The Spectator The Stuyvesant High School Newspaper
Volume CIII No. 14
• The Stuyvesant Physics Bowl Team’s Division Two team placed first at this year’s national competition. The Division One team received second place among the specialized high school teams. Two Stuyvesant students also won the sixth and eighth spot in individual scoring. • The Math Team’s Senior division finished in tenth place among 233 competing teams at the Purple Comet Math Meet. The Junior division and the Sophomore/ Freshman division tied for 13th place nationally, placing the teams as the top three from New York State. • Biology teacher and Research Coordinator Jonathan Gastel visited the Irwin Zahn Center at City College’s Grove School of Engineering along with several students from research classes. Video Production teacher Elka Gould and several of her students interviewed Irwin Zahn (‘44), who has supported many programs for high school and college students in the field of engineering.
Ambiguity in Graduation Requirements Persists By LINDSAY BU On the first day of each semester, students are given schedules with cryptic numbers and letters that indicate specific classes. While some of these classes are electives the students choose, others, such as 5Techs and 10Techs, are required for graduation. When phase two of online programming for the fall 2013 semester began on Tuesday, May 7, however, the distinction between electives and required classes, among other issues, also became cryptic. Principal Jie Zhang and SU President Adam Lieber sent an e-mail to the student body asking them to complete a survey on graduation requirements on Sunday, May 20. Students were to select one of the three provided options pertaining to the computer science, technical drawing, and 5Tech classes that would be taken over three terms spanning sophomore and junior year. 5Techs include electives such as Interior Design, Architecture, and Video Production. The survey advised students to choose “the option that seems the most helpful and enriching
academically, also considering which would provide [them] with the most important ‘real world’ knowledge and skills.” The first option offered one term of computer science covering NetLogo and Scheme, one term of technical drawing, and one term of 5Tech. The second option offered one term of computer science covering NetLogo and Scheme, one term covering Python, and one term of technical drawing with 5Tech classes available as electives. The final option offered one term of computer science covering Netlogo and Scheme, one term covering Python, and one term of 5Tech, with technical drawing categorized as a 5Tech. While the survey allowed for student input, it also became a source of added confusion regarding changing graduation requirements. This ambiguity follows specific alterations already made last year. For the past ten years, Stuyvesant has required students to take one term of Introductory Computer Science, continued on page 3
Jay Gatsby’s Twenties Parties Roar to Life By NINA WADE To watch “The Great Gatsby” is to be engulfed in a spectacle of the 1920s as dizzying as one of Gatsby’s legendary parties. The music is pulsing, the colors high-contrast, and the pace ricochets from snappily quick to forebodingly calm. With a deft directorial eye, Baz Luhrmann infuses F. Scott Fitzgerald’s classic Jazz Age tale with his characteristic hypersaturated vision, adding to it a truly gifted cast that offers the substance to back up the flash. For all its modern spins— 3D, a soundtrack produced by Jay-Z—“The Great Gatsby” stays (surprisingly, given all its flair) true to Fitzgerald’s words. In fact, many images described in the text, such as the winking green light on Daisy’s dock or the floating blue eyes of Dr. T.J. Eckleburg, are made even more beautiful with the help of phantasmagorical video editing. The only truly new addition is a framing device, which places protagonist Nick Carraway in a sanitarium, and turns the “Gatsby” story into his manuscript. It’s one of the film’s weaker points, and often seems
forced. But when the film adheres to the novel, it’s magical. The magic stems largely from Luhrmann’s approach, which can be seen in his other movies such as “Romeo + Juliet” (1996) and “Moulin Rouge!” (2001). He amps up the highest highs and the lowest lows, turning drama into melodrama and color into vibrancy. It’s stylized to the extreme: words float off the screen as they’re read aloud, settings and scenery are just this side of over-extravagant, images overlap and interweave (literally and metaphorically). In one standout scene of a drunken party in New York City, jazz wafts in through an open window, illustrated by exaggerated music notes, and as Nick watches, the windows grow and surround him with snapshots of everybody’s suffocatingly close lives. Even Gatsby’s alreadyorgiastic parties are magnified, with champagne bottles spewing confetti, scantily-clad flappers in runway-ready attire, and thousands of party-goers. Tobey Maguire as Nick is pure, understated genius. He seems to understand the complicated essence of Nick—he’s an outsider. Even when he’s on
the inside, one of a handful to have ever met Gatsby, he’s forever looking in, forever watching from the outside. Maguire acts as if he’s unsure of his standing, and Nick isn’t. Still, he’s quietly the most relatable of them all. We don’t understand the minds of Daisy and Tom Buchanan and their moneyed, carefree lives, or Jay Gatsby’s society page fame, but we understand Nick, who finds himself at the middle of their complex threads, not quite willing to leave. Maguire portrays this carefully, keeping his eyes wide but his attitude subtle, not overblown. In the otherwise-flawed sanitarium device, Maguire is nearly flawless. His hands shake, his voice cracks—truly a broken-down shell of a man. Jay Gatsby is inscrutable, but that’s exactly why Leonardo DiCaprio works; we never discover just what makes him tick, but we’re not meant to. DiCaprio affects a strange, New York-slash-old money accent— it feels out of place, but that’s the point. He’s not old money, and he’s not a New Yorker; everything he is, is a disguise. continued on page 23
stuyspectator.com
Student Elections Postponed
Philip Shin / The Spectator
Newsbeat
May 29, 2013
“The Pulse of the Student Body”
Junior Keshara Senanayake leaves the SU office, disappointed about his disqualification from the election.
By Alexandrina Danilov, Stanca Iacob, Elena Milin, and Jamie Wu A series of miscommunications and administrative arbitrations has led to the indefinite postponement of Stuyvesant’s Junior and Senior Caucus and Student Union (SU) elections. The candidates received an e-mail from the Stuyvesant Board of Elections (BOE) informing them that campaigning had been cancelled by Coordinator of Student Affairs Lisa Weinwurm on Tuesday, April 16, the night before the campaign was originally scheduled to start. No reason was given for the delay. Later, on Sunday, April 21, the candidates received a second
e-mail informing them of the administration’s decision to postpone the elections indefinitely. According to SU Vice President and prospective candidate for senior class president Tahia Islam, the initial postponement was a result of miscommunication between the BOE and Weinwurm, the faculty liaison with the SU. “The Board of Elections was working on a completely different schedule than the one Weinwurm was considering, even though they were supposed to be in contact with her,” Islam said. “[The BOE] released a date that Weinwurm was not okay with.” continued on page 3
Uncertainty of Regents Grading Schedule Ensues By REBECCA CHANG The New York State Regents exams, administered in June of each year, are known to help Stuyvesant students boost their transcripts, replacing in-class finals in many subjects. This year, however, the New York State Education Department (NYSED) is implementing a new policy that may change the fate of students’ grades. The NYSED has decided that instead of having teach-
ers grade their own students’ tests, the tests will be graded by teachers from other schools in several central locations, including Stuyvesant. At these sites, two models will be used this year to grade the exams. One is the traditional paper method, in which two teachers grade the openresponse questions for consistency and the multiple-choice are scanned by machines. continued on page 3
Inside: The Spectator’s endorsements for the upcoming student elections see pages 11-13