, and their harsh methods of attacking bacteria might just revitalize our antimicrobial toolbox. Though they aren’t considered organisms, these tiny molecules might be our best tool in mitigating the impending superbugs crisis. As more research is conducted on phage therapy, it will hopefully become a treatment used in conjunction with or sometimes even in place of antibiotic medication.

The Spectator ● March 21, 2022

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Arts and Entertainment Fashion By PHOEBE BUCKWALTER At the Beijing 2022 Winter Olympics, it wasn’t just Chloe Kim’s attempt at a 1260 during the women’s snowboard half-pipe that caught viewers’ eyes. Female snowboarders and skiers across various nationalities were seen sporting a hairstyle known as slut strands: two face-framing strands of hair on both sides of the face left loose from their helmet. This seemingly small fashion statement has a significant meaning. For the talented female athletes who hit the slopes in Beijing, slut strands were a symbol of femininity and indicated their pride as female athletes in male-dominated sports. Slut strands function as a way to combat the androgynous silhouette of winter sports gear and signifies that these female athletes are representing women everywhere. This simple hairstyle unites female snowboarders and skiers from all over the world in an impactful display of solidarity and fellowship. Despite the popularity of the hairstyle, the term “slut strands” is surrounded by controversy. While it’s unclear who coined the phrase, some female athletes dislike the name because it contains a derogatory word. In an interview with InStyle, American snowboarder and two-time Olympic gold medalist Chloe Kim explains, “We need to change the name to beauty strands. I hate the term. Beauty strands make me feel beautiful, and it’s such a cute thing.” Though some athletes see changing the name to beauty strands as an overdue update, the current name is also an important reminder that the struggles female athletes face need to be taken seriously, and serves as a nod to those

“Slut Strands”: The Signature Hairstyle of Women’s Olympic Snowboarding who pioneered women’s snowboarding and skiing. Additionally, it would be challenging to attain mass usage of a new name due to its significance in snowboarding culture. On the other hand, some find the term empowering because it allows them to reclaim a derogatory word to make a feminist statement. In a November TikTok video, American Olympic snowboarder Maddie Mastro proclaimed, “Sl*t strands 4 life.” Similarly, Elsa Watkins, founder of skiing and snowboarding apparel company “The Slut Strand Society,” uses the term to empower female snowboarders and skiers and give them a space to “band together.” On the company’s website, she explains that despite the negative connotation of the term “slut strands,” it should be reclaimed and celebrated because of its powerful meaning and prevalent usage among female athletes. The slut strand look originated in the ‘90s and peaked in popularity in the early 2000s. The look typically consisted of polished ponytails and updos soft- ened by romantic face-fram- i n g strands, ranging from delicate wisps to boldly colored waves. However, slut strands weren’t just an everyday look: they graced fashion runways from New York

City to Paris in the ‘90s. Supermodel and fashion icon Kate Moss, for instance, rocked brunette slut strands and a chic bun at a Donna Karan Fall fashion show in 1993. It’s no surprise that slut strands are trendy again, as social media platforms have brought ‘90s hair trends, like butterfly clips and scrunchies, back into the spotSpectator light. oler / The talie S Na

Today, celebrities like Dua Lipa, Bella Hadid, and even Meghan Markle have experimented with the hairstyle as well. The ‘80s aesthetic of Dua Lipa’s latest dancepop album “Future Nostalgia” features her with platinum blonde face-framing strands that give an edgy, vintage look. Bella Hadid

has mastered the slut strand look as well. The supermodel’s Instagram is peppered with photos of her posing in her thin, dark slut strands that are often combined with sleek ponytails to create a trendy and refreshing cut. For a more elegant take on the style, the Duchess of Sussex Meghan Markle utilizes wispy strands to add casual sophistication to her updos and create a timeless haircut that she even wore to her wedding. Gen Z has popularized a similar look via TikTok. Egirl hairstyles with bleached/ colored and chunky faceframing strands are immensely popular because they create a bold look without the commitment that comes with dying a full head of hair. Common colors are ash blonde, cherry pink, and peacock blue. Some opt for two-tone slut strands or even dye their curtain bangs in vivid hues for a more eyecatching look. Slut strands, once dismissed as a fashion regret of the ‘90s, have made a huge comeback, in part because of their popularity in women’s winter Olympic sports. Just two strands of hair have the power to unite an entire generation of female athletes, serving as a symbol of feminism and resilience o n the slopes. Fashion trends go in and out of style by nature, but even if slut strands become a thing of the past, their message will be passed onto the next generation of female snowboarders and skiers.

Music

Mitski’s Emergence From the Darkness

By MADELINE HUTCHINSON

released “Be the Cowboy” in 2018 (her most popular album, with hit songs like “Nobody,” “Me and My Husband,” and “Washing Machine Heart”), she took a break from her career to recover her passion for music. Mitski’s relationship with her music mirrors a romantic relationship: one which is both satiating and devouring. Just like the scorned longing for that love, Mitski’s record label contractually obligated her to return for another album. She explores professional discourse on “Working for the Knife.” Metallic guitar pairs with the distant clanking of percussion as Mitski communicates the effect of the restraining grasp of capitalism in her life. She speaks to the societal pressure to comply with the lyrics, “Used to think I’d be done by 20 / Now at 29, the road ahead appears the same / Though maybe at 30, I’ll see a way to change / That I’m living for the knife.” Her words are notoriously truthful. The prominent synths of “The Only Heartbreaker” and “Love Me More” are a pivot in the album’s mood. In both tracks, the cadence of Mitski’s voice gains energy as the chorus appears. Rhythmic drums and fast-paced piano create a lively symphony. However, the playful dance tunes are actually a facade for hidden themes. In “Love Me More,” Mitski yearns for love that immerses her completely: “I need you to love me more / Love me more, love me more /

After nearly four years on hiatus, Mitski has returned with “Laurel Hell,” an album that delivers the woes of confinement through a vessel of luscious Synth-pop, as a new artist, exploring sonic territory. Timeless teenaged themes of conformity, healing, and growth permeate the album. The album was highly anticipated and has subsequently been met with conflicting reviews. In the opening track, “Valentine, Texas,” Mitski’s echoing whispers invite listeners to “step carefully into the dark” with her. The listeners witness the inner world of a drained artist. Halfway through the song, Mitski becomes rejuvenated. Her mellow and slow-paced singing rapidly accelerates into an explosion of layered keyboard that instantaneously enthralls the listener into “Laurel Hell.” At first, the album feels disjointed. “Should’ve Been Me” fuses a buoyant melody with lyrics that tell the story of never being fully seen as a person. The combination of these conflicting characteristics feels disorienting because Mitski presents two seemingly distinct narratives: one of reconciling the separation of a romantic partner and the other of a commentary on artistic burnout. Upon further dissection, these experiences live in parallel as a confession of Mitski’s relationship with the music industry. After Mitski

Love enough to drown it out.” The production of “Laurel Hell” is much more refined and fluid than any of Mitski’s previous projects; it has been scrubbed clean of Mitski’s signature jagged fervor. While it can still be acknowledged that Mitski has created an euphonic piece of art, it’s clear that she is taking less risks with the production style of the album. “Laurel Hell” conforms to ‘80s inspired electronic undertones that have been recently repopularized by artists like The Weeknd and Dua Lipa, music that can feel derivative at times. After the flaming intensity of the preceding tracks, “Everyone” offers an ambient breather, but its production is too bland to hold the listeners’ focus. The final two tracks, “I Guess” and “That’s Our Lamp,” close the album with contrasting outlooks. “I Guess” represents an end that is accompanied by hesitance and reluctance. Mitski’s voice in this track sounds plaintive: she draws out each of her syllables to an overwhelming extent, almost as if she doesn’t want to fade away. The subtle, hypnotic keyboard serves to highlight the melancholic lyrics. Mitski croons, “I guess this is the end / I’ll have to learn / To be somebody else.” Reluctantly, Mitski sheds her identity. This leads perfectly to the next track, in which the end gives birth to a new persona. “That’s Our Lamp” is the most triumphant track of the album. The lyrics speak to separation and abandonment, yet strings

and synth horns contrast the loneliness of the lyrics. Mitski repeats, “That’s where you loved me.” These nostalgic references bring a sense of acceptance and closure to the piece despite the hints of grief. While her sadness is still present, it is not terrorizing or all-encompassing. Mitski has learned to live with love despite her heartache. Historically, many have idolized Mitski for her “sad girl” trope. Her most viral songs have all been the epitome of desolation and raw sensitivity. Some fans have excessively pinned this single lens onto Mitski, refusing to perceive her as being multidimensional. This completely dehumanizes Mitski as a person and disvalues all aspects of her identity beyond her music. In “Laurel Hell,” Mitski is finally able to embrace a multifaceted self. She emerges as a performance artist on the project’s accompanying music videos, suggesting that the music should be felt and not just heard. Ultimately, “Laurel Hell” ignites undeniable feelings of solace. The lyrics are purposefully vague and remain open for interpretation. It is synchronistic that Mitski’s music has been released now, as we struggle to define a post-pandemic reality. We oddly find clarity in the dark, complex, and undefined space Mitski creates in “Laurel Hell.” In this vein, Mitski offers a relatability that is appealing to many. We can follow Mitski into an undiscovered place where new identities are formed as old ones are abandoned.

Playlist Living for Live Music By THE ARTS & ENTERTAINMENT DEPARTMENT After two concert-less years, we could all use some live music in our lives. So, A&E has compiled some of our favorite live performances! If you’re tired of listening to the same studio recordings over and over again, here’re some twists to your go-to tunes.

Radio Ga Ga - Live Aid Queen Rock

Mind Mischief - Live Tame Impala Psychedelic Rock

Stars (Live at Montreux) Nina Simone Soul

Disintegration - Live The Cure Alternative

Folsom Prison Blues - Live at Folsom State Prison Johnny Cash Country

Heart of Glass (Live from iHeart Festival) Miley Cyrus Pop

The Star Room / Killin’ Time - Live Mac Miller Hip-hop

Twistin’ the Night Away - Live at the Harlem Square Club Sam Cooke Soul

Roads - Roseland NYC Live Portishead Trip hop

Burning Down the House - Live Talking Heads New wave

Come as You Are - Live Version Nirvana Grunge

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The Spectator ● March 21, 2022

Arts and Entertainment Television By ELEANOR LEUNG and SUBHA BHUIYAN As far as teen shows go, HBO’s “Euphoria” (2019) is perhaps one of the most successful of its kind. With over 16.3 million viewers who tuned in to its Season Two premiere, it’s one of the most-watched series on HBO, second only to “Game of Thrones” (2011), and understandably so. Since its release, Sam Levinson’s teen drama series has received enormous praise for its hauntingly personal portrayal of adolescent struggles. In the pilot episode, audiences are introduced to Rue, a (semi) recovering drug addict. As she returns from rehab, viewers watch as she falls into the same dangerous habits, all in search of some sense of euphoria that hasn’t come from anything but drugs for years. As the show progresses, Rue’s character and inner workings are stripped down to reveal a complex and unpredictable individual. In moments of vulnerability, she utilizes her signature snark and sharp wit as a defense mechanism. In spite of her self-destructive impulses, she also maintains a sense of sagacity. Though Rue is a character that prefers to stay in the background, she succeeds in leaving the audience shocked and aghast after every one of her scenes. Like every character in the show, Rue is masterfully played by

Art By SANTINO SUAREZ Picture yourself standing in a never-ending world of sleek white surfaces covered in giant red polka dots. You look around and find yourself deep in a maze of overgrown tulips, enveloped in the same polka dot pattern of its surroundings. The flood of cherry-red dots has engulfed everything in sight. You feel as if you have stepped into a daydream of infinite vastness. You have entered the creative mind of Yayoi Kusama. Yayoi Kusama, at age 92, is a world-renowned painter, sculptor, and cultural phenomenon. Her artwork has taken the world by storm, with tens of thousands of fans lining up on the streets of museums, in botanical gardens, and even during the Macy’s Thanksgiving Parade to experience her works in their full whimsy. Some take Instagram pictures to mark the monumental occasion. Despite her recent rise to fame, Kusama struggled for most of her artistic career to carve a place in the art world because of her identity as a female artist, foreigner, and mental health activist. Born in 1929 to a working family of merchants in the rural town of Matsumoto, Japan, Kusama had a rough upbringing. Her visions of becoming a painter were ridiculed by her mother, who wanted her to live a more traditional life by marrying into a wealthy family and being a housewife. Kusama’s mother was verbally and physically abusive to her and would steal Kusama’s art supplies to prevent her from creating art. Despite this, she continued to develop her passion for art while finding her unique voice and pursuing her creative freedom in the process. Throughout her creative journey, Kusama has been very open about her mental health struggles. She was diagnosed with depersonal-

“Euphoria”: A Glimpse Into Today’s Youth her respective actress, Zendaya, who brings out the best and the worst in Rue. When Rue hits rock bottom after a morphine overdose, she can’t even open a candy wrapper. As the camera zooms in, every shake and wobble of her fingertips is captured—a heartwrenching picture of patheticness. Zendaya bears the weight of Rue’s character with a kind of poignancy that makes her captivating and endlessly thrilling to watch. The same can be said of the other actors. Notably, Sydney Sweeney, who plays Cassie, tackles her character’s complicated history with expertise. During Cassie’s brightest moments, she’s a girl who has been dealt a bad hand in life. During her worst, she’s a validation-seeking manipulator who’ll do anything to secure her own happiness. Sweeney steals the spotlight every time she appears on screen, skillfully straddling the line between playing the pitiful teenager and crazed lunatic. IndieWire put it best: “‘Euphoria’ hasn’t heard a sad story it can’t make worse.” At the heart of every character’s plot is a darkness that strings this show together into a tangle of hormonal, frenzied madness. Many scenes are unfiltered and graphic, with some form of nudity in almost every episode. From the beginning, viewers learn about the characters’ backstories, which are all tragic and shocking. For instance, Jules (Hunter Schafer), a transgender girl, is attracted to older men and routinely has sex

with them in dingy motel rooms. The show spares nobody’s eyes, openly including graphic sex and fight scenes. Yet perhaps “Euphoria”’s greatest triumph lies in the fact that it is surprisingly relatable to its demographic. Everyone knows a Rue. They’ve experienced the same desperation Cassie has or the same anger Maddy (Alexa Demie) feels. It’s not often that a teen show in today’s media landscape is able to accurately tap into youth audiences’ experiences, but “Euphoria” does that and more. Every character begins as an obvious archetype: the druggie, the quiet book-smart girl, the popular mean girl, the scary jock. But as the story progresses, the characters come to life. Through traumatic experiences that bind this cast of teenagers together, a genuine commentary on youth culture is made. The show tackles heavy topics like substance abuse, rape, and identity crisis in a way that feels authentic and deeply relatable. “Euphoria”’s cinematography contributes largely to its nostalgic factor. The show’s golden hues and beautiful camerawork are synonymous with its signature dark and glitzy aesthetic. In Season Two, cinematographer Marcell Rév chose to film exclusively on 35mm Kodak film. The grainy film effect gave Season Two a more retro and nostalgic feel, reminiscent of a distant high school memory. Each scene is

framed specifically to emphasize a point. Quick zoom-ins onto characters’ faces add drama, while fuzzy, rocking camera movements evoke feelings of hallucination or disorientation. As the camera works to tell a story, viewers quickly immerse themselves in the show, which elevates “Euphoria” past just another Riverdale-adjacent series. Another one of “Euphoria”’s greatest feats is its soundtrack. Jen Malone, the lead music supervisor for the show, utilized over 100 songs for Season Two alone. From dreamy tracks to upbeat rap, the soundtrack is an eclectic mix of emotions pertaining to each character and their lives. Each song engages in the overall narrative of the story and fulfills a certain objective: relaying a certain message, as well as evoking certain emotions in the viewers. For instance, when Cassie and Nate enter school hand in hand in the last episode, “The World Hurricane” (2000) by Air plays, signifying how destructive their relationship is as lyrics in the song mention: “One mass is warm, while the other is cold / The warmer air rises, and the cooler air falls […] They swirl in and around one another, creating the beginnings of the storm.” Malone employs this subtle tactic via songs in other scenes too, using tracks by various artists, from Labrinth to Selena. Despite “Euphoria”’s multiple strong points, there are still some pressing issues regarding

its plot and characters. Though “Euphoria”’s plot is gripping and intense, it contains some major plot holes that are never resolved. How did Rue go so abruptly from needing hospitalization in Episode Five, to enjoying the play and being level-headed in Episode Eight? Another discrepancy is Rue forgiving Elliot (Dominic Fike), despite him enabling her drug use and sleeping with Rue’s girlfriend, Jules. Moreover, despite “Euphoria”’s fleshed-out main characters, a fan favorite, Kat, (Barbie Ferreira) was lackluster this season. In Season One, Kat had a clear, cohesive storyline, while in the recent season, she devolved into a seemingly shallow side character whose only purpose is to support her friends through their troubles and mishaps. Aside from “Euphoria”’s occasional undeveloped plot points and characters, it is a beautifully crafted show with titillating characters and stories. From its expressive usage of light to emphasize emotions to meaningful songs that portray any scene perfectly and pluck at viewers’ heartstrings, “Euphoria” deserves its publicity and love. For Season Three, viewers hope to see the main cast further fleshed out and for unanswered questions to be clarified. Nonetheless, Season Two was an exciting journey suffused with alluring fortunes and mishaps, complete with methodical characters and phenomenal acting.

What a Polka Dot Pumpkin Can Teach Us During the Pandemic ization-derealization disorder at age 10. As she describes it, she would often experience hallucinations of “blinding flashes of light and dense fields of dots” that surrounded and engulfed her entirely. These webs of color later became the basis for Kusama’s art. She began covering walls, ceilings, and even people with patterns of polka dots to mimic her hallucinations. In an interview with Akira Tate- Iris Lin / The Spectator hata, Kusama says, “[My art] is a self-therapy. That is why I am not concerned with [being labeled as] Surrealism, Pop Art, Minimal Art, or whatever. I am so absorbed in living my life.” Shunned from the art scene in Japan for her open expression of mental illness and unorthodox style, Kusama sought a way out. During her time in Japan, seeking advice as a novice artist, she wrote letters and sent watercolor paintings to her idol Georgia O’Keeffe. To her surprise, O’Keeffe responded, encouraging Kusama to move to New York and exhibit her artwork to anyone interested, but warned her of the difficulties of life as an artist. Following O’Keeffe’s advice, Kusama headed to New York City in 1958, where her avante-garde style flourished. She maintained her signature polka dots, but began to experiment

with different styles of installation. These include her large-scale monochromatic paintings and her iconic “Infinity Rooms,” which were a breakthrough in experiential art design. Though her exhibitions gained traction in the art world, Kusama profited little from them. The art of Yayoi Kusama is simplistic in concept, yet simultaneously mesmerizing, expansive, and

ethereal. Though the patterns, mirrors, sculptures, and colors utilized stem from her personal struggles, her works connect to us as individuals and evoke our own emotions of wonder and joy. With one look at her magnificent golden pumpkins with black dots running up and down the shell, anyone can feel the warmth and abundance conveyed

by the larger-than-life squash. In her autobiography “Infinity Net,” Kusama states, “What appealed to me most was the pumpkin’s generous unpretentiousness.” For Kusama, not only are the pumpkins a reminder of growing up on a farm in Japan, but they are also representations of positive feelings of safety, comfort, and plentifulness. Kusama would spend hours as a child drawing images of these pumpkins, which would later become a motif throughout her art. Yayoi Kusama is living proof of the importance of selfexpression and the human need to strive for creativity, especially during challenging times. More recently, research on the pandemic effects has shown a correlation between adolescents’ mental health and the COVID-19 lockdowns. Feelings of isolation, depression, and anxiety have all been amplified by both the pandemic and the limited access to health resources. “There simply aren’t enough psychiatrists, developmental pediatricians, or school psychologists to care for the mental health needs of the country’s children,” reports Katherine Ellison of the Washington Post. Schools play a notable role in the health and wellbeing of students; however, for some, recogniz-

ing the need for help can be challenging. Many students believe that accepting support is a sign of fragility, which may make them seem overly sensitive. Others fail to recognize their own internal conflicts and refuse to seek consolation from their peers. Lastly, some have trouble putting their complicated feelings into words. Whichever type of student you are, seeking help from a professional is always important. In addition to that support, incorporating art into your daily life can help with organizing your thoughts. Art is an accessible medium and outlet for a range of emotions, like stress, anger, or sadness. For some, art can be perceived as an intimidating hobby due to the pressure to be creative and have perfect technique, limiting the number of students who partake in it. On the other hand, art can be a cathartic tool to share your authentic self. Regardless of your innate talent, the artmaking process is worth exploring. Recently, Stuyvesant has partnered with “Counseling in Schools” to host an art-based therapy group for students. Its goal is to provide a place for students to connect through topics like identifying emotions, developing communication skills, and honing in on personal strengths to overcome stress. Additionally, an Open Art Studio program is available at Stuyvesant every Tuesday and Wednesday from 3:45 to 4:30 p.m. in room 1005. Participants can use this program to create, reflect, or unwind after a jampacked day. These resources serve as a stepping stone for students toward health and wellness. Whether you go out and appreciate monumental art by visionaries like Yayoi Kusama or make your own, now is the time to embrace your inner artistic self. As Kusama says, “When I feel sad and low, my soul as an artist is what has kept me going.”

The Spectator ● March 21, 2022

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Arts and Entertainment A Roadside View on “Ants From Up There”

Music Lead singer and guitarist of experimental rock band Black Country, New Road (BCNR) Isaac Wood announced his departure from the band on January 31, 2022, citing frequent mental health struggles. His departure resulted in the cancellation of the band’s first tour in the U.S., as well as the announcement that they would not play any music from their first two albums live out of respect for Wood. The news came as a surprise to fans, who had been anticipating the release of BCNR’s latest album, “Ants From Up There,” which came out only four days after Wood’s departure. Wood’s vocals were a vital part of BCNR’s discography, as his shaky, passionate delivery gave the band their unique identity. His performances on “Ants From Up There” retain his signature vocal and musical style, while maturing it from the exploratory nature of the band’s debut, “For the First Time” (2021). “Ants From Up There” is Wood’s swan song, and its sheer quality illustrates the permanent mark Wood will leave upon BCNR, even as they continue to make music after his departure. Wood and the first five members of BCNR first met under the band Nervous Conditions, and would go on to form Black Country, New Road after the band broke up due to one of the members being accused of sexual assault. The band gained its seventh member, Luke Mark, in 2019, and released two singles: “Athens, France” and “Sunglasses.” The band would release their debut album, “For the First Time,” on February 5, 2021, to extreme critical acclaim.

Music By LEVI SIMON “SICK!” by Earl Sweatshirt On “SICK!,” Hip-hop artist Earl Sweatshirt returns without his typical downtrodden, fractured, personal odes to depression and anxiety. Earl and his milieu’s warped sampling and lyrical blend of oblique poetry and blunt confession take a backseat to punchy trap percussion, psychedelic loops, and a newfound optimism. The album’s lead single “2010” sports fluttering, crystalline synths from Black Noise, forming a backdrop for Earl’s loose, relaxed flow and confidence in the face of his adversities: “When the mood change, I’ma poker-face ‘em / It’s a new day, who got all the aces?” He continues his fun on “Titanic” over a wonky, clattering beat, but miraculously finds a pocket amid the clutter and sounds his happiest since Earl’s departure from Odd Future. However, Earl still hasn’t fully strayed from his typical aesthetic. The jazzy, horn-driven “Lye” and wistful “Fire in the Hole” serve as reflections on his career and tribulations with mental health, contextualizing the project’s successes in Earl’s storied past. “Tabula Rasa” features misty pianos and vocal splices from The Alchemist and verses from Brooklyn

Later that year, the band would announce their second album, “Ants From Up There,” and release four singles from it up until its release on February 4, 2022, almost a year after the release of their debut. “Ants From Up There” illus-

First Time” (2021). However, the band doesn’t fully shy away from its experimental rock roots, attempting to break the mold with long, unorthodox ballads such as “Basketball Shoes” and “Bread Song,” which exude the irregular song structure and long, abruptly

trates the musical and lyrical evolution Black Country, New Road underwent in the year since the release of their first album. In their own words, the band “wanted to make a more accessible record,” and this shows as the songs on “Ants From Up There” lean a bit more toward conventional musical tenets as opposed to the more experimental nature of “For the

shifting instrumentals present in “For the First Time”. The album is also more vulnerable and raw in its lyrical composition, shown in songs such as “The Place Where He Inserted the Blade” and “Haldern,” which explore the complex emotions surrounding human connection and social interaction. According to BCNR, the emotional core of the album

Laurina Xie / The Spectator

By LUCA ADEISHVILI

arose from lockdown isolation, dignifying its high quality with the more sincere and meaningful nature of the songs helping to make listeners resonate with the album more. In spite of these changes from their first album, “Ants From Up There” demonstrates a similar caliber of vocal and instrumental quality as its predecessor. The shaking, powerful vocal delivery adds an enchanting rawness and emotional depth to the record. The unconventionally arranged instrumentals transcend it to a higher plane of exceptionality, rife with creativity and extraordinary production quality. The instrumental range is far and wide on “Ants From Up There,” with rock chamber music and jazz mixed in its instrumentation as each song utilizes a variety of instruments from booming saxophones to delicate violin to skimpering piano. The zany time signatures and blended musical nature of the album give the instrumentals a certain flare that is uniquely outstanding and enjoyable. The combination of Wood’s fiery vocals and BCNR’s animated instrumentals shows its quality in highlights such as “Chaos Space Marine” and “The Place Where He Inserted the Blade.” The former is an upbeat and energetic romp dominated by the loud clamor of trumpets and piano as the vocals dance between the flitting chords to create an

elating sonic joyride. On the other hand, “The Place Where He Inserted the Blade” is a bittersweet and intense seven minute long ballad, blaring with brass, strings, percussion, and piano, and aided by angsty vocals. Both tracks demonstrate an essential element of many of BCNR’s compositions and song structure, with them being instrumentally arranged like a written story rather than a conventional song. Each composition starts off instrumentally sparse until reaching a loud, dense, cathartic climax, and then setting the listener back down with a meager motif, which is a classic structure for building drama. Both songs represent the best of BCNR in terms of its musical capability, which again demonstrates the immense, transcendent quality of “Ants From Up There.” With the release of their sophomore album, the remaining six members of BCNR announced that they had already started creating new music after Isaac Wood’s departure, with bassist Tyler Hyde as the new lead vocalist. The synergy Wood showed with his bandmates between his vocals and their instrumentals made his departure from the band far more bittersweet in context. However, the rest of the band’s composition and performance skills should not be understated, as the instrumentals stand masterfully on their own. Despite the trials and tribulations that the band may face in the future without Wood as a lead vocalist, the level of merit and flair on display in “Ants From Up There” shows that there is hope for BCNR as they embark on this new road with Hyde as their lead vocalist.

The Month in Review: A Selection of Album Appraisals duo Armand Hammer. However, it has the inverse issue as the rest of the project: it drags on without variation, while most songs on “SICK!” (2022) end before they are given the chance to develop. Most of the beats and flows remain static throughout. Only three songs pass the two-minute mark, and the whole project finishes in less than half an hour. Brevity is a typical tool for Sweatshirt, but it feels misused on “SICK!”. If “Some Rap Songs” (2018) was much longer, it would’ve been too bleak to handle in one sitting. But “SICK!” doesn’t have one unifying theme to give it the raw power that calls for its short runtime, so it ends up feeling like a throwaway mixtape, especially with its relaxed tone. Still, it is worth checking out for highlights like “2010,” “Fire in the Hole,” and “Titanic.” Despite its shortcomings, “SICK!” is a mustlisten for fans of Earl Sweatshirt. “Marchita” by Silvana Estrada “Marchita” is a record that is unabashedly built on its selfcontradiction. While each instrument of the composition is plainly strummed, plucked, bowed or tapped, Estrada’s vocals bring a distinct dramatic flair to them. The lilting sway of her soft vocals give way to controlled and force-

ful belting with the occasional trail of descending vibrato following a highlight in the lyrics or melody. The string arrangements gently relax each track, following the powerful vocal journey. The beauty of the project is found in the distance between these traits and amplified through the little moments created in their dynamics; the quiet strums are all the more powerful in the context of Estrada’s dramatic singing. Particular highlights in-

Despite the temptations to compare, “Marchita” bears no similarities to any one project. Instead, Silvana Estrada joins the pantheon of excellent chamber folk from the likes of Ichiko Aoba and Sufjan Stevens with her own starry, unique, and beautiful take on the genre. “Time Skiffs” by Animal Collective “Time Skiffs” represents a

Silvana Estrada joins the pantheon of excellent chamber folk from the likes of Ichiko Aoba and Sufjan Stevens with her own starry, unique and beautiful take on the genre. clude “La Corriente” for the combination of horns and Estrada’s crooning, “Sabre Olvidar” for the shifting vocal timbre throughout the chorus that culminates in the fiery bridge, and “Carta” for the way she tones down the vibrato following the chorus for a moment of clarity.

brand-new version of Animal Collective. After two decades of filling the headphones of Pitchfork readers worldwide, they have woven their love of Brian Wilson into gleaming Pop anthems, frenetic folk jams, crunchy glitches, and experimental odysseys. Their newest project “Time Skiffs” is

none of these. It is definitely Pop, with verse-chorus structures and defined melodies, and it’s definitely psychedelic, with swirling swaths of effects and synths—but Avey Tare and friends have done Psychedelic Pop before. The new element of “Time Skiffs” is its profound lack of memorability. On “Dragon Slayer,” the offkilter, cyclic synth lead and distant vocals fuse into nondescript background noise. Lead single “Prester John” is uncharacteristically limp for Animal Collective, featuring plodding pianos and stiff, elementary guitar grooves; at least the glittery synth sequences add some much-needed flavor. The remaining tracks follow in a similar fashion, with a few redeeming traits failing to drag the fundamentally unengaging shell of the rest of the song along with it. The general instrumental and compositional palette could be charitably described as playful, or realistically as thin and gimmicky. The sole highlight of the project is “Cherokee,” mostly because it namedrops Tom Hanks, but also because of its multiphasic structure and semi-catchy vocals. “Time Skiffs” is a tragic misfire, lacking the immediacy and innovation that an admirable addition to the Animal Collective canon requires.

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The Spectator ● March 21, 2022

Humor Fun Column — SING! Themed 1

4 9

16 18

21 24

1) In what year was the idea of SING! conceived for NYC high schools? 2) In which decade did juniors begin their onslaught of SING! Victories?

Have a complaint? Too bad! Oliver Hollmann doesn't care.

Thursday Show

Fun Questions

Hint: Think: S I M P L E. Think: S M A R T.

14 15

Answer on the bottom of the page.

Answers 1) 1947, by music teacher Bella Tillis 2) the 80’s

Guess the Teacher

ACROSS 1. STC Cast’s activity 4. School athletics organization 8. Online journals 10. Musicals have two 11. They usually win at Stuy 13. Organization that produces MMA events 14. Fireman’s tool 15. Bush of 2016 primaries 17. Acronym related to 2 Down

18. Early Harlem Pizzaria 20. Takes longer than a rapid test 22. Finishes 24. Title of this newspaper’s editors 26. Walks away 29. One might wrongly call a group of Orcas 30. Greeting? 31. Come in contact with 32. Quiet region in a storm

DOWN 1. Famed conspiracy theorist, shortly 2. Model U.N. meeting 3. Friday prefix? 4. Might do to an opportunity 5. STEM competition, second word abbr. 6. News channel from HBO’s Succession 7. Early 2000s R&B supergroup 8. African American activist group of Stuy

9. First part of a common trig mnemonic device 12. Alternative to RAM 16. Outlaw 19. Sung poem 21. Firearm 23. _ri_ac_a sauce 25. Prominent financial board member 26. Rotationally symmetric word 27. Not aren’t 28. Apple TV+ sci-fi drama Anjali Karunadasa / The Spectator

Students Review AP Courses on Yelp The following are the most upvoted reviews from the Stuyvesant division of CollegeBoard’s new Yelp review integration. These are the since-purged reviews we’ve managed to dig up. CollegeBoard denies employing any moderators to do this despite the glaring evidence. AP HUG “So useless and random, stuy doesn’t even offer it anymore— even teachers looked back and cringed at the curriculum.” —collegebored1836 “no hugging involved. very misleading. am still lonely.” —xXtouchstarvedXx AP ES “I did not need eight months to learn that humans are bad for the environment. My mom tells me I’m a waste of space every day anyway. 0/10 do not recommend.” —pay4myther@py “why the heck are there like 4895948 different cycles that we need to understand?? why are there 12 billion mining methods and why are none of them named after a minecraft mining method?

I was scammed” —diamondPickaxe23 “Teacher was cool, course was cool, but evidently the planet is not. I have learned that it is, in fact, warming. Thanks APES.” — alittleclueless “free grade didn’t ask didn’t care got a 5 take the L get ratio’d” — trololololol

human abilities in mathematics. They learn slowly, but over time they understand. A medium amount of work can give them a rigorous enough challenge without it seeming like math is impossible. The second group is a mythical tribe, born with an innate gift for calculation and

course. DON’T DO IT. Please.” —BestowingWisdom “crying screaming throwing up AB gives you a bit of a safety net but BC is like numbers on steroids oh god whatdoes it mEAN” —emotionaldamage Joanna Meng / The Spectator

AP EURO “Mr. Hanna is this sweet funky dude who borderline roleplays as European leaders sometimes. I vibe with that.”— tryhardm0ment

later. No memory of the in-between. Other than that, my calculator went through so much abuse. I heard it cry.” —nottheBrightest87 “would give it one star but many good pickup lines came out of this course. hey girl are you a titration lab because it’s very difficult to satisfy your conditions precisely, but when i do it balances out perfectly. ayo baby are you a nucleus to my electron because i orbit you and would release (or was it absorb) energy to get closer to u” —ohsolonely AP ART HISTORY

“enjoying lesson on authoritarian rule, will definitely apply it one day” —DOMINATION101

“they saw how starved humanities kids were for APs and threw us a bone with this one.” —hdxthrow

“mmmmm. white people drama. just like a soap opera if you had to write a document based analysis on the plot. almost took one star off for that part.” —gimmetea123

“A year of looking at art and realizing I could totally do that too. Sobbing in lost opportunity” — Anonymous

AP CALC “i would rank ap calc bc a + c *badum tsss*” —multiplyingurmom “There are two kinds of people. The first group have normal,

proof. They can handle workloads that normal people would otherwise describe as “insane” or “masochistic.” It almost seems like they “enjoy” doing math. If you are in the first group, take AB. If you are in the second, take BC. If you’re not a math person you will absolutely curse the heavens during every waking hour of this

“no” —anonymous AP CHEM “i want death and table e is now traumatizing” —djfekhfuewhifk “Drank the purple juice chemical in the lab, that was fun. Woke up at Brooklyn Tech eight hours

AP WORLD “crying” —procrastinatingrnrnrnrnrn “Jumped from europe to africa to east asia in like a week, dang i just pulled an ariana grande w this curriculum” —oopHistory928 Mr. Mykolyk

By ESHAAL UBAID

The Spectator ● March 21, 2022

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

Will We Ever Graduate? By KAREN CHEN Look. I’m sure that you fellow seniors are getting all excited about finally escaping Stuy. Acceptance letters from a college in hand and graduation caps firmly on our heads, we sit in our plastic seats at Arthur Ashe stadium, boiling in the sun. Principal Yu drones on about our bright futures and contributions to society. Ha. It feels like he’s said these words before. I’m sure that you’re worrying about tripping over your gown while receiving your Stuy DiplomaTM, splitting your dress pants, and accidentally mooning Grandma. Oh, you’re not? Huh. Well, I’m sorry to have to be the one to break it to you, but there is no escape. You see, during the height of the Cold War, American sci-

entists working at the NSA accidentally discovered a new source of energy while manufacturing yet another Umbrella Gun Vr. 3 for Agent 007. By sustaining a mass amalgamation of despair and misery in a concentrated area and converting it into joules through a specially altered bacterial enzyme cultured in used toilet paper, they were able to create enough energy to power New York City for an entire week. Subsequent tests on death row prisoners found that the repeated emotional strain needed to provide a consistent energy stream caused permanent mental damage after just two attempts. By trial three, the subjects had the emotional capacity of my math teacher when I asked him for extra credit. The findings were shelved. But it wasn’t until the 1973

energy crisis that the idea of using human misery as an energy source became adopted for widespread use. OPEC was playing hard to get and the U.S. government was becoming desperate. That’s when a breakthrough discovery was made on the neural plasticity of the human brain, specifically the teenage brain. Apparently, the special cocktail of hormones and unique activation of certain regenerative genes during puberty made it unusually adaptive to extreme stress and more receptive to early forms of memory erasure. I’m sure you know where this is going. Farmer, meet your golden energy-laying goose. High schools around the nation, already places of fomented anger and anguish, were outfitted for the task. Devices containing the altered enzyme were placed

under desks, inside lockers, and on student IDs—come on, did you really think freshman you looked that ugly? The Illuminati edited your photos to make it that way. Self-hatred does wonders for Con Edison’s bottom line. Anyway, the teenagers chosen for the task would undergo a memory wipe every four years and return to the 9th grade to ensure a consistent supply of energy was generated to power the country. Seeing the look on your face, I know you think I’ve finally lost my marbles. Don’t worry, remote learning only made me lose half of them. When I eavesdropped on former Principal Contreras’s Zoom conversation with Principal Yu (don’t ask me why I was there), I couldn’t believe what I heard either. An entire school system created for the sole pur-

pose of extracting emotional energy? What’s next, Talos actually working?! “MUA HAHAHAHA,” Principal Yu cackled. “With Covid and the students stuck at home without any meaningful social interaction for a year, I’ll have enough energy to power my new Tesla for free!” I’m afraid that we don’t have much time left. We stand to line up for our diplomas. Out of the corner of my eye, I see my friend collapse. My sight blurs. There’s a weird sense of deja vu prickling the back of my head. The temperature drops. I’m walking up the Tribeca bridge for the first time, dragging my rolling backpack along with me. My Big Sibs wave me over. I can’t wait to work hard and get accepted into an Ivy League college.

Test Takers MOURN New SHSAT Format By FINN CHAREST

eral resources to be utilized for practice by test-takers, including Disguised Toast’s YouTube video on “Wordle Battle Royale,” Bo Burnham’s song, “Words, Words, Words,” and the famous children’s show

hours of examination) logically follows. In their statement to the public, the DOE outlined sev-

“Sesame Street.” They also listed an email by which they could be contacted in the case of any questions, which has since gone

Nada Hameed / The Spectator

Two weeks before the SHSAT, New York City Department of Education (DOE) officials surprised prospective test-takers by announcing significant changes to the format of the exam. Dozens of students returned home from their 90-minute test prep sessions to find their mothers weeping in the kitchen. Eighth-grade students previously uninterested in the exam have signed up en masse, citing the DOE’s decision as “the best since remote learning.” What changes were made, you ask? Well, you may have heard of Wordle, the daily word game that has taken the world by storm. You may also have heard that, by definition, the SHSAT is a standardized test. And, stick with me here, chances are that you know of the DOE’s infamous penchant for minimiz-

ing their workload. Thus, their decision to replace the SHSAT with sixty “Wordles” to be taken in rapid succession within an hour (they were not able to come up with enough words to maintain the previous three

down due to “unconstructive criticism.” Deputy Chancellor Benson, who was reached at his COVID-getaway in Maui, justified the abrupt decision. “I don’t see why we have to come up with a new test every October,” Benson remarked between sips of his margarita, “when we have months’ worth of perfectly good Wordles. We work hard enough as it is.” We decided to reach out to students to get their take on the shift. Fourteen-year-old Samir Shaw responded to our questions by repeatedly muttering “AROSE… ADIEU… IRATE… OUIJA… CRANE” as he stared blankly into space. Another student, eighthgrader Jake Lane, was unable to stop quoting Big Bird throughout the interview. “A stands for Apple. B stands for Beach. C stands for Curve,” Lane recited. Soon the fateful day arrived, with hundreds of students

congregating at testing sites across the city. Abuzz with tension, children huddled in packs, praying to unnamed Wordle deities for squares of green. Others flipped through Dr. Seuss books at terrifying speeds, hoping to find a hidden gem of a word amongst the two syllable nonsense. Many sobbed uncontrollably. Unfortunately, our reporters were unable to follow into the testing centers, so we can only speculate as to what happened during the assessment. However, after the test, we were able to talk to Amo Gus, a 14-year-old from Brooklyn. “So I made it to Wordle number 47. I was so close. So close,” he uttered before bursting into tears. “But… but, I couldn’t figure out the word. Later I found out it was…” Gus paused to sniffle. “SUSSY. It’s unnatural. No five-letter word should have three S’s.”

Ways to Break the Escalators By VIRGENYA ZHU

1. Tell freshmen they can make up all of their biology quizzes and labs if they collectively go up to the ninth floor right after 10th period. The escalator will break simply under all of the secondhand academic pressure. 2. Release your pet hamster onto the escalator. Not many people know this, but there are actually small pathways in escalators with the perfect proportions for a medium-sized

sitting on the escalator with your eyes closed. Do not open

that might get caught in the machinery, thereby hastening Chuer Zhong / The Spectator

I’m sure everyone has had this thought: the escalators in Stuyvesant just don’t break often enough. They’re running all day, and frankly, that’s a problem. We can’t overwork the escalators! No worries though. Just take matters into your own hands. Here’s a list of ways YOU can break the escalators. Enjoy!

hamster to fit into. Once in there, the hamster can navigate to a big red button that will stop the escalator. This is right next to the big blue button that makes the escalator go 30 times faster, which is next to the big green button that causes the escalator to selfdestruct and destroy anything within a five-mile radius. Fun fact: hamsters are colorblind! 3. Purposely take the stairs. Like you, escalators suffer from imposter syndrome, and they may feel unvalued and will therefore break down because they feel useless.

7. Turn the escalator into an NFT. No one will be able to use it. Be sure nobody screenshots your precious possession. 8. Light it on fire.

4. Feed the escalators your failed tests—escalators thrive on disaster. They know your sins. They relish in your weaknesses. 5. Manifest it. Truly will it to happen with your mind. This works best if you are

6. Confess your love to it. In response, the escalator will immediately stop all operations and go silent. That’s right, you got friendzoned by an escalator. You thought you were the only one incapable of human love? Oh boy… milestone, I guess.

them. Preferably wear something very flowy—something

the process of the escalator breaking.

With these eight easy tricks, anyone can become a supervillain of the student body! We recommend using all of these at once for maximum value and efficiency. And don’t worry, the escalators breaking will not affect anyone’s schedule. Simply wreak havoc and carry on your way.

The Spectator ● March 21, 2022

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Humor Stuyvesant Administration Annexes Brooklyn Tech By MUHIB MUHIB The specialized high school rivalry has just reached a new climax—Stuyvesant has begun to assert its superiority over all of the other specialized high schools, including its chief rival, Brooklyn Technical High School. The Stuyvesant administration has started to treat Brooklyn Tech as a rebellious school firmly under its grasp, as Brooklyn Tech students are now referred to as Stuyvesant students under school policy. Official Brooklyn Tech documents are rejected, and Brooklyn Tech students are detained for truancy within Stuyvesant. Principal Seung Yu declared in a fiery speech that Brooklyn Technical High School was, by history and makeup, an integral part of Stuyvesant High School on the morning of March 1st. “There is no such thing as Brooklyn Technical High School. It is merely an annex of Stuyvesant High School in Brooklyn,” Principal Yu said. “Since our founding in 1904, we have been one Stuyvesant High School. Stuyvesant students moved between our main building in Midtown Manhattan (before

we moved to Battery Park City) and our Brooklyn annex freely for classes (even if it took half an hour to get between the two buildings and still does).” Assistant Principal of Health and P.E. Brian Moran echoed Principal Yu’s sentiment. “We share a common culture, common age groups, and common subway routes. Students in this Brooklyn annex are our fellow Stuy students, and faculty in this Brooklyn annex are our fellow Stuy faculty,” he said. “Brooklyn Tech is a bourgeois concept invented by the Park Slope elite. They are misleading our students and faculty and turning them into radical fanatics.” Brooklyn Tech responded in fury to the Stuyvesant administration’s aggression. Lothaire Florus, a junior at Brooklyn Tech, said, “This is asinine! Brooklyn Technical High School was founded in 1922, one century ago, as an independent and completely distinct entity. We have our own school publications, our own radio network. This is our school! Stuyvesant can’t take our school from us. Stuyvesant has no claim to our school in any manner. They need

to shut up!” Along the same lines, Shamash Aeneas, a sophomore, said, “We can’t just let these Stuyvesant freaks steal our school. They are power-hungry idiots of Tammany Hall, and we are not propped up by the rich Park Slope politicians. They are hypocrites who want power.” Stuyvesant students, on the other hand, enthusiastically supported and promoted the socalled “liberation” of Brooklyn Tech. “We are liberating Brooklyn Tech from the corrupt political machines that are twisting their minds,” Student Union President Shivali Korgaonkar declared. “They are our fellow Stuyvesant students, and the political machines are making them drift away from us into their own separate entities. For example, they have recently begun their own publications separate from ours, including the creation of a newspaper to rival The Spectator!” Melita Arseny, a freshman, expressed her excitement. “I can’t wait to meet my new classmates. We are all Stuyvesant students at heart, and whatever is corrupting them will be removed from their

systems. I hear the freshmen don’t use Facebook as much as the seniors do, just like us!” she said. Brooklyn Tech was soon forcibly annexed by Stuyvesant on March 3, 2022. Surrounded by thousands of National Guard troops, Yu and Korgaonkar moved to free the school from its Park Slope occupiers. Brooklyn Tech students and faculty began a massive resistance against the National Guard troops, throwing anything they could find at them along with sabotaging the electrical and plumbing systems within Brooklyn Tech to make the building a logistical nightmare to capture. However, the Brooklyn Tech students were significantly outnumbered and were forced to surrender the school to Stuyvesant. Despite Stuyvesant’s victory, a number of Brooklyn Tech students launched a resistance movement against their newfound occupiers. “We will never surrender! Brooklyn Tech is our school,” Nada Kayin, a senior rebel, stated. “If Stuyvesant wants our building, they will have to fight to take it from us. We will make it difficult, if not impossible, for them to hold our school.”

In the end, the resistance fighters were forced out by graduation and Brooklyn Tech became the Brooklyn Annex of Stuyvesant. The next generation of Stuyvesant Tech students were open and glad to be controlled by Stuyvesant’s administration, even if it meant the end of Brooklyn Tech’s identity. Brooklyn Tech was no more, and the age of Stuyvesant “Brooklyn Tech High School” High School had begun. After the successful conquest of Brooklyn Tech, Yu looked for more schools to conquer. The Bronx High School of Science looked to be a promising target as one of the three elite schools that remained as competition to Stuyvesant, along with Staten Island Technical High School. After that, Stuyvesant would easily sweep the remaining specialized high schools. Afterward, Stuyvesant would annex the feeder schools, such as Mark Twain Intermediate School and Christa McAuliffe Intermediate School, to fully control the supply chain of elite students. The sun has not yet set on the Stuyvesant empire, and it never will.

Which Bubble Tea Are You Based on the APs You Take? By KRISTA PROTEASA

AP Computer Science Matcha with grass jelly. I have nothing against this class, but y’all have a certain energy. Matcha is necessary for you to stay focused and keep track of all your brackets (I’d rather not discuss my handwritten Intro to CS tests sophomore year—yeah, I don’t know how I got four extra parentheses either), and the grass jelly perfectly represents how much I know about computer science. I don’t know what grass jelly is made of, and I don’t know how to open a new tab, let alone code a whole program, so I find this fitting. Of course, you all are getting light ice because you think you can cheat the system to get a higher drink to cup ratio… Go back to Minecraft if you want to use some cheats because this is not the place for them. AP Art History Lavender with popping bubbles. I’ve come to romanticize art history, so if you have no positive sentiments regarding this class, look away. To me, this class has the same energy you feel when roaming a museum alone in a pair of comfortable, yet assertive, shoes. You float

AP Biology The following statements only apply to the freshmen taking this course. Milk black tea with bubbles; this is the absolute baseline order, as this is usually what every overachieving freshman takes when they first pop into Stuy (as a recovering overachieving freshman, I can concur). Nothing crazy is going on here since you probably already took Living Environment, so, you know, you already know basic biology. However, for a first-timer, this is absolutely revolutionary. The bubbles are confusing, the milk is contrasting, yet the tea is notable—it might even be overwhelming for some. Like, you may think you know what cellular respiration is, but I dare you to recite all the steps of the Krebs cycle and the exact byproducts right now. Exactly. Chances are, you can’t. Yet as you age in your wisdom, there’s truly nothing out of the ordinary here, so everything calms down as you embrace the basic energy. AP Chemistry Durian with rainbow jelly. The following statements only apply to the juniors taking this. My absolute favorite. I loved this class, and I love this order. bUt kRiStA, dUrIaN sUcKs! Okay, then don’t get this drink… An absolutely polarizing class, I dub this. Fifty percent of the people in this class are there out of the expectation to take 30 AP courses, and the other 50 percent are there because they thought this

was going to be just like the fun time they had in sophomore year chemistry. While both the class and the drink were a little jarring at first, both grew on me fairly quickly. Rainbow jelly is nostalgic to me, and durian is just a nice flavor—all the haters have

I have to, much like this class. I thought it would be a spirited experience, but I left feeling like no one in our government had any redeeming qualities. It took me a few months to reverse being an existential critic simply by not being exposed to heavy de-

too much time on their hands to say it smells like farts. The durian settles after a bit while the rainbow jelly keeps you excited because duh, the pretty colors are great; the class did the same thing to me. Constantly excited (sometimes negatively, but we don’t talk about that), yet somehow always subtly present. This doesn’t make sense if you don’t know how durian affects those who enjoy it, so carry on if you don’t get what I just said.

bates on Coolidge’s uselessness or similar topics. Not a good look for me, I must say. Overall, 3/10—I would not take it again if given the chance.

Lillian Zou / The Spectator

It’s probably been a minute since your ego took a hit in either direction, unless you’ve had a test recently. Listen, I’m not doubting your abilities, but every class I take is a whole new can of worms, so if you feel this way too, I send you an imaginary hug. The AP classes you choose to take say a lot about you, and, as a second term senior, I’ve seen it all. Every person is easily categorizable, so I’ve taken the liberty to categorize people who choose to take certain AP classes as bubble teas. If you get all up in arms because you’re taking multiple AP classes and are a multi-faceted human being, take it up with anyone but me. Enjoy the experience!

from exhibit to exhibit almost weightlessly, searching for the painting of your life, hence the lavender. This one extravagant painting you see in some obscure room that you spent three hours wandering to come across was so worth it, hence the popping bubbles. While you may be uncomfortable with its taste at first, you’ll grow accustomed to the pop and learn to enjoy it. All in all, 9/10—y’all are doing great.

AP US History Winter melon with nata jelly. I tried to force myself to enjoy winter melon, but now I can proudly say I don’t. I get bored after four sips, and nata jelly is like an amorphous form of a piña colada. Listen, I like pineapple OR coconut, but not both. Pineapple is meant to be tangy and uplifting while coconut is meant to soothe the soul. Having the two of them together confuses me even to this day. Look, while I despise the basics of this drink, I’ll ingest it if

AP Calculus BC Thai tea with coffee jelly. I may only be in AP Calc AB, but I’ve been watching the BC kids from a rather close distance. For the most part, I see constant sleep deprivation and confusion comparable to dolphins swimming in shark-infested waters. Therefore, I’ve done you all a favor and given you the strongest caffeinated beverage I know. Much like the class, don’t let the innocent name of the drink fool you. Thai tea takes your nerves to a whole new level. It’s a gradual wake up call; one time I drank Thai tea at 8 p.m. and could not sleep until 4 a.m. the following morning. Thank the heavens I did that on a weekend, but I’ve learned my lesson. The BC kids are eons ahead of anything I could have ever conceived to exist in any sort of math, much

like the sheer strength of Thai tea and coffee jelly. I feel for you if you’ve walked into either the class or gotten the beverage with low expectations and got pummeled under both of their impacts. AP Environmental Science Rose oolong with pudding. Right off the bat, you can picture how this is such an aesthetically pleasing drink. Much like AP Art History, I’ve romanticized APES to a certain extent. Imagine walking into a room of unsuspecting individuals and reciting every fact you know about the composition of dirt. Dirt facts seem useless at first, but I’d assume they could be fun things to know. I like roses, I like oolong, and I like pudding. While they’re not my favorites, they’re fine. Kids who take APES are equally fine. A good number of my friends took APES, and obviously I have nothing negative to say about them. An 8/10, so keep it up. AP Spanish (Language and Culture) Taro with red bean. Now here’s where half of you yell at me again. Taro is not a bad flavor, and red beans are great. No, it doesn’t taste like wood; leave me alone. I can understand hatred toward durians, but taro and red beans are just too tame to hate. Much like the class, taro and red beans are great. The class turned into a fun period of me expanding my linguistic horizons, much like how this drink expanded my beverage horizons. I initially ordered my first taro milk tea on a whim and I do not regret it. Overall, I enjoy both the class and the drink, so 10/10. And there you have it, folks. My cards are all laid out on the table; take them as you will. Anyway, I dare you to try the drink I’ve generously labeled you as. Tell me what you think about it (or not)—it really doesn’t matter to me. Toodles!

The Spectator ● March 21, 2022

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Sports Sports Editorial

How the Sports World Has Responded to the Russo-Ukrainian War continued from page 36

Professionals (ATP) initially had a more hesitant response to the conflict, even after a recommendation from the IOC that there should be no participation of Russian and Belarusian athletes and officials under their flags. However, Ukrainian tennis player Elina Svitolina declared on Twitter on February 28 that she would refuse to play her first-round match in the Monterrey Open, or matches against Russian and Belarusian athletes, until tennis organizations followed

the IOC’s recommendation. The ATP made a statement on March 1 allowing athletes from Russia and Belarus to compete without the names or flags of their respective countries. Boxing Throughout their entire lives, Ukrainian world champions Oleksandr Usyk and Vasyl Lomachenko have laced up 8 oz. gloves and flaunted flashy boxing trunks as they prepared for combat in the ring. Now, they handle militarygrade weapons and suit up in army uniforms to fight on treacherous battle grounds. Since Russia’s inva-

sion of Ukraine on February 24, Usyk and Lomachenko, along with legendary heavyweight champions Vitali Klitschko and Wladimir Klitschko, have taken up arms and joined their fellow countrymen in battle. When Usyk, who was initially scheduled to defend his heavyweight title against Britain’s Anthony Joshua (and earn a multimillion dollar paycheck while doing so), was asked why he signed up for the war, he responded, “It is my duty to fight, to defend my home, my family.” Lomachenko, three-weight world champion and long-time friend of Usyk, expressed similar

sentiments, stressing his desire for peace and understandably putting aside boxing for the more important cause. “I really don’t know when I’m going to be stepping back in the ring. My country and my honor are more important to me than a championship belt,” Usyk said in an interview with CNN. The decision made by Usyk, Lomachenko, the Klitschko brothers, and many other Ukrainian boxers to desert their careers and join the efforts to defend their home country are truly commendable. They are champions of their country, willing to put their lives on the line and stand up for their

people. In times of discord and dissension, it is critical for members of the sports community to stand together and express solidarity with Ukraine. Many sporting entities, athletes, and fans have already used their platforms to speak out against the actions of Putin, yet more should be done on behalf of the sports world. While sports should be the last thing on everyone’s minds, by being united against the actions of Russia, the global sports community can bring greater attention to the issue and stand in unanimity for the people of Ukraine.

Sports Editorial

Johan Cruyff: The Dutch Extraordinaire

By SOHAM MUKHERJEE Excitement buzzed among the eager crowd as the referee blew his whistle, commencing the long-awaited 1974 FIFA World Cup Finals match between two football giants: Johan Cruyff ’s Netherlands and Franz Beckenbauer’s West Germany. The Dutch started off with possession, circulating the ball throughout the field while carefully probing the Germans’ rigid defensive formation in search of any weaknesses. The clock had just passed the one-minute mark when Cruyff dropped all the way back to his center backs to collect the ball and released his team in a unique move where all of his teammates attacked together, leaving Cruyff to be the last man back. The Dutch advanced up the pitch but were stopped by West Germany’s solid defense. The ball was passed backward to Cruyff as the rest of the team fell back into shape, and he rapidly dribbled up the field on a solo run, breaking through the German defense line and penetrating into the box. A poor sliding challenge led to a penalty opportunity, which was averted successfully by midfielder Johan Neeskens. In the first two minutes of the Finals match, Netherlands had secured an early lead through a flawless blitz attack, all thanks to their unique playing style which had dominated the tournament thus far. Cruyff, born in Amsterdam on April 25, 1947, grew up only five minutes away from Ajax’s stadium, home to the most successful club that plays in the Eredivisie, the Netherlands’s top professional soccer league. Soccer was an integral part of the young Dutchman’s life as he joined Ajax’s youth system,

widely considered to be one of the best in the world, at the age of 10. His father sadly passed away due to heart complications when Cryuff was only 12, but he continued pursuing his passion for soccer, quickly climbing through the ranks at Ajax and training in a special playing style called Total Football. Total Football, initially invented by Dutch coach Rinus Michels, is a unique system emphasizing versatility. In this system, each player tries out all of the different positions on the field until settling into the one that suits them best, creating a balanced and wellrounded team. All of Ajax’s youth teams played in the same 3-4-3 formation that the senior team did, so their early training ensured that the eventual transition between levels would go smoothly. Cruyff ’s overall talent and special affinity for the Total Football style was evident, and he made his senior debut for Ajax in 1964. Over the course of the next 20 years, Cruyff would impress the world with his imaginative playmaking, incredible understanding of the game, and superb skill with the ball. Cruyff helped his team win the 1965-66 league championship, ending the season with an impressive 25 goals in 23 games. He continued his magic by leading Ajax to two more consecutive league titles in 196667 and 1967-68. Ajax’s domination throughout the years that followed can be credited to the Total Football playing style, which was such an unconventional system that no club was prepared to face at the time. Cryuff established his team as a true powerhouse in world soccer by helping them win multiple consecutive European Cups and league titles during his successful 16 year tenure there, which ultimately came to an

end when he left for FC Barcelona in mid-1973. After arriving at his new team in 1974, Cruyff was made captain of the club and soon led them to win a Spanish League championship as well as a Copa Del Rey. Cruyff certainly made a name for himself, and his talent did not go unnoticed, especially by his fans. He earned the nickname “The Flying Dutchman” in honor of his agile, swift movement on the pitch. When Cruyff dribbled the ball, it seemed like he was almost gliding across the pitch, and some even described him to be “flying.” The Dutchman’s creativity bloomed when he had the ball, and he is credited with inventing a new skill move called The Cruyff Turn, a 180 degree spin that involves gracefully guiding the ball with the inside of your feet. His prominence as a creative playmaker made him crucial to his team’s attacks and positional play. The Netherlands national squad called up the Dutchman for the 1968 Euro, where he debuted in a qualifying match against Hungary and scored a 2-2 draw. Cruyff coined the number 14 jersey for Holland, the same number he wore for Ajax. Over time, he began to take leadership in the Dutch squad and was a big proponent of the Total Football playing style. By the 1974 World Cup, the team had become masters of Total Football and dominated the competition with their unorthodox and innovative playing style. The players on the team were so well-synced with each other that the Netherlands were nicknamed “The Clockwork Orange.” Under Cruyff ’s captaincy, the Dutch made it all the way to the finals, knocking out Argentina (4-0), East Germany (2-0), and Brazil (20) along the way. Despite taking an

early lead against West Germany in the final, the Dutch ultimately lost the game 2-1 after an incredible German comeback. Nevertheless, that World Cup truly showcased the potential and dominance of Total Football. Later, Cruyff was asked to return for the 1978 World Cup, but he refused to play after a kidnapping attempt targeting him and his family in their Barcelona home. After retiring from his professional playing career in 1984, Cruyff returned to the soccer world as Ajax’s manager in 1985. He continued to coach the Dutch side under the Total Football playing style for the next couple of years, leading his team to consecutive victories in the 1985-86 and 1986-87 KNVB Cups. It was at this time that Cruyff began to experiment with his preferred formation. His ideal backline included three mobile defenders supported by an extra player responsible for covering space, who would essentially become a defensive midfielder. The midfield was made up of two central midfielders who could control the tempo of the game and feed the two wide midfielders to create attacking threats down the wings. The team was spearheaded by two players, an innovative second striker and one flexible center forward. The Dutchman coached in this method extensively during his time at Ajax and in the Netherlands before returning to coach Barcelona for the 1988-89 season. When Cryuff took over the reins for the Spanish club, the team was in a heavy crisis and deep in debt, but their new coach knew just how to turn it all around. By bringing in players such as Pep Guardiola, Ronald Koeman, and Albert Ferrer, Cruyff added to an already solidified defense and mid-

field, and also boosted the lackluster attacking force with talents such as Romario and Michael Laudrup. He introduced Ajax’s Total Football playing style to his new team and created a Barca-Ajax school of football. Barcelona’s new passing-oriented play under Cruyff was nicknamed “Tiki-Taka.” Under the Dutchman’s management, the revitalized squad played in his favorite 3-4-3 system, a deviated form of the standard Barca 4-3-3 lineup. Barcelona won four straight La Liga titles, two European Cups, and two Champions Leagues under Cruyff ’s management. With 11 trophies in total, he became the second most successful Barca coach in history, and his infamous squad earned the nickname “The Dream Team.” Cruyff ’s undeniable talent and remarkable accomplishments will forever be remembered, and his impact on soccer can be seen long after his retirement in 1996. His prominence under Total Football has set an example for many modern teams including Ajax, whose consistent performances in the Eredivisie can be credited to their continued play using this system. In addition, Cruyff ’s introduction of the TikiTaka playing style has become an iconic part of FC Barcelona’s history. Barca’s dominance during the 2008-2020 era can be attributed to their consistent passing and explosive attacking under this style. Even to this day, Barca continues to operate with this system and has become an established and unique team thanks to Cruyff ’s guidance many decades ago. The Dutch legend’s legacy as a player and coach has shaped modern day soccer into what we know today.

March Sports Calendar Monday

Tuesday 21

Wednesday 22

Boys’ Varsity Handball Girls’ Varsity Softball vs. vs. Bronx HS of Science East Harlem Pride Bronx HS Science: HB 4:30 p.m.

Randall’s Island Field 35 4:00 p.m.

Boys’ Varsity Baseball vs. West 50th Street Campus Pier 40 4:00 p.m.

Thursday 23

Boys’ Varsity Lacrosse vs. Eagle Academy For Young Men II Boys & Girls HS Field 4:00 p.m.

Friday 24

Girls’ Varsity Handball vs. HS Environmental Studies Home 4:30 p.m.

Girls’ Varsity Lacrosse vs. John Dewey High School Randall’s Island Field 91 4:00 p.m.

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The Spectator ● March 21, 2022

Sports Super Bowl LVI

The Rams’ Hollywood Ending Forget the “City of Angels,” because Los Angeles is once again the “City of Champions” after the Los Angeles Rams edged out the Cincinnati Bengals in a thrilling 23-20 victory in Super Bowl LVI. The Rams’ victory has been years in the making and is a testament to their aggressive, all-in approach as they built a star-studded roster. It’s the same strategy that had earned the Tampa Bay Buccaneers a championship the year prior when they acquired veterans like Tom Brady, Rob Gronkowski, Antonio Brown, and Leonard Fournette. The Rams began to cash in beginning in 2019, when they traded away their first round pick to the Jacksonville Jaguars and secured cornerback Jalen Ramsey. Since then, they have exhausted their salary cap and traded away even more draft picks, favoring older, more established players. They traded away quarterback Jared Goff to the Detroit Lions in exchange for Matthew Stafford. They also added eight-time ProBowl Denver Broncos star Von Miller to their already deadly defensive line and Odell Beckham Jr. to their developing offense. In doing so, they emphasized one point: it was championship or bust. After a dominant 12-5 season to top the NFC West, the Rams marched into the playoffs with great confidence. They dominated the Arizona Cardinals in the Wild Card round, upset the defending Super Bowl champi-

ons, the Tampa Bay Buccaneers, in the divisional round, and rallied back from a 10-point deficit to overthrow the San Francisco 49ers in the NFC Conference Championships. Their valiant effort throughout the playoff stage earned them a spot in Super Bowl LVI against the notorious Cincinnati Bengals. The Bengals, one of the only teams in the NFL to have never won a super bowl, boasted a stellar season of their own as a result of a few key moves. Back in 2019, they had replaced then head coach Marvin Lewis with Zac Taylor, who spruced up the coaching staff with Brian Callahan as the offensive coordinator and Lou Anarumo as the defensive coordinator. Fast forward to the 2020 NFL Draft and the Bengals had acquired LSU quarterback Joe Burrow with their No. 1 overall pick. They also acquired wideout Tee Higgins, linebacker Logan Wilson, safety Vonn Bell and later on, in the 2021 NFL draft, receiver Ja’Marr Chase. Their new acquisitions proved effective as they climbed their way to the top of the AFC North in the Sin Liu / The Sp ectator

By SATHIRTHA MONDAL

2021 season. They knocked out the Raiders in the Wild Card round. The Bengals then ended their 33-year Conference Championship drought by upsetting the number one seed, the Tennessee Titans. To top it off, they secured their third-ever Super Bowl appearance with their most improbable victory of all in a late comeback against the Kansas City Chiefs. In the opening minutes of the Super Bowl, the Rams found themselves in a favorable field position with an early fourth down stop. They scored the opening goal with a 50-yard drive and touchdown pass from quarterback Matthew Stafford to receiver Odell Beckham Jr. Bengals quarterback Joe Burrow soon responded with a 46-yard pass to receiver Ja’Marr Chase, though they settled for a field goal. After another touchdown from Stafford, this time to receiver Cooper Kupp, the Rams sat comfortably with a 13-3 lead—but perhaps they played too comfortably. The Bengals provided an immediate response with a six-yard trick play

touchdown from running back Joe Mixon to wide-open receiver Tee Higgins. Immediately, things took a turn for the worse for Los Angeles. Beckham suffered a knee injury which cost him the remainder of the game. Five plays later, Stafford threw an interception in the end zone, though the Bengals were unable to capitalize on the ensuing drive. The half closed out with the Rams leading 13-10. After a legendary halftime show starring hip-hop royalty Dr. Dre, Eminem, Kendrick Lamar, Mary J. Blige, and Snoop Dogg, Cincinnati took control in the third quarter. With a 75-yard touchdown from Burrow to Higgins, the Bengals took a 17-13 lead within seconds. The play raised some attention due to an evident facemask foul that was not called, allowing the play to stand. Stafford threw yet another interception that led to a Bengals field goal, extending their lead to seven points. However, when the Rams needed it most, their defensive line finally stepped up. After only one sack on Burrow in the first half, the Rams defense amassed six more in the second half. For the last 25 minutes of the game, they denied the Bengals any points, forcing consecutive punts and regaining possession. With a field goal from kicker Matt Gay to finish the third quarter and a last-minute touchdown from Stafford to Kupp, the Rams reclaimed the lead. With one minute and twentyfive seconds remaining in the game, two timeouts, and 75 yards

to travel to tie or win the game, the football fell into Burrow’s hands. However, with a final stop on fourth-and-1 by defensive tackle Aaron Donald, the Rams secured their second-ever Super Bowl win. The win was momentous, marking the first Super Bowl victory for several players on the roster, including Odell Beckham Jr., Aaron Donald, Cooper Kupp, and Matthew Stafford. With eight catches, 92 yards, and two touchdowns, Kupp was honorably named Super Bowl MVP. The title capped perhaps the greatest season for a wide receiver: Kupp finished with 145 caught passes, 1947 yards, and 16 touchdowns. The anchor of the Rams’ defense, the legendary Aaron Donald, secured his first ring, achieving the sole milestone missing from his career. Donald already boasts one of the most decorated careers in the NFL with a record three Defensive Player of the Year Awards, eight Pro Bowl selections, and seven first-team All-Pro honors. The Rams look to repeat as champions but will have to be innovative due to their limited salary cap and draft picks. Regardless, they are doing everything in their power to keep the core of their roster together, with a focus on Von Miller, Odell Beckham Jr., and Aaron Donald. But for now, the Rams don’t need to stress about a Super Bowl sequel. After their strategic gamble paid off, it’s safe to say that they pose a threat to the league in the seasons ahead.

Girls’ Basketball

The Phoenix Close A Memorable Season By JOHN JAY WANG and KHUSH WADHWA

After a devastating loss to the Frederick Douglass Lady Lions on Thursday evening, the Stuyvesant girls’ varsity basketball team, the Phoenix, were eliminated from the playoffs, concluding their season. However, this single loss certainly doesn’t tell the complete story of their 2021-2022 season. Led by Coach Vincent Miller and senior captains Paige Wolfing and Alison Chan, the Phoenix entered their first season since 2019-2020, as the 2020-2021 season was not played due to COVID. Their goals as a team this season were clear: “We just wanted to get stronger together, […] put everything out there, work hard every practice, [and] show up with a good attitude,” said Chan. COVID took away an entire season from basketball and continued to impact this year’s season as well. The New York City Public Schools Athletic League (PSAL) released guidelines on winter sports requiring vaccination and face coverings during games. Even with these guidelines in place, most teams tended not to comply with them, as student-athletes across the city ditched the mask in gameplay. However, the Phoenix used the mandate to their advantage. “What I’ve noticed is that our team is practically the only one that always wears masks […] I think it made our conditioning a lot better,” Wolfing said. Unfortunately, the masks and vaccination mandates were not enough to stop COVID from impacting their season. The Phoenix started off strong in December, amassing seven wins in their first eight games. Right as they were on a roll, players started to miss games due to COVID. “Half of our team was out for COVID at

the same time in the middle of the season, and we played a couple of games where a bunch of us were missing,” Chan recalled. Games were played with missing players, and some were not played at all. The season would have a total of five canceled games, which greatly affected the final standings in the division. The girls persevered through the unusual season and forged a connection both on and off the court. “We’re like a big family as well as a team, so I think that translates onto the court as well, because we understand each other and because we spend so much time with each other,” Chan said. The team’s chemistry was indeed evident. Finishing strong on a two-game winning streak, the Phoenix Zifei Zhao / The Spectator produced another statistically sound season, finishing tied for second in the Manhattan A South Division with a 12-4 record. Facing the 18th-seeded Scholars Academy Seawolves in the first round of the playoffs, the Phoenix, the 15th seed, knew that it would

not be an easy game. Wolfing said, “We came out there knowing that we had to prove ourselves to take the win.” In the first quarter of the game, the Phoenix put forward one of

their best performances in any game, outscoring the Seawolves by 12 points. Though the Seawolves would tighten this differential in the second, third and fourth quarters, their efforts came too late. The Phoenix escaped with a 58-44 victory, prompting a journey into the

next round of the playoffs at Frederick Douglass Academy. This win was one of the biggest moments for the team this season. The bench and crowd were spirited throughout the game. The high margin of victory combined with a great perfor mance on all facets of the team greatly boosted overall confidence moving into the next round, according to Chan. Unfortunately, their next opponents were the highly decorated Lady Lions, who had finished their regular season undefeated. Standing tall with 16 wins and another in their first playoff game where they defeated the Wingate Educational Campus by 48 points, the stage was set for what would prove to be the most challenging game of the Phoenix season. The Phoenix certainly knew the level of talent that their opponent possessed and had expectations going into the game. They would find this matchup in East Harlem to be the last of the season. The fullcourt press defense sent out from

the start by the Lady Lions was one that would prove difficult to break throughout the game. Though they carried the energy, grit, and determination from their previous match into this one, the Phoenix were defeated 71-25 and saw their exit from the playoff bracket. After the conclusion of the game, the team met in a small classroom and let their emotions pour forth. “I think what I’ll remember the most is just how much love all of us have for each other. It’s such a tight-knit group, and it’s like a bond I don’t think you can find [in] many places,” said Chan. Part of this family-like community was provided by Coach Miller, who managed to run a dynamic team despite COVID-related challenges. His poise and civil behavior set a key example for the team. Always putting the team over the results of the games, he gained tremendous respect from his players. The excitement that he garners in practices and games is a prime reason why the Phoenix players have been so exuberant throughout the season. Both co-captains also expressed the amount of faith they have in the future of this team. In particular, junior Samantha Furman saw her points per game rise to 13 this year. The scoring that she provides, connected to junior Marion Rambler’s stellar 8.43 rebounds per game, show that the team’s rising seniors are a force to be reckoned with. Their game plan looks as if it will remain unchanged heading into the 2022-2023 season. The talent possessed by the Stuyvesant Phoenix balanced with their excellent work ethic should provide for more deep playoff runs in future seasons. Watch out for the Phoenix next season, because they’re going to be back and better than ever!

The Spectator ● March 21, 2022

Page 35

Sports Athlete of the Issue

Rookie Wrestler Dominates The Mat cific workouts, exercises, etc.)? During wrestling season, I trained every day with my team. Outside of practices, I did a lot of calisthenics and weights, including pull-ups, box jumps, shoulder press, bulgarian split squats, and

By YASHNA PATEL Name: Sean Ging Grade: Senior Height: 6’2” Hair Color: Black Eye Color: Brown Date of Birth: January 19, 2004

and warm-ups has helped me push my limits. 5. What is one of the biggest obstacles you have faced while doing wrestling? During the beginning of the

2. What inspired you to join the wrestling team here at Stuyvesant? I wanted to join a team with a sense of community that would drive me to improve every day as an athlete, competitor, and person. The people, leadership, and culture wrestling has is awesome and makes each practice so much better to be at. Also, as a rugby player I wanted to join a sport where I could become stronger before my next rugby season, and I felt wrestling was perfect. 3. Do you have a most memorable/proud moment with the Stuyvesant wrestling team? I was most proud of my team when we placed 2nd during the Springfield High School tournament. Many of the new wrestlers on the team beat more experienced competition and showed massive improvement. I remember one of our freshmen, Jeffrey Huang, dominated his first match, and I was really happy for him.

Jingwei Liu / The Spectator

1. When and how did you get into wrestling? How long have you been on the Spartans, the Stuyvesant wrestling team? I started wrestling this year, but I still wish to have joined sooner, during sophomore or junior year! So many of my friends were on the wrestling team, so that definitely encouraged me to join.

4. What is your strategy for constantly improving yourself (spe-

core work. I believe that consistent growth comes with consistent work and discipline, so I trained every day. I also try to get eight to nine hours of sleep every day and eat the same meals every day, be it omelets, chicken, or fish with vegetables. Nearing the end of the wrestling season, I began to add in sprints and more explosive work in preparation for my next rugby season. Adding in more stretching

season, I dealt with an ankle injury I sustained while playing rugby. Everyday I would tape my ankle and put on an ankle brace during practice, and then ice my ankle and work on range-of-motion exercises after practice. It forced me to be disciplined when pushing past the discomfort while also avoiding further injury. Also, balancing athletics with schoolwork was another obstacle I

faced, especially during the end of the first semester with college applications. Wrestling, however, was a great outlet for my stress during the day, and forced me to be more diligent with my time. 6. How do you think the Stuyvesant wrestling team has changed you as a wrestler/person? Stuyvesant Wrestling certainly made me a better athlete, person, and leader. I’ve been blessed to train with great wrestlers like Ryan Poon, Justin Kim, Saif El Mosalami, and Daniel Abramov. Every Spartan is so passionate about getting better at wrestling and helping others get better. This year especially we cultivated a winning culture and I’m certain our underclassmen will continue adding to it. Wrestling also humbles me, as you have to train hard everyday and push through losing matches, making mistakes on the mat, and having bad days. Each match is up to you to win, and you have to face your self-doubts and make the most of your skills. It’s sometimes discouraging to lose, but it’s also refreshing when you come out victorious and place first in a tournament after attacking your weaknesses day in and day out. 7. Do you have any plans to continue the sport in the future, in college, etc.? I may join a wrestling club during college, or use my wrestling skills to train Brazilian Jiu-Jitsu. I definitely plan to stay active in college. 9. Do you have any pre-meet superstition or ritual? Before every meet or tournament I would warm up with Daniel Abramov. I did drills but also looked for moves I could use to face him as preparation for the other strong heavyweights I would

likely be facing. I also always make time for a good stretch so I stay loose on the mat. If I’m stressed the day before a tournament I’ll listen to an interview with Dan Gable, the greatest wrestler ever, and get into his mindset. 10. What is your favorite match that you have been in? My first match on December 9 at Martin Luther King High School comes to mind. I was so nervous beforehand and had watched my team come back to tie the number of team points at the dual meet. As I walked onto the mat, I cleared my mind and my doubt faded. I remember being down in points and on the ground for most of the match. Hearing my teammates chanting and telling me to get up motivated me while I was down. Once I escaped from the bottom position, everything clicked for me and I gave a smile to my opponent. I remember the feeling of adrenaline after pinning him in that match, and I knew then and there wrestling was for me. Funniest Teammate? All of them are so funny, so how could I choose? Kai Gangi, Tenzin Monlam, Anvar Kadirbekov, Trystan Woutersz, and Azamat Kutlukov come to mind. Favorite Wrestler? Gable Stevenson and Dan Gable Pre Game Snack/Drink? Oranges and apples Favorite Class: AP Calculus BC with Mr. Cocoros Hobbies Beside Sports: Reading books, hanging out with friends, going on walks, exploring the city Favorite Movie(s) or Show(s): Central Intelligence, Curb Your Enthusiasm Favorite Book(s): The Brothers Karamazov by Fyodor Dostoevsky, Ecclesiastes, and About Face by Colonel David Hackworth

Winter Olympics

Olympic Breakdown

By MAYA BROSNICK For any newcomers to the sport, the figure skating section of the Olympics was completely overshadowed by Russian 15-year-old Kamila Valieva’s positive drug test. The implications of this are wide-reaching and bring up a lot of questions: How would a minor be held responsible? Would the adults in her camp be punished? Would she be allowed to compete? Before the world learned of her positive drug test, Valieva skated on behalf of the Russian Olympic Committee (ROC) in the team event, and led them to first place while becoming the first woman to land a quad in the Olympics. Audiences learned a few days later, however, that the medal ceremony would be postponed because of a positive drug test by someone on the ROC team, who was left unnamed for legal reasons. As Valieva was the only minor on the team, fans quickly deduced to whom the test belonged, and it was confirmed a day later. The men’s individual and pairs competitions came first, leaving people plenty of time to speculate over what would happen with Valieva. Eventually, an emergency panel from the Court of Arbitration for Sport made their decision: Valieva would be permitted to compete. The panel’s decision was mostly based on the fact that the positive test happened in December and she had tested negative twice in the time since then, and that as a minor she might be reprimanded instead of

suspended. The panel ruled that not allowing her to compete would risk “irreparable harm” if it was found that she had not cheated. Despite the ruling, people on social media condemned Valieva for using performance-enhanc- i n g drugs. After all, Valieva was competing for the ROC instead of Russia, as Russia was banned from competing in the Olympics after officials ran a state-sponsored doping program in the 2014 Olympics. Many fans believe that Russia did not receive a harsh enough punishment, and all of that resentment found a target in Kamila Valieva. Even with the pressure, Valieva remained mostly steady in the short program. Though her or performance was less than pectat perfect with a fall, Va- The S lieva finished the en / h first part of the ina C r b competition Sa in first place, just u n d e r t w o points ahead o f fellow R u s sian Anna Scherbakova and three ahead of Kaori Sakamoto of Japan. Prior to the start of the wom-

en’s individual event, a spokesperson announced that if Kamila Valieva placed, the medal ceremony would be suspended until a ruling was made on Valieva’s case. That announcement placed even more pressure on Valieva, who would skate last in the free program. Before her came a

strong performance by Russian Alexandra

Tr usova, whose technically incredible five quads, though weak in artistry, put

her in first place. After came Sakamoto, whose artistically beautiful program and strong triple axel put her in second place, and after her, Scherbakova, whose two quads in an all but perfect performance rocketed her into first place. Then came the moment that everyone had been waiting for: Valieva’s free skate. As the music began to play, everyone’s feelings about her competing came to a head. Despite her young age, a positive test meant that she should be removed from the competition, a fact that people all over the world had been discussing on social media. The pressure placed on Valieva’s shoul-

ders w a s enormous, and indeed, she caved under it. Over the course of her program, Valieva fell twice and landed mess-

ily several times, though the artistry and sheer technical difficulty were enough to earn Valieva fourth place. After Valieva’s score was announced, her coach Eteri Tutberidze berated her for not fighting through the performance even as Valieva broke down crying. Similarly, 17-year-old Trusova cried to a second coach about the unfairness of her second place finish—she had executed five quads, what more could she do? As all three Russian women shared the same coaching pair, Anna Scherbakova, who had just won the Olympics, stood alone, looking lost and clutching a stuffed animal. The only one who seemed even remotely happy was bronze medalist Kaori Sakamoto, who cried tears of joy. Eventually, the three medalists made their way onto the ice for a ceremony that no one had been sure would happen. By that point, Valieva had gone backstage, Trusova had wiped away her tears, and Sherbakova had found a smile, but no one watching could forget the uncomfortable reminder that these skaters were teenagers. Not allowing Valieva to compete might have risked irreparable harm, but allowing her participation might have done so anyway. At the end of the day, Valieva is 15 years old, and Trusova and Scherbakova are only two years older. Allowing teens to participate in a competition under a cloud of potentially state-sponsored drug use is irresponsible both to them and the sport, and is something that cannot continue.

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The Spectator ● March 21, 2022

THE SPECTATOR SPORTS

Girls’ Table Tennis

Girls’ Table Tennis Sees Smashing Success Undefeated city champions. The Peglegs, Stuyvesant’s girls’ table tennis team, had a historic year. The team had completely dominated the regular season, entering the league playoffs as the number one seed. In the competition, the Peglegs went on to win every game 5-0 other than the semi-final round, which they won 4-1. Led by the co-captains senior Sabrina Chen and junior Larissa Yue, the 2021-22 PSAL champions controlled every single game, match, and set. From the onset of the season, the Peglegs had one goal in mind: a championship banner. Starting in November, coach Emilio Nieves held practices in the cafeteria a few days a week after school in preparation for the Peglegs’ first game against Seward Park High School on November 30. Despite the players’ heavy academic and extracurricular workload, they were dedicated to their goal and expressed full commitment to the team. They put in the work, noticing improvement and enjoying themselves throughout the journey. “The team did a great job of focusing, not on the goal, but on the process of achieving that goal such as practicing hard, dedicating themselves to improving, and enjoying the journey socially together. So not only was it a lot of work, but it was also a lot of fun,” Coach Nieves said in an e-mail interview. And as it turns out, practice indeed makes perfect. In their opening game of

the season, the Peglegs blew away their competition 5-0, with five perfect 3-0 matches. Table tennis games consist of

of the season followed in an undefeated fashion: the team was 55-0 in matches through the regular season and a smashing 165-5

final against Brooklyn Technical High School was the only game in which the Peglegs lost a match, in their second doubles match.

five matches: three singles matches and two doubles. Every match is an opportunity for a point, for a total of five possible points. The matches are best-of-five sets, and in each set, the first player/duo to reach 11 rally points wins. Thus, the Peglegs’ success was no small feat. A perfect game is made up of 15 unanswered set wins, as seen in the team’s season opener. It’s no surprise that the rest

in sets. “I don’t think any team has been that dominant since table tennis became a PSAL sport about ten years ago,” said Coach Nieves. Finding no competition in their division, the Peglegs entered the playoffs with their eyes on the prize. After the first round, Stuyvesant swiftly knocked out their opponents in round two and in the quarterfinals. The following semi-

However, the team pulled through to win mostly unfazed, proven by their convincing 5-0 victory in the final championship round against the Bronx Science Wolverines. “Brooklyn Tech and Bronx Science definitely were tough opponents, but we ultimately managed to win without too much trouble,” captain Yue said. One of the Peglegs’ greatest strengths that helped them de-

Courtesy of Nika Raiffe

By AVA QUARLES

molish their competition was their depth as a team. Captains Yue and Chen played second singles and second doubles, respectively. The team’s newest addition, freshman Alyssa Kang, played first singles and commanded this season. An experienced table tennis player, Kang has played competitively since the age of eight and was a forceful leader for the Peglegs. She not only led the team to several victories but also saw her own success as she went on to win the Girls Table Tennis Individual Championship. Beyond that, senior Stella Wang and junior Judy Chen took second place in the Individual Doubles Championship. In addition, the team’s secondary players were able to step up when necessary in division games, even defeating eventual playoff teams. Each and every one of the girls was devoted to the team, willing to put in the effort that was required to secure that banner. Captain Chen said, “I saw how everyone stayed after, even when they weren’t required to.” This 16-woman roster was solid from starters to reserves, which is a reason for their league domination. Success doesn’t stop here for the reigning champions. Seeing their one-goal method come to fruition means they’ll be back again next year. Coach Nieves said, “If we approach next season the same way we approached this season, there should be another championship banner hanging at the bridge entrance of Stuyvesant.”

Sports Editorial

How the Sports World Has Responded to the Russo-Ukrainian War By TAEE CHI and SHAFIUL HAQUE Devastating news struck the globe on February 24, 2022 as Russia began its invasion of Ukraine under the pretense of a “special military operation.” As Russia continues to close down on Ukraine, many nations around the world have issued economic sanctions against Russia and cut diplomatic ties with Russian president Vladimir Putin. Though the political and economic importance of the conflict overshadows many of its other aspects, there have been notable repercussions in the sports world as well. Here are some of the most prominent consequences of the Russo-Ukrainian War in sports. FIFA Russia has had a global presence in the soccer scene since the Soviet Union’s induction as a member of the Fédération Internationale de Football Association (FIFA) in 1946. The country recently hosted the 2018 World Cup, with their national team reaching the quarterfinals of the tournament. However, in light of the Russian invasion of Ukraine, FIFA has made the decision to suspend Russia from international competition. Fans were surprised at this decision, as there have been circumstances in which FIFA did not enforce punishment toward the national teams for the actions of the nation’s government. So far, the public has largely supported the decision. The Polish FA has announced that they refuse to play in a FIFA World

Cup qualifying match against Russia. However, some fans believe that FIFA should draw a line between how they deal with the country and how they deal with the athletes. Currently, players in the Ukrainian Premier League are unable to transfer to another club because it is the middle of the season. “We have to give an opportunity to players from Ukraine and foreign players from Russia to continue their careers,” a spokesperson representing the Polish FA said. “FIFA needs to make some amendments to the regulations to help them.” As a result, FIFA held a meeting with the European Club Association regarding the matter and later finalized their decision to allow players and coaches to temporarily suspend their contracts with Russian and Ukrainian clubs and sign for new teams. Chelsea F.C. Roman Abramovich has been the owner of Chelsea Football Club since 2003. The Russian oligarch began massive developments to the club, helping to bring in top-notch players from across the globe. As such, his current ownership has conflicted with his close personal relationship to Putin. Abramovich transferred the proprietary rights of the club over to the Chelsea Charitable Foundation on February 26, possibly to distance Chelsea from the sanctions levied against him by the British government. A few days later, he released an official statement declaring that he was selling Chelsea F.C., detailing his decision to act in the best interests of the club.

However, the UK announced its decision to freeze the assets of Abramovich, which includes Chelsea, on March 9. As such, the proposed sale of Chelsea has been put on hold, as both executive members of the club and Abramovich work to figure out a solution. Following the reporting of these issues, Chelsea’s sponsor Three suspended its sponsorship of the club, and Abramovich was issued a travel ban in the UK. Chelsea made yet another statement on the matter: “We will also be seeking guidance from the UK Government on the impact of these measures on the Chelsea Foundation and its important work in our communities.” IOC Adhering to their mission of using sports as a vehicle to foster peaceful relations between nations, the International Olympic Committee (IOC) issued a resolution on February 28 prohibiting the participation of athletes under the name of Russia or Belarus and urging other sports bodies to exclude the country’s athletes and officials from international events. Though the IOC was hesitant to punish athletes for the decisions of their country’s government, they decided that the impact of the war on Ukrainian athletes and other global sporting affairs outweighs the damage done to Russian athletes. This action was not a complete blanket ban by the IOC. Athletes from Russia and Belarus are allowed to participate in sporting events as long as they identify as neutral competitors with no national flag, anthem, or symbols. The committee admires and sup-

ports calls for peace by Russian athletes and remains in full solidarity with the Ukrainian people. “Give peace a chance,” the IOC President said. FIBA The Fédération Internationale de Basketball Amateur (FIBA) announced their decision on March 1 to suspend all Russian teams, players, and officials from international basketball competitions until further notice, in response to the Russo-Ukrainian conflict. In their official statement, they expressed their concerns with the events in Ukraine and stated, “FIBA strongly condemns violence and hopes peace will urgently prevail.” Their verdict comes as a huge detriment to the Russian men’s national team, who were the leaders of Group

H of the European qualifying region prior to their disqualification. FIBA stands alongside FIFA and the IOC, as all three organizations have moved to completely eliminate Russian participation in their sporting events. Where the situation goes from here is yet to be determined, but the actions taken by FIFA, FIBA, and the IOC are exemplary of the hard line stance most sporting bodies will likely take as they attempt to force a stop to the acts of war being witnessed in Ukraine. ATP Compared to other sports organizations such as FIFA and FIBA, the Association of Tennis continued on page 33

SPORTSBEAT After 99 days, the MLB lockout ended as the MLBPA and owners came to a new collective bargaining agreement. Russell Wilson, five-time Pro Bowl quarterback, was traded to the Denver Broncos for Drew Lock and two first-round picks. Russian and Belarusian athletes have been prohibited from competing in several international events including the Paralympics and the FIFA World Cup after the invasion of Ukraine. The Stuyvesant Lemurs won the Boys Gymnastics PSAL Championships. Atlanta Falcons receiver Calvin Ridley is suspended for the entirety of the 2022 season for betting on NFL games.

Volume 112 Issue 12

Articles inside

SING! Features

Senior SING

Soph-Frosh SING

SING! Humor

Junior SING