Vertigo magazine wins national REALM award pg. 2 Federal education cuts threaten ethnic studies programs pg. 5
Crossing into the lives of Lynbrook’s crossing guards pg. 12
Superheroes go past the pages and into history pg. 13
Wrestling team perseveres back at the mat pg. 16
BY ALEX COTTEREL AND ALEXANDRA WU
t’s not that deep.” What counts as “not that deep?” While not everything needs to be taken seriously, Generation Z’s widespread reluctance to engage beyond the surface level is prevalent and exhibited in popular phrases and memes that belittle critical thought, presenting serious topics as unworthy of attention. This mindset serves as a shield to avoid uncomfortable conversations that ask us to refect, critique or analyze our status quo.
BY ANUSHKA DESHMUKH AND ETHAN WONG
rom the Star-Spangled Banner at American football games to the red, white and blue decorations at election rallies, Americana has long been a symbol of pride and cultural identity. The aesthetics of American culture were once a way to express freedom, but have become increasingly tied to conservative values, making patriotism, an American value, into a partisan issue. This ties one’s patriotism to their political views which is harmful to the diversity of perspectives that was once valued.
Americana is a complex concept that encompasses the aesthetic of the history and culture of the United States and is used as a tool to promote unity within the American people. By associating Americana’s symbols with politics, it becomes a competition in which political parties can portray themselves as the most patriotic.
Story continued on page 7.
Welcome to the Epic’s Issue 6, featuring our second centerspread of the school year: arts and culture. Flip to pages 7 to 10 and immerse yourself in the relationship between arts and culture and their impact on society. Scan the QR code on page nine to view our multimedia package on lhsepic.com.
Outside of our centerspread, celebrate Vertigo’s recent achievement in News; learn about the Epic’s opinion on classroom discussions about ethnic identity; meet the crossing guards who help us safely get to school in Features; dive into the pages of your favorite comic book superheroes in In-Depth and explore the wrestling team’s success this season in Sports. Remember to check out our web-exclusive stories, this issue featuring reviews of Lady Gaga and LISA’s latest albums.
Lastly, thank you to all who applied to be part of our 2025-26 school year staff.
Enjoy,
Ashley Huang
&
Alyssa Wang Editors-In-Chief
BY ROHAN KAKHANDIKI
The Fremont Union High School Foundation celebrated its 40th anniversary through its annual Spring for Education fundraiser on March 21. Held at the Quinlan Community Center in Cupertino, all donations from the fundraiser went directly toward FUHSD schools. An online auction from Feb. 8 to March 21 sold items like gift cards and vacation tickets. The event also honored former FUHSF board member Hung Wei, who served from 2004 to 2023, as well as Principal Maria Jackson and Homestead High School music teacher John Burn, both of whom are retiring this year.
On Feb. 25, the Franklin-McKinley School District board in East San José voted to close three of its 16 schools by next school year due to budget defcits, funding issues and declining enrollment, including the loss of nearly 40% of their students in the last 14 years. Los Arboles Literacy & Technology Academy, McKinley Elementary School and Ramblewood Elementary School will all shut down after the 3-2 vote. Other schools in the district such as Lairon College Preparatory Academy and Shirakawa Sr. Elementary School will be adjusted to serve K-8.
Aseries of deadly wildfres have spread through Oklahoma in recent days. More than 400 homes have been destroyed since the fres began on March 14, with at least four people confrmed dead as of March 19 from causes ranging from fres to high winds and low visibility. More than 130 fres were fought across 44 counties. While the fre continues, there is a signifcant risk of critical weather conditions in southeastern New Mexico and the Texas Panhandle, as winds in the area have been moving at 50 to 70 miles per hour. Citizens have been advised to evacuate, with Gov. Kevin Stitt declaring a state of emergency in 12 counties.
Syrian government forces clashed with loyalists of former President Bashar Assad on March 6. Nearly 200 people were killed in a massive ambush on the coastal region of Latakia, one of Assad’s former strongholds, marking the worst violence Syria has seen since Assad’s government was overthrown in 2024. Since then, fghting in the country has continued, causing the deaths of around 1,000 people. Former Assad security offcer Miqdad Fatiha is thought to be the leader of the new movement. The threat of the Assad regime’s reinstatement has frightened the country, with President Ahmed Al-Sharaa vowing to bring the Assad forces to justice.
BY BRIAN LEE
Over its 18-year history and 41 online issues, Vertigo Literary Magazine club has garnered a long and rich history as Lynbrook’s only offcial literary magazine. Vertigo has previously been nationally recognized for its work, receiving awards such as All American Honors from the National Scholastic Press Association and advancing to Pacemaker Finalists. On Feb. 7, the club received yet another national award: Recognizing Excellence in Art and Literary Magazines award presented by the National Council of Teachers of English.
“We were all pretty surprised, but also really excited because it’s a national award,” senior and Vertigo
genre editor Aanya Mishra said. Annually, the REALM program offers a few hundred awards to high school magazines across the United States. Magazines complete an application and are assigned a point value in each of the fve categories — literary quality, variation in genre and voice, as well as artistic quality and variation of artistic genre and voice — totaling up to a maximum of 100 points. Different awards are then presented based on cutoffs in the point system. Of the different awards, the frst-class award is the most prestigious; this year, Vertigo was among a select few that received this honor.
“I really wanted REALM to recognize Vertigo because our magazine has been outstanding for many years. It’s also really important that Vertigo members feel recognized for their work so that they are encouraged to further engage with what they love to do.
Bethanie Lee Senior and Vertigo coeditor-in-chief
that we didn’t receive any information until February,” Lee said.
Vertigo releases a total of fve online issues each school year, with the spring issue also appearing in print. Each cycle, writers, artists and editors collaborate closely to provide critical feedback. While print issues feature artwork complementing the stories, online issues present independent artistic creations aligned with each issue’s unique theme.
“Though an award isn’t the motivation behind our creative art, by any means, I believe it’s important that our members receive the recognition they deserve,” Lee said. “That’s what Emily and I were aiming for.”
As Vertigo’s editors-in-chief, Lee and senior Emily Pedroza adjusted into their positions in spring 2024 preparing for the 2024-25 school year, making early plans to apply for the REALM award.
The application process involved the two submitting the link to their website along with the name of their high school, editors-in-chief and adviser. Indesign fles of their pages were also sent to be judged alongside the rest of the magazine.
“We submitted the application over the summer, and so I was pretty nervous
But winning the award didn’t just level the club’s prestige — it also affrms the club’s effort and goals.
“The recognition of our work means a lot to us because it validates the vision we have for Vertigo, which is a free, endless space where writers and artists can share their ideas and push their creative boundaries. In the future, I’d really love Vertigo to take on new risks, apply for more awards and see what else is out there.
Aanya Mishra Senior and Vertigo genre editor
“
BY ANNA CEN
On March 7, sophomores across Lynbrook, Cupertino High School, Fremont High School and Homestead High School gathered at the SAP Center to skate, socialize and more at FUHSD’s frst-ever intradistrict social.
With about 175 sophomores in attendance, this social marks the frst gathering across multiple FUHSD schools for a completely student-run event. It featured two hours of ice skating, allowing students to spend time with their own friends and meet others from across the district.
Plans took over four months to fnalize. Class of 2027 president Arnav Kodavati spearheaded the event, frst pitching the idea to fellow FUHSD class offcers, then to each school’s administration.
Though the concept of an intradistrict social has come up in the past, it has never offcially happened. Inspired to push the norm and
bring together students from across the district at a fun, large-scale event, Kodavati and other FUHSD Class of 2027 offcers began planning the event in November.
“We wanted to bring together students from all across the district to create something truly unique,” Kodavati said. “Since our classes on their own are small, class events in general aren’t too big, so why not bring together multiple classes to make a really big event?”
Traditionally, class socials are not intradistrict. However, the Class of 2027 offcers from all four participating schools worked together to organize the social behind the scenes. Kodavati estimates that he spent over 40 hours in total planning, with other offcers putting in 10 hours each.
“Everyone was really passionate about this
project,” Kodavati said. “They all wanted to help. It’s really nice to be working with a lot of passionate individuals, and I think we made a lot of new friends as well.”
Due to issues with student safety, liability and fnding a venue, the offcers often turned to backup plans and new solutions. The district was initially reluctant to approve the idea, as intradistrict events are usually reserved for large schoolwide activities like rallies. However, after working closely with the administrations of all four schools, Kodavati and the other class offcers made the frst intradistrict social a reality.
“Whenever the team was presented with something that wasn’t working or a concern that administration had, they found a way to make it work,” Lynbrook Assistant Principal Tara Grande said. “They were really persistent and really wanted to make the social happen and were willing to do whatever we needed to do to make sure that all the kids were safe.”
The community response was largely positive, with students regarding the new event as exciting and enjoyable.
“I would rate the social ten out of ten,” Fremont sophomore Vivian Chang said. “It was really fun, and I liked meeting other people and skating with my friends.”
Despite the long and elaborate road to its launch, the event’s overall success has led students and teachers to anticipate more intradistrict class socials.
“I saw a lot of people at the event talking to students from other schools,” Class of 2027 treasurer Erin Chen said. “We got to know people that we really wouldn’t encounter normally. The social really brought people together.”
FUHSD Earth Day, March 24
Join the FUHSD Climate Collective in spreading awareness about climate issues and solutions at the Computer History Museum from 4 to 8 p.m. With 70 student projects, speakers and performances, learn how you can take action for the environment.
Mock Trial Auditions, March 25
Lynbrook’s Mock Trial team is holding auditions for new members. Whether you see yourself as a skilled attorney or a convincing witness, now’s your chance to step into the courtroom.
April Fools Day, April 1
Watch your back, Vikings! Pranks, jokes and surprises are in the air!
Lynbrook IDC Exchange, April 4 Lynbrook Vikings will invite students to experience a day in the life of a Lynbrook student. Have fun making new friends from acrosss FUHSD!
Spring Break, April 14-18
Spring Musical, April 24-25
“Fiddler on the Roof” is in full swing and looking for extra singers and dancers to bring the show to life. If you’re interested, see Larry Wenner in Studio 74.
Photo and reporting by Saavan Saraf
BY SAAVAN SARAF
Lynbrook will participate in the Program for International Student Assessment, a test that measures the academic performance of 15-yearolds, on April 28. Forty sophomores will be randomly selected to take a 3-hour exam that assesses them in math, science and reading.
This year, PISA, which takes place every three years, will be conducted at Lynbrook for the frst time. The program compares the results from over 81 participating nations to recognize gaps in the education systems and establish international standards. For example, countries like Japan and Germany have revamped their curricula
to focus more on math and science after scoring low in these subjects on PISA. At the same time, PISA encouraged the United States to focus on early STEM education after assessment data revealed gaps in test scores between socioeconomic groups in 2009.
“International comparisons are used to rank countries and jolt some energy into countries that might not rank highly,” said José Eos Trinidad, assistant professor of education policy at the University of California, Berkeley, in an email. “They give a good benchmark of how each one is doing.”
While PISA’s results may infuence national education plans, they will likely have minimal effect on Lynbrook. The test data may encourage federal governments to reform nationwide educational policies like teacher training and resource allocation, but individual school curricula are decided at a state or district level to cater to the school’s specifc needs.
“The state is the one who provides Common Core standards and what to teach,” Principal Maria Jackson said.
“PISA is more of an international study.
I don’t expect to get anything back from them about how to change our curriculum.”
PISA is administered by the Organisation for Economic Cooperation and Development, a global organization that was founded in 1961 to “build stronger, cleaner and fairer societies.” While the test was originally canceled for 2025 after PISA informed Lynbrook administrators that it would be discontinued due to a lack of federal funding, they reaffrmed the program afterward.
The initial decision to shut down PISA could signal many more cuts to come to U.S. education. The current administration plans to slash over $1 trillion in government spending by the end of 2025, including the Department of Education. President Donald Trump has also introduced plans to defund over $450 million in university grants. Over 1,300 employees from the DOE have already resigned or been laid off, many of them part of data collection agencies with similar functions to PISA.
“Losing research data could mean we are unable to know how students are faring across states and how to best support students with varying levels of disadvantage,” Trinidad said.
Despite early uncertainty, over 6,000 students in the U.S. will take PISA this year. Students will receive $25 along with four volunteer hours with the DOE for participating. In addition, because PISA data has recognized inequities in education systems in the past, many believe its continuation in the U.S. to be essential.
“I think PISA extends beyond Lynbrook,” junior Rohan Chaudhary said. “Districts are able to compare themselves to other districts to know what they are doing wrong, and it’ll help students who already don’t have access to a great education.”
“It’s a big con job,” President Donald Trump said during a press release with FOX News. The “con job” in question refers to the Department of Education, a government entity responsible for providing student loans and ensuring public school compliance with federal regulations. His words refect a deliberate effort to mislead the public into believing that race-based education and the Education Department are indoctrinating children. In reality, it is necessary to have more courses that encourage critical thinking around issues like race, an opportunity students often take for granted in FUHSD.
In his latest push to dismantle the Education Department, Trump has ordered his administration to make deep budget cuts, resulting in the layoff of half their workforce. Although many conservative administrations in the past have advocated to shut down the organization, none have taken such a drastic step. A specifc course that may be hurt by this move is Ethnic Studies — a current graduation requirement in California for the Class of 2030 — which teaches students different cultures and histories of marginalized communities.
“The Department of Education having a high chance of being dismantled trickles down to the state level,” FUHSD Board President Naomi Nakano-Matsumoto said. “My colleagues who work on committees at the state level are saying that ethnic studies, even though it’s a mandate, may not become a requirement because it’s not funded.”
Trump argues that education should be handled at the state and school board level, blaming the Education Department for “racially-indoctrinating” the youth by shaping the curriculum of race-related courses such as Ethnic Studies. He states that the Education Department is indoctrinating children without parental oversight and creating an “echo chamber” of students being coerced to accept these ideologies without question.
The truth is, the Education Department has no say in what is taught in classrooms, as those processes are up to the states and local school districts. What it does is oversee student loan programs, enforce federal protections for marginalized students and provide funding for courses like Ethnic Studies.
The aggression toward courses like Ethnic Studies refects a broader effort to control the way history and race are discussed in the classroom. Under the guise of fghting indoctrination, Trump’s administration attempts to erase
uncomfortable truths in American history.
Discussions of systemic racism and lived experiences are labeled as divisive, ignoring the fact that Ethnic Studies encourages critical thinking instead of singular viewpoints.
“The job of a teacher is not to teach you what to think, but how to think. If you’re teaching a course like Ethnic Studies, it has to come from a place of objectivity and different points of view, not broad, sweeping statements of ‘this is right, this is wrong.’
Luca Signore Social studies teacher
“Originally used as an academic framework in higher education to explain how systemic racism is integrated in legal and social structures, critical race theory has been improperly characterized as a radical ideology. By making the course seem like a threat, the far-right is trying to justify banning discussions of race in K-12 education. Dismantling the Education Department is a step in that plan, a refection of an ideological battle they have chosen to prioritize over educational integrity.
“A lot of topics are more nuanced, meaning they have to be observed from a variety of different points of view,” Signore said. “That’s what makes ethnic studies such a controversial subject. Given the fact that we’re talking about real people, real events, it shouldn’t turn
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about global issues,” said Ricky Aguirre, University of California, Berkeley History-Social Science Project Academic Coordinator. “If we don’t have these conversations, then how are we going to move forward?”
Without controlled spaces to discuss controversial subjects such as race and cultural identity, teachers lose the ability to guide students into becoming objective thinkers. This fexibility is limited in other history classes, making Ethnic Studies a unique opportunity for students to discuss a diverse combination of cultures.
“[The course] gives space to traditionally underrepresented people,” Assistant Principal David Erwin said. “It’s important to go back to where they come from, ethnically and religiously, and give voice to people that maybe don’t have that voice.”
into just a pontifcation of ‘this is the way you should see it’. That’s not what education should be.”
Using the argument of keeping critical race theory out of schools misunderstands both the Education Department and the Ethnic Studies course itself. Ethnic Studies is a space for students to “examine the complexities of identity — their own and others’ — to develop awareness of personal and community connections to local and global histories and to foster empathy.” It is the only course on campus where students have the opportunity to explore their own historical backgrounds in a fexible curriculum adjusted to student identities.
“There’s a lot of acceptance,” junior Alessandra Wong said. “In the Ethnic Studies classroom, it’s cool to be from different backgrounds. My culture feels like something that I can be proud of, and that’s encouraged for me to talk about.”
The current coursework of Ethnic Studies in FUHSD is largely up to the teachers, who agree to administer similar tests and projects, with daily lesson plans depending on teaching style and the student pool in each class. Depending on the ethnic background of the students, the curriculum could focus more on specifc cultural histories as a way to be more engaging. During class, students are able to have a safe space to talk about topics important to them. With no guidelines on what issues can be talked about, students may be exposed to controversial ideas, which can be seen by some as dangerous. With district training, teachers make a conscious effort to provide information that’s both factual and unbiased.
“We need to have conversations
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Discussion on international historical conficts is also a highlight of the course. While proposed bills have threatened the openness of the Ethnic Studies curriculum, the discussions prevail as a critical component of the course to encourage empathy in students. Ethnic Studies teachers serve as mediators, stepping in when the conversations stray from peaceful and academic. Then, educators ask students to refect before jumping back into the discussion.
“Part of that refection piece at the end is to think about, ‘if my position prevailed, what are other people gonna have to give up?’” Aguirre said.
As the Education Department remains under threat by the Trump Administration, these spaces for open discussion are at risk, making Ethnic Studies all the more important.
“Teaching critical thinking isn’t easy, but students will have to learn how to face tough societal questions, and they should do so in a structured classroom environment rather than through social media echo chambers,” FUHSD Board Trustee Danny Choi said.
Ethnic Studies is a critical space for students to discuss their identities safely and with guidance. While the fate of Ethnic Studies remains a tumultuous battle, students should continue to sign up for the course to broaden their worldview and dive deeper into their own ethnicities. Moreover, students should attend board meetings where this course is discussed to show support. To encourage open communication, it is important for students to stay informed, even if it means learning about uncomfortable news.
the Epic staff voted 36-0 in favor of this stance with 3 abstaining.
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BY ERIN FITZPATRICK
Logging into “Brawl Stars,” you quickly head over to the app’s shop, thrilled to buy a pack of 950 gems to unlock a new legendary brawler. Levels, gadgets and hypercharges are now immediately accessible, thanks to the convenience of online payments. Another loot box releases, then another one and then another. Soon enough, you have spent more money than you had planned. Many video games, once a tool for storytelling and skill development, have started to shift their main focuses toward monetization. This new trend in development not only affects the gaming experience but also exacerbates unhealthy spending habits.
One of the key psychological principles at work is called instant gratifcation, where people favor immediate rewards instead of those that require waiting. According to Science Direct, “The hedonic content provided by ingame purchases, along with social factors and the desire for performance enhancement, signifcantly increase impulse buying behavior among players.”
The biggest contributor to this shift in focus is microtransactions. Many new mobile games require students to make continuous in-game purchases to unlock new skins, improve abilities and collect purposeful items. These seemingly insignifcant purchases are framed as necessary in order to unlock exclusive content. According to Sensor Tower, mobile games accumulated over $76.7 billion in total in 2023, with a signifcant portion coming from in-game purchases. This specifc model of gaming
ensures that players will expend money on the game for far longer than a traditional buy-once method.
“In Fortnite, I purchased a bundle of new skins and axes, but one month later, they released the same items in slightly different colors, making the purchase pointless,” senior Chilugen Gan said. “Since then, I’ve chosen not to spend money on games anymore.”
This reliance upon microtransactions for user satisfaction not only raises concerns about fnancial impacts but also psychological effects. The National Library of Medicine has linked these microtransactions to gambling addictions, showing that early exposure to models like these in children or young adults may lead to harmful spending practices. Many modern corporations like Activision Blizzard, the owner of Call of Duty and Overwatch, incorporate gambling elements such as randomizers that also appear in other popular games like Genshin Impact and Clash Royale. These mechanics simulate real-life gambling, conditioning players to anticipate an unknown reward and spend money for a potential payout. Whereas gambling is a heavily regulated industry with many laws in place to control and prevent people from easily becoming addicted, gaming is a loophole to such laws.
The developers of games should be able to prioritize ethical game design that focuses on the player experience rather than forms of manipulation for fnancial gain. Games like Celeste are built upon meaningful storytelling and skillful gameplay and thus provide a rewarding
experience for players without microtransactions. Ethical gaming practices and design can help build trust between developers and players, leading to long-term engagement. Developers can create positive reputations by prioritizing inclusivity and transparency to attract a wider audience of players. By changing the focus of gaming from monetization to player satisfaction, the gaming industry can grow in a sustainable way that benefts both the player and the developer.
BY ASHLEY HUANG
A13-yearold boy fatally stabbed a 15-year-old boy at Santana Row in San José, Calif. on Feb. 14. Although places like Santana Row are typically thought to provide a safe space for teenagers to hang out, incidents like this have become a harsh reminder that these spaces are not always free from danger. Under California law, the accused faces a mere eight months in an unlocked juvenile facility — a consequence that is insuffcient for a crime as severe as premeditated murder. The law fails to hold young offenders accountable for violent actions in a manner that matches the gravity of their crimes.
In recent years, California’s juvenile justice system has increasingly focused on rehabilitation rather than imposing harsh punishment, aiming to reform young offenders. Rehabilitation is crucial, but it has enabled gangs to exploit lenient laws by recruiting minors. In this case, it is alleged that the 13-year-old was recruited by the Sureno gang, who knew he would face lighter consequences due to his age. California’s Welfare and Institutions Code 707 dictates that juveniles under the age of 15 cannot be tried as adults, even for severe crimes like premeditated murder. This approach does not offer enough deterrence and fails to strike the right balance between rehabilitation and public safety.
“Adults, gangs, are exploiting the leniency of our juvenile system, recruiting underage
members to commit horrifc acts of violence on their behalf,” San José Police Department Chief Paul Joseph said during a news conference Feb. 17. “Why? Because they know that a 17-year-old, 15-year-old, even a 13-year-old is unlikely to face consequences anywhere near severe as an adult would for the very same crime.”
The Santana Row stabbing serves as a reminder that California’s juvenile justice laws underestimate the dangerous potential of violent juvenile offenders. In the case of gang-related violence, it is crucial that the legal system adjust its approach. For instance, juveniles under the age of 14 should face harsher consequences for violent crimes, such as being tried as adults when the crime involves premeditation or gang activity. A stronger penalty system could include longer sentences in secure facilities. These penalties should be enforced in a way that ensures public safety while still providing opportunities for rehabilitation, ensuring that youth who commit violent crimes understand the weight of their actions.
“If the punishment isn’t heavy enough for the crime, then that may not be enough of a deterrent,” social studies teacher Mike Williams said. “However, I also think that young people deserve some sort of special treatment when it comes to application of the law, because they’re not yet adults and may be affected by their environment in ways that they can’t rise above.”
Adults, too, must face the consequences of their actions. One potential solution to gang recruitment is ensuring repercussions for those who exploit young offenders, which could help break the cycle of youth recruitment by gangs and reduce the overall level of gang violence in California.
“This crime sets a dangerous precedent for gang violence and juvenile crime,
where kids who commit serious crimes like murder only serve eight months, with no real repercussions or rehabilitation,” junior and mock trial co-president Samay Sikri said. “This not only fails to hold them accountable but also sends a message that the justice system will let them off too easily.”
The 2017 Division of Juvenile Justice Recidivism Report indicates that 34.3% of the youth released in Fiscal Year 2012-13 were returned to state custody within three years, with 16.6% being reincarcerated for crimes against persons. This statistic highlights the faws in the current system and its failure to adequately rehabilitate and support these young individuals in breaking the cycle of crime and violence.
“We need a system that ensures accountability for young offenders, especially when they commit violent crimes,” Williams said. “Rehabilitation is important, but it can’t come at the cost of public safety.”
The juvenile justice system should be reformed to include both stronger punitive measures and comprehensive education. Enhanced accountability could deter future crimes, while educational programs and community service could equip them with the skills and mindset to lead a productive life post-incarceration. This way, the system can foster a generation of individuals who recognize the severity of their actions and are prepared to make meaningful contributions to society.
“Throwing someone in jail will teach them a lesson, but actually teaching them how to live a proper life, where they are not associated with gangs, and showing them that there is another pathway that isn’t violence, is also essential,” Sikri said. “Rehabilitation should come with education and real-life skills training to ensure that once juveniles leave the system, they are ready to contribute positively to society rather than return to old patterns.”
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Do you believe patriotism is linked to any political mindset on social media?
BY CHARLOTTE BOLAY AND ANGELINA FENG
BY ANUSHKA DESHMUKH AND ETHAN WONG
Story continued from front page.
“If one person starts wearing the fag on the lapel, everybody’s got to do it,” De Anza College social studies professor Michele Bertolone said. “If you don’t, you’re not considered patriotic. It’s almost like an arms race to see who is the most patriotic.”
This has been seen in timeless American symbols. According to Smithsonian, the American dream has narrowed its scope from a fair and democratic nation to the hopes for a traditional family unit and income. This consumerist shift of the American dream shows how patriotism is becoming associated with a single ideal. This sidelines the original meaning for a fair nation.
n the fast pace of modern popular culture where trends seem to disappear before they even start, it is easy to forget their origin and cultural signifcance. Trends often blossom from smaller or marginalized subcultures, going unnoticed or misunderstood for their unique characteristics. However, without these subcultures, mainstream culture would not be nearly as diverse and dynamic.
The hippie movement emerged in the mid-1960s as a shift against the middle-class values many of them came from; they preached for love, freedom, self-suffciency and nonviolence. While some distanced themselves from traditional political structures, they advocated for peace during the Vietnam War, civil rights and environmentalism to raise awareness. Their openness about sexual experimentation and co-op housing also encouraged the sexual revolution. Hippie use of soft drugs such as marijuana was in part spiritual, but it led to recreational usage across the United States. Hippie fashion, often selfmade, — bell-bottoms, tie-dye, bohemian styles and loose fabrics — was assimilated into a mainstream culture transitioning from business wear to casual dress.
“There was this big push away from being forced into war uniform,” said Lorrie McPheeters, associate faculty in West Valley College’s fashion department. “Hippie culture comes from post-war mentality, like wearing long hair to grow out the military buzz cuts that they never wanted to wear.”
Originating in New York’s Black communities in the 1970s, hip-hop culture’s success today as a music genre is undeniable. It popularized rap and DJing following the breakthrough of ‘90s artists like Jay-Z and Tupac. R&B and hip-hop were the top genres in the 2023 Billboard charts, making up more than one in four streams. Breakdancing, which fourished as the counterpart to hip-hop music, has also since become part of the world stage as a sport in the 2024 Paris Olympics.
Read the full story at lhsepic.com.
However, this shift is still occurring through pop culture where Americana has been increasingly utilized. For instance, Lana Del Rey often uses symbols of Americana in her works. In the song, “National Anthem,” Del Rey chooses to include the American fag in her music video. These timeless symbols of Americana not only relate to the song but create Del Rey’s persona. However, Del Rey’s rebranding is synonymous to the fears of her patriotism being associated with a single political perspective. In recent years, she has abandoned her U.S. iconography. In an interview with Pitchfork, the artist has expressed concern on using the American fag in her music videos and concerts out of fear of it being associated with conservative values she doesn’t intend to share. This is a clear example that patriotism isn’t an unbiased value. Patriotic symbols have become controversial among their own citizens due to their ties with politics. In order for Americana to continue being used in pop culture, it cannot be solely associated with one view.
In recent decades, the United States has shifted toward more nationalist policies, blanketed under the slogan “America First.” It is harmful to the spirit of national pride to be associated with any political ideology as patriotism should bring people together. But as Americana and values of patriotism have been used more vigorously by more right-leaning campaigns, it contradicts the inclusive nature of national unity.
“There is a pretty wide range of conservative outlooks and liberal outlooks from the people I used to serve with,” former Naval Flight offcer Chris Saito said. “There is a lot of variety, so I don’t think that there is more patriotism on one side or the other.”
BY CLAIRE GUO AND EMILY PEDROZA
Capturing the human experience, poetry has existed in myriads of structures, rhyme schemes and meters. From fourth century C.E. Rome to 13th century Japan, each form of poetry has history hidden within its lines.
One of the most well-known forms of cultural poetry is the haiku, a short and simplistic style with a rigid format — a 5-7-5 syllable pattern. According to Stanford University, the haiku was created in 13th century Japan as the opening lines of a renga, a
BY QIANZI LOO AND OLIVIA YUAN
Frevered form of poetry it is today. The haiku is well-loved because its simplicity, as it forces the writer and reader to focus on a singular moment.
“The general aesthetic of the haiku is the idea of things being concise and precise and also based on an essence of something,” Anza College English professor Ken Weisner said. “They want into the world, to be aware of the earth and nature — which is about Romantic poetry too, but this is a very different gaze and It emphasizes the shock of what consciousness is.”
Similar to the haiku, the sonnet employs a rigid structure of lines, but differs with a standardized rhyme scheme and consistent meter, most notably the iambic pentameter. According to The Ohio State University Pressbooks, the sonnet is thought to have been created by a century notary named Giacomo da Lentini.
“Culture is connected to belief as well what’s beautiful,” Weisner said. “If you live Western culture, it’s more of a rational mindset.
The Renaissance is where the sonnet came from, and you up with a form that an inner conversation about something very important like love faith.”
rom Ludwig van Beethoven’s triumphant “Wellington’s Victory” to Lady Gaga’s uplifting “Just Dance,” music has continuously responded to tumultuous times.
Throughout history, classical music has responded to many conficts. For instance, Pyotr Ilyich Tchaikovsky’s “1812 Overture” was about Russia’s defense against a French invasion; Dmitri Shostakovich’s “Bloody Sunday” reacted to the 1905 massacre pivotal in the Russian revolution. The music of many composers often evoked sentiments paralleling real-world events.
“There’s often a lot of emotional turbulence in Sergei Rachmaninoff’s music,” senior Daniel Wan said. “Many of his pieces during World War I have a calm and controlled opening, before descending into a sort of craziness and then closing off on a softer note. There are also certain pieces, like the ‘Bloody Sunday’ symphony, that paint a picture, a reminder, of an event in a musical way.”
Among the composers touched by the war were Gustav Holst, Maurice Ravel and Dmitri Shostakovich. While previous wars centered around Europe or Asia, World War I was the frst global confict and prompted a shift where music was harnessed in a systematic way. These changes, along with new technology like gramophones, brought music to wider audiences than ever before.
While the American economy foundered during the Depression, jazz reached new heights. A decade earlier, the genre had characterized the economic prosperity and cultural optimism of the “Roaring Twenties” as it diffused out of the Harlem Renaissance. However, amid this
However, the sonnet is most known
major downturn, it took on the fresh role of escapism. With new styles like swing and technological advances, jazz further cemented its prominence as the popular music of its time.
The 1930s marked the height of the swing era. Often performed by large ensembles called “big bands,” swing music incorporated features like syncopation into a regular 4-beat rhythm. These techniques gave swing a dynamic groove that made it a staple of cafes, dance halls and ballrooms nationwide. The genre temporarily soothed the hopelessness that pervaded most aspects of day-to-day life, caused by the fnancial struggles of the era.
“You have a combination of younger listeners being really interested in jazz, the recording industry and new media and technology with the radio,” said Annegret Fauser, Ph.D., professor emerita of music at the University of North Carolina at Chapel Hill. “It was the perfect storm for jazz to develop and to be distributed in.”
During World War II, classical music faced varying degrees of censorship. Recording technology and commercial radio especially popularized patriotic pieces. Countries like the former Soviet Union generally promoted new classical works to demonstrate musical dominance.
However, places like Nazi Germany banned classical music with Jewish and avant-garde infuences, as well as Western jazz.
The Ministry of Public Enlightenment and Propaganda tried to redefne societal values by controlling the art and music Germans consumed.
The average German protested against this censorship, however. Soldiers often used music to uplift their spirits. Meanwhile, the United States government commissioned a large amount of classical music. Both Axis and Allied countries
leveraged music to spread their own ideologies.
“There was a lot of trying to keep music as the of sanity, where people would play Beethoven as consolation,” Fauser said. “You also had a sense music as having a national identity.”
UThough some composers tried to keep their music others were more political. While Shostakovich’s Symphony” was praised by Joseph Stalin for denouncing he subtly protested when asked to write war symphonies cultural reform efforts. Temporarily shelving music upset Stalin, he continued to defend his Jewish composer and quote Jewish themes in his music. It wasn’t Stalin’s death that there was a noticeable shift in almost like a breath of relief.
nexpectedly, rock and roll penetrated the that separated the Soviet Union from the some never performed in Soviet countries, Western artists like the Beatles and the Rolling Stones millions of devoted fans in Soviet youth.
During the Cold War, the U.S. established radio West Germany to “[broadcast] information and entertainment into the USSR,” according to a Santa Clara University in a subliminal display of soft power. Despite Soviet jam these stations, those with radios still found ways Western news and rock music.
Inspiring the regime’s youth with its ideals of and individuality, rock and roll sparked a cultural Soviet Union. It humanized the mysterious, oft-antagonized while building apathy toward Communist ideology.
“One mark of the Cold War was learning the World War II, which was a laboratory of what
because of singular being something,” De want to gaze true and voice.
14 consistent According the a 13thLentini. as live in a mindset. sonnet you end mimics conversation very or the most known
with regard to poet and playwright William Shakespeare, whose works have become a fabric of modern poetry culture. As it’s grown, the sonnet has also been reshaped and rediscovered.
“It’s a more fowery and longer approach that contrasts to the haiku,” Poetry Club president Patrick Krupa said. “A lot of people think of Shakespeare. You can use a lot more rich language to portray your idea as opposed to the haiku. And while I’m an advocate for the haiku, I still think I prefer the sonnet.”
Spanning across the Arabian peninsula, ghazals take the shape of a minimum of fve same-lengthed couplets, each having freedom to its own. The frst couplet usually envelops a refrain — a repeated word fragment — and rhyme, though in later couplets, the scheme is used in the second line only. The fnal couplet usually includes the poet’s signature, a reference to the author, whether it be an “I,” a nickname, name or a synonym of their name’s meaning. Usually sung by Indian, Iranian and Pakistani musicians, the ghazal sparks thought tied to yearning, sorrow and love.
Though born in seventh-century Arabia, because Persian poets outside the borders of the peninsula — such as Hafz and Rumi — helped highlight the form, it later gained popularity in the 13th and 14th centuries. The ghazal wouldn’t reach popularity in the English-speaking canon until the 1960s, after an introduction by poet Agha Shahid Ali. Some modern examples include Ali’s “Tonight” and Patricia Smith’s “Hip-Hop Ghazal.”
“The ghazal touches people in their hearts,” poet and San José State University English professor J. Michael Martinez said.
Poetry has developed uniquely across many different cultures, showcasing the basic human need for expression and art. Moreover, the differences in each form of poetry highlight the creative drive of the human race.
“Isn’t it beautiful how different people across different times, across different places all seem to think that poetry is important?” Levin said. “Pretty much every
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the last bastion as a form of of understanding music neutral, Shostakovich’s “Leningrad denouncing fascism, symphonies for music that would composer friends until after his music —
the Iron Curtain the West. Though countries, popular Stones found radio stations in entertainment University paper, Soviet efforts to ways to consume self-expression cultural rebellion in the oft-antagonized West ideology. lessons from worked and didn’t
work in propaganda,” Fauser said. “The U.S. portrayed rock and roll as this amazing, wonderful music and tried to get its values of freedom, youth and rebellion — all the elements they discouraged at home — into the Soviet Union.”
Fpop.” Characterized by uptempo dance beats and catchy hooks, songs such as “Party Rock Anthem” by LMFAO were momentary, yet much-needed, reprieves from the 2008 fnancial crisis.
“I feel that the message that recession pop conveyed was the desire to be wasteful,” senior Elliot Yang said. “During times of recession, you don’t lean into general luxuries as much because you have a tighter budget.”
Recession pop seems to be making a comeback today. For instance, “Club classics” from Charli xcx’s 2024 album “Brat” contains the lyrics “I’m gonna dance all night, that’s right / All night, never gonna stop till the morning light.
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BY KIERAN HAU AND DAVID ZHU
From the vibrant textiles of Mexico to the intricately embroidered saris of India, different forms of traditional clothing have all been woven into the diverse fabric of culture. However, traditional forms of clothing have signifcantly evolved due to the rise and fall of fashion trends over time. In the status quo, contemporary fashion trends are constantly changing the look and style of cultural clothing, blending tradition with modernity.
Traditional clothing has been a focal point of Asian culture for hundreds of years. Unique features involving different designs, colors, patterns and even fabrics have always made cultural clothing such as the Indian sari or the Chinese hanfu recognizable and distinct. However, modern trends have played a signifcant role in altering the appearance of traditional Asian clothes.
An iconic garment that originated in India is the sari, a woven fabric with bright coloring and embroidery traditionally worn by women. A drape similar to the sari was frst used in the Indus Valley Civilization nearly 5,000 years ago, and since then, it has developed into clothing worn by millions of people around the world today. The sari is a popular clothing item because of its high versatility and comfort, although it can require up to 12 steps to put on. A traditional way of draping the sari involves wrapping it around the waist and then tying a knot around the shoulder.
After the sari was globally popularized in the early 21st century by Indian fashion designers and Bollywood, it infuenced modern women’s gowns and inspired fuid designs that incorporated the sari’s graceful drape. At the same time, a fusion of clothing elements from Western and Indian attire became largely fashionable, which
gave the sari the modernized look that can be seen today. Contemporary fashion designers combined the sari with dresses and experimented with adding new elements such as blouses and off-shoulder designs. Newer fashion trends such as bold prints and asymmetrical patterns have also been integrated into modern saris.
“It’s very integral to the immigrant experience in America because integrating traditions and traditional clothing while living in an American society shows that you’re embracing both your roots and where you’re from,” senior and American Indian Student Association president Athreya Iyer said.
Indigenous cultures have largely shaped the style of traditional clothing in Mexico and other Latin American countries. The ancient Mayan and Incan civilizations produced textiles from natural materials like cotton, agave fbers and animal skins, which were then used in cloaks and garments. The huipil was a sleeveless, intricately embroidered tunic worn by women, and the tilmatli was a cloak-like garment draped over the shoulders of men. These traditional fabrics were often intricately handwoven and contained vivid colors and striking patterns.
Spanish colonization of Mexico in the early 16th century largely infuenced Mexican clothing through the combination of indigenous textiles with European fabrics like silk. New styles of clothing fused Spanish traditions with local culture, including the Charro Suit, which became associated with Mexican cowboys and the Mariachi, who wore wide-brimmed hats known as sombreros.
within modern clothing design, including streetwear brands like Carla Fernandez. Today, fashion designers continue to incorporate brightly colored patterns and intricate embroidery, drawing inspiration from indigenous textiles.
Traditional Mexican clothing has majorly infuenced modern fashion design. The bright and vibrant colors of traditional Mexican textiles have been incorporated
“I think it’s a good thing to be proud of where you’re from and show it off through clothing,” sophomore and Indesign club member Carolyn Altmar said.
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BY ALEX COTTEREL AND ALEXANDRA WU
In a society dominated by short attention spans and quick soundbites, it’s all too easy to view pop culture solely as entertainment. This tendency restricts Gen Z’s ability to engage with current events and advocate against harmful realworld issues, as their craving for entertainment value creates a cycle in which artists are disincentivized to create art centered around activism, which has historically been vital for the foundations of activist movements.
“Artists today, understandably, want their art to have commercial appeal,” De Anza College art history professor Catie Cadge-Moore said. “But the appeal often isn’t in line with getting people to think differently about things
or fghting for change.”
A hostility toward an intellectual or philosophical viewpoint is generally defned as anti-intellectualism, where messages embedded in art are dismissed as “not that deep” or irrelevant.
“Our minds are going so fast,” CadgeMoore said. “You need something that kind of forces you to stop and be more refective. Our current technological age has unfolded in a way that unfortunately tends to trivialize things, and when you trivialize things, there’s this tendency to be fippant or nonchalant.”
In order to change the current culture, there is a shared responsibility between both artists and consumers. Artists should use their platforms to spur meaningful discussions, and consumers need to be willing to engage.
“Are we thinking about it as something
deeper, as the artist probably intended it to be, and is the artist doing anything about the way that it’s being consumed?”
senior Hiranmayi Srinivasa said. “It goes both ways. How are we as consumers interpreting art, and how are artists pushing it to be interpreted as?”
Yet even when artists attempt to send messages that force this refection, disengagement remains an issue. A stark example of this discrepancy is the reactions to Kendrick Lamar’s Super Bowl LIX halftime show, where Lamar’s visual choices and lyrics unapologetically highlight critiques of the American Dream and a history of white supremacy. Some recognized the bold political commentary, seeing it as a challenge to confront uncomfortable truths rather than offering mindless entertainment. Still, many dismissed the performance as dull and lacking the expected fashy spectacle, ignoring or not engaging with the depth of its message.
“I don’t really listen to Kendrick for social and political issues, I just really love his music,” Srinivasa said. “I watched the halftime show purely for entertainment.”
When the majority of today’s audience, accustomed to rapid consumption and soundbites, fails to recognize or refuses to interact with obvious artistic protests, especially on a scale as large as that of a Super Bowl performance, we face the danger of a lack of participation in political discussion and protestation, which has historically been the younger generation of America’s most effcient venue for change.
“It’s very dismissive to just say ‘it’s not that deep,’ when someone is trying to have
an analytical conversation,” English teacher Evyenia Ene said. “People use art and pop culture as a means to express their particular situation.”
“In the case of the halftime show, if people didn’t understand, it wasn’t because they couldn’t understand — it was because they chose not to understand and that was a defnite choice that people made. We don’t have to agree on everything, but we absolutely can appreciate and try to understand one another.
Evyenia Ene English teacher
“
Historically, art, both visual and performance, has been used as a vital tool for social commentary and resistance, calling for political change. Novels from the Civil War era like “Uncle Tom’s Cabin” sparked discussions and catalyzed social movements.
These forms of art were not only accepted to be multifaceted but were actively engaged as a means of challenging the status quo. The audience’s willingness to engage in social critique allowed this art to spur social change and political action.
BY CECILIA WU
neighborhood cheesecake company rather than expanding
BY JENNY SUH
As the soft glow of a candle fickers in her garage, sophomore Chanelle Aragones delicately shapes each piece of ribbon, the fame curling its edges to create petals. Her fngers move with practiced precision as she holds a foral rod in one hand and stem remover in the other to bring each element together with foral tape, creating detailed, handcrafted bouquets. Through her bouquet business, Roses By C, she turns ribbons, petals and stems into lasting beauty, offering personal arrangements for clients wanting to add a special touch to their celebrations.
Aragones’s curiosity for bouquets frst sparked from local forists. She taught herself the key aspects of fower prep and bouquet wrapping through YouTube tutorials and purchased her frst set of supplies from Michaels in early January 2024. Wanting to improve her techniques, she reached out to local forists via social media, gaining insight into different arrangement styles and foral care. After experimenting frst with fresh roses, she transitioned into working with ribbon roses — something she could have more creative freedom with.
“Seeing all the pretty bouquet arrangements and forists on my Instagram feed inspired me to try something similar,” Aragones said. “Reaching out to local forists was also helpful because they provided me with so much advice.”
From the beginning, Aragones envisioned turning her passion for bouquets into a business. In late January, she set up a foral station in her room and in the garage while also purchasing more professional tools like a stem remover, foral rods and foral tape. In her spare time, she focused on building her skills with creating foral arrangements featuring roses, baby’s breath and lilies. To promote her business, Aragones created an Instagram page where she showcased her foral arrangements through graphics and photos. By reposting her work on her personal account, she attracted the interest of potential customers.
“At frst, I wasn’t sure how to advertise my business, but once I started posting on Instagram, more people began asking about my bouquets,” Aragones said. “My friends and family also started sharing my posts and it helped me get my frst real customers.”
Despite her growing passion,
Aragones faced several challenges in the early months of her business. When she frst started working with fresh roses, she struggled with their fragility and short lifespan, making it diffcult for her arrangements to last. When she began working with ribbon roses, she faced another obstacle purchasing low-quality
ribbon that was diffcult to shape and mold into petals. After numerous trials, she eventually found a ribbon type that provided both structure and fexibility, allowing her to create more intricate designs. Beyond perfecting her bouquets, establishing a customer base proved to be
BY ISABELLA CHIU AND OLIVIA TU
At 8:25 a.m., the slam of car doors and the clamor of hurried footsteps can be heard around all of Lynbrook’s entrances. Amid the congested intersections of Johnson Avenue and Lynbrook Way, teeming with the rush of vehicles and pedestrians, fgures donning fuorescent vests usher students through crosswalks. These fgures are Lynbrook’s crossing guards, working diligently in the early morning to guide traffc. No matter the weather, these staff members take on the taxing job of ensuring student safety and responsible practices on the road by directing traffc fow.
In contrast with all other schools in FUHSD, which employ offcial crossing guards, Lynbrook’s existing staff step up for street safety. Currently, four faculty members have assumed the role of crossing guards: paraeducator and weight room adviser Tim Wehner, student conduct specialist Thomas Lopez, paraeducator and head JV baseball coach Johnny Roberson and Assistant Principal Tara Grande. Although they already serve in administrative positions, they willingly devote their time and energy to protecting students on the road.
“Traffc control positions came out of need,” Wehner said. “We realized that we need to put people out in front of school because it’s dangerous to have students walking through traffc without some sort of regulation.”
Tim Wehner has been stationed on the crosswalk in front of the school entrance for over 10 years. Originally, admin had asked staff members for help as the previous crossing guard was leaving, and Wehner stepped in for free, striving to help students get to school on time and safely.
“I didn’t need deep deliberation — I was eager to agree to help for 30 minutes,” Wehner said. “It’s now become a part of my routine and a special part of who I am.”
A natural social educator, Wehner not only looks out for students but takes pleasure in connecting with them and meeting new people. From small gestures, like a wave or smile, to conversations on campus, Wehner has developed genuine friendships with the student body.
“I feel blessed for every thank you, baked good or note
Contributing further to this community, Lopez has directed the corner between Rainbow Park and Johnson Avenue for four years. His work as a crossing guard allows him to start the day on a positive note — helping students stay safe on the roads. Similar to Wehner, Lopez also prioritizes building that meaningful connection, as it encourages students to view administrators in a positive light.
“We work in education,” Lopez said. “It is good to see students in the morning and let them know that I’m not just here as a student conduct specialist but really here to help the kids by helping them cross the street.”
Overlooking the entrance to the parking lot from Rainbow Drive, Grande also fnds fulfllment in greeting students and sparking positivity to start their day.
I love getting to say ‘good morning’ to everyone and seeing smiling faces. Hearing them respond back with ‘thank you’ or ‘good morning’ makes it worth it.
Tara Grande Assistant Principal
Before working at Lynbrook, Grande was involved in district safety, creating routes for students to get to school safely. With prior experience in the feld, she has been the assistant principal in charge of safety from 2022 to 2024 and has since overlooked the entrance to the parking lot from Rainbow Drive. In her three years, she has observed the numerous risky practices on the road, which have fortifed her commitment to securing student safety.
“The roads are dangerous in the morning,” Grande said. “That’s why we’re out there, and why we’re trying to make changes — to hopefully slow everybody down so kids can arrive to class safely and on time.”
Guiding traffc has also heightened each crossing guards’ awareness of traffc conditions as a whole. Whether as a driver, pedestrian or biker, they make sure to stay alert and watch out for other moving obstacles on the road. The new barriers and road upgrades experienced
around campus have improved the traffc conditions to some extent. Specifcally, they prevent illegal U-turns and protect bikers and pedestrians from oncoming traffc. Despite these efforts, lack of awareness from drivers, bikers and pedestrians have resulted in unsafe incidents. Roberson, who is a crossing guard for the Castle Glen and Lynbrook Way intersection, remembers a moment a few years ago when a biker hit an open car door because another student was getting out of the car in the middle of the road. A more recent minor collision between a student and a car also reminded him of the dangers of the road and the safety that crossing guards are there to protect.
“Parents are trying to rush to get to their jobs, and the students are trying to rush to school,” Roberson said. “Sometimes people just don’t pay attention, and people get hurt.”
Since 2021, Roberson has juggled the role of being a paraeducator, head JV baseball coach and a crossing guard. Seeing these students daily develops a sense of familiarity between the students and crossing guards. While the connection may not stray much farther from polite greetings, the crossing guards have grown used to seeing the students, even recognizing when some students are absent.
“Usually I can tell you whether or not the students who pass through my intersection will be in class based on whether I see them or not,” Roberson said.
These strong bonds with the students and the challenges they encounter with traffc safety have shaped this unique part of their lives: an amazing contribution to the community.
At 8:35 a.m., a quiet lull on the streets with the occasional sound of a passing car contrasts the chaos of the morning rush that now leaves little trace. After another morning of facilitating smooth traffc, the relative silence is like a breath of relief. As the crossing guards continue with their everyday service, they strive to support students and make an impact in their lives by nurturing a safe and caring school environment.
“We’re essentially there for the students, as safety is always frst,” Wehner said. “For all of us, helping
BY AKASH ANAND AND ROHAN KAKHANDIKI
Superheroes have been at the forefront of pop culture since the 1940s. Characters often symbolized American ideals like patriotism, even exploring themes of racial identity and discrimination. A closer look into the pages of many comic books reveal that the greatest superheroes represent more than heroics; they stand for radical social change, political commentary and themes of classism, racism and xenophobia.
X-men, a mutant group, was created by Stan Lee and Jack Kirby in September 1963. The team was portrayed as the catalyst of a movement against xenophobia in not only comics but also in pop culture. The group’s mutant genes emulated those with differences that made them social outcasts, representing a message of anti-bigotry and toleration.
WThe original X-men stories paralleled a time when the civil rights movement was at its peak; the activists resisting discrimination and segregation against African-Americans had a large infuence on Lee and Kirby’s characters. They created the X-Men, a group of diverse superheroes who can defy discrimination and open the door to acceptance to mirror African Americans’ fght for equality.
The comics also tackled issues of discrimination outside of mutants.
During World War II, increasing work opportunities were offered to women as a result of millions of American men enlisting in the army. To encourage women’s involvement in the workforce in a time when labor was much needed, many fgures were created to spearhead this movement, like the well-known Rosie the Riveter. On the pages of comics, the same efforts were being made, as seen in characters like Wonder Woman, the fearless Amazon warrior.
Wonder Woman, also known as Diana Prince, was frst introduced to DC Comics by William Moulton Marston in October 1941 in “All Star Comics,” where the character is portrayed as a powerful and compassionate warrior of the all-woman Amazon tribe. Marston was an impassioned feminist and openly supported the women’s rights movement. He wanted to create a female character that embodied four main principles: courage, honesty, strength and morality.
orld War II was one the most devastating conficts the world had ever seen, and the American effort relied on comic book fgures to inspire patriotism within the population. One of those fgures arrived in the form of Marvel Comics’ Captain America, the Nazi-hating super-soldier.
Captain America represented the pinnacle of American values. He was handsome, tall and strong, all while being extremely smart, kind and empathetic, possessing an unique sense of hope. The character was used in the U.S.’s propaganda efforts to convince young men to enlist in the war, as well as in advertising war bonds. One of the most famous covers of Captain America was in his frst appearance in Captain America Comics No. 1, with the iconic image of him striking Adolf Hitler on the face.
“Captain America was very focused on World War II and the Cold War,” Special Education teacher Miguel Alderete said. “The character expresses our hopes and fears, but also changes with the times.”
Captain America’s conception was based on supporting the war effort, but after World War II ended, Marvel Comics struggled to fnd ways to keep the character relevant. As a result, they rebranded Captain America as “Captain America … Commie Smasher!” in 1950.
use a bow and arrow to fght criminals; his greatest weapon is his moral compass. In the comics, Green Arrow represents a push for a better tomorrow and left-leaning political change. In comparison to characters like Superman, he’s powerless. However, his unique perspective keeps him focused on the people he is protecting. Green Arrow starts his journey as a spoiled billionaire. However, after getting stranded on a desolate island for a year, he learns the art of archery in order to survive. He uses his time on the island to self-refect, gains perspective on how the actions of the megawealthy like himself hurt lower classes, and vows to redeem himself. Upon being saved, he puts his new skills to use, becoming the
In 1970, the comic arc “Green Lantern and Green Arrow: Hard Traveling Heroes,” written by Dennis O’Neil, began. It portrays him as a more empathic superhero, caring more about helping cause social change and looking out for the little guy than policing the public. He stands up for poor homeowners struggling to make ends meet, fghts against racism and tackles issues of
illustrations
uperheroes’ overpowered nature has often caused these characters to come off as idealistic and distant from the un-powered readers of the comics they fnd a home in. Marvel Comics attempted to combat this stigma by creating characters like Spiderman, the web-slinging superhero from the bustling city of Queens, New York, to emulate regular people with regular lives.
Created by Stan Lee and Steve Ditko, the character of Spiderman had his frst appearance in August 1962 in the comic series “Amazing Fantasy,” in which the character was introduced as a dorky teenage kid who became the “friendly neighborhood” superhero. As opposed to the idealistic, all-perfect and confdent hero archetypes that had been previously established in comics with characters such as Captain America and Superman, Spiderman intended to expose readers and audiences to a perspective that they could directly relate to.
BY TAEK KIM AND MEADOW SHEN
“
Nestled in the heart of West San José, Orchard Farms Shopping Center has evolved from a fruit orchard into a bustling plaza after decades of change and development. Featuring a Safeway, boutique shops, multiple restaurants and cafes, the shopping center now serves as a retail hub for its community, especially for Lynbrook and Miller Middle School students looking to hang out, shop or dine.
“TG&Y was the frst job I ever had. I was assigned to restock merchandise, operate the cash register and on fortunate days, I was in the fabric department.”
Decades-old memories
“Before they built the Orchard Farms Shopping Center, it was all empty felds and hills where all of the kids would gather and ride their bikes,” Class of 1977 alumna Vicki Ransom said. “It was a big part of everybody’s life.”
In September 1969, along with the accelerating urbanization of Silicon Valley, the fruit orchards at the intersection of Bollinger and Miller were transformed into a 28,000-square-foot Safeway and a 13,200-squarefoot TG&Y variety store. Several satellite shops also opened, including an All American Pharmacy, Bressler’s Ice Cream, Round Table Pizza, Time Zone and Winchell’s Donuts, forming an outdoor mall.
“As a teenage girl, All American Pharmacy was where I bought all of my makeup, hair products, hair accessories and music magazines,” Class of 1987 alumna Kristine Simoni said.
With its ample parking and open-air shopping environment, the Orchard Farms Shopping Center quickly became a go-to spot for many students to hang out after school. Its wide variety of stores, from Safeway to a local pharmacy to small eateries, caught the interest of many teens in the West San José community. For decades, students have taken up part-time jobs at Orchard Farms, like Ransom who was hired at TG&Y during
“
In the early 1980s, construction at Orchard Farms began, with the left-hand side of Safeway experiencing a slight expansion.
Orchard Farms Center continues to cater to its new generation of shoppers by opening new restaurants and trendy cafes, gaining popularity among both students and families. Safeway still thrives at Orchard Farms Shopping Center, surrounded by a row of more recent additions like Grand Dynasty, a cozy dim sum restaurant; Shang Cafe, an authentic Sichuan restaurant; and the newly opened Phin Cafe, a Vietnamese coffee and sandwich shop.
“Before sleepovers, I’ve always gone to Safeway with my best friends to get ingredients for baking,” senior Anoushka Chakravarty said. “Also, on the last day of freshmen and sophomore year, we’d always go. It was like a ritual for every student to stop by with their friends.”
For many Lynbrook and Miller students, stopping by Orchard Farms has become a part of their after-school routines, drawn by its convenience and close proximity. Stores like Cicero’s Pizza and Tea Top, a Taiwanese milk tea and boba store, have become fan favorites.
“Tea Top is really affordable compared to other milk tea places and offers authentic favors,” senior Kate Dufor said. “I love getting my go-to passion fruit green tea medley with friends after a long school day.”
For shop owners at Orchard Farms, it is a place where they can socialize and connect with members of the West San José community as well as other businesses at the plaza. Dave Piet, the store manager of the Safeway at Orchard Farms, recalls a memorable moment while working during COVID-19. A father and son, who were regular customers at Safeway, gifted Piet a clay tile as a token of appreciation for keeping the shelves stocked and customers safe during the pandemic.
“As neighbors of Calabazas Bikes and the old wine rack, it’s been great getting to know and growing up with the owners of those businesses and the workers that work there,” Cicero’s Pizza manager Charlie Laverdi said.
While the plaza has changed and evolved, Orchard Farms Shopping Center continues to stand as a hallmark of the West San José community where people gather to enjoy different shops and restaurants. To its local residents, Orchard Farms is more than just a collection of stores: it’s a place where memories and friendships are built, and bonds are formed between students, families and local businesses.
BY YVONNE WU AND INAAYA YOUSUF
The Valkyries stand poised, ready at a moment’s notice to leap into action as an expectant susurration scurries through the bleachers and the crowd sits in anticipation. The dancers’ relentless dedication during practices toward mastering the choreography makes high-stakes moments like this seem effortless.
Equipped with a team of 21 dancers who specialize in a variety of unique dancing styles, the Valkyries have experienced immense
success year after year. During this year’s competition season, they triumphed with their character dance routine, placing frst in regionals and second at nationals. In each of their regional competitions thus far, they have gained accolades in multiple categories of dance, including hip-hop, lyrical and character.
Furthermore, juniors Lisa Jing and Angelina Zhou placed third and seventh place respectively in the soloist category at regional competitions.
“It felt amazing,” Jing said. “This was my frst year competing in the solo category, and it was rewarding seeing my efforts gain recognition.”
This year, the Valkyries have opted to focus on more hip-hop-style choreography as opposed to their traditional styles of jazz and lyrical.
“A lot of our dancers are more hip-hop based now, so to accommodate for that, we shifted toward more hip-hop based routines,” senior and team captain
Dorothy Ko said. “It has more groove and bounce to the steps and is typically more fast-paced compared to styles like lyrical or contemporary.”
Throughout the school year, the Valkyries perform at all school rallies and various school events, such as the annual Indesign fashion show. Their competition schedule is similar to other sports at Lynbrook, as the team often dances against nearby schools such as Cupertino High School, Homestead High School and Lincoln High School. They also compete nationally, allowing them to dance alongside talent all over the United States.
One of the biggest events of the year that the Valkyries prepare for is The Contest of Champions, an annual national competition. This year, the Valkyries placed second for their character dance, a dance that was inspired by Troy Bolton in “High School Musical.”
“The character dance was something that we had never done before, and it was really fun,” Jing said. “We all dressed like Troy Bolton and had basketball jerseys on, attempting to imitate him. It was super crazy and goofy.”
The Valkyries start practicing in the summer before the school year. They have a total of two seasons each year, meaning the team practices and trains year-round. During competition season, they follow their usual practice schedule of Mondays, Wednesdays and Fridays with the addition of four-hour practices on Saturday.
“The week before nationals, our practices were around four hours each day,” Ko said. “It defnitely gets more intense the closer we get to competitions.”
With the help of coaches, dancers are placed into their teams for the competition season; the coaches weigh the strengths and preferences that each dancer possesses. The coaches also choreograph many of the dances for competitions, such as this season’s character and lyrical dance, while other competition dances such as the hip-hop dance are choreographed by outside dancers who the team reaches out to. When contacting outside choreographers, the coaches frst scout who they would like to work with and then take offcer input to make the fnal decision.
Recently, the Valkyries have grown in numbers, allowing them to increase the styles of dances that they can perform
in a school year. In the team, there are separate groups such as a separate JV team — a team that was newly formed this season — or other teams that perform lyrical, medium hip-hop, small hiphop and character dances. These teams often intersect with each other based on the individuals’ abilities, with dancers practicing multiple routines in different styles for competitions and events.
“Everyone on the team has a different skill set, so at the beginning of the year we have to audition for the different dances we want to be in,” junior and offcer Caroline Yan said.
With a larger team comes more room for the unexpected, creating unique challenges for the Valkyries to navigate through. For example, there is more room for schedule conficts or illnesses.
“Unexpected things happen, so being able to change our routines accordingly is something that we’ve improved on a lot this year,” Ko said.
Despite their impressive success throughout this season, the Valkyries still hold many long- and short-term goals for themselves, and they are always looking for ways to improve.
“We hope to sustain the same work ethic throughout the end of the year and continue working hard together,” Ko said. “In the long term, we would like to spend more time working on techniques from a variety of dance styles. I think that would really improve our dancing.”
BY ALEX COTTEREL AND CRYSTAL ZHU
Twist. Over. Under. Pin. One second, two seconds. Victory. Junior and girls varsity wrestler Isabella Guzman sits up on the wrestling mat, sweaty yet triumphant. This proud moment, during this year’s Central Coast Section Masters tournament, is just one among the wrestling team’s many victories this season.
“This season, I felt very successful to have a winning record and make it to Masters,” Guzman said.
Despite the team’s successes, the wrestling team’s season did not start as smoothly as they had hoped. One week into their season, girls assistant coach Greg Crane was suddenly fred. Lynbrook administration was contacted and declined to comment on the subject.
“It felt like we lost an important mentor,” junior and varsity wrestler Ryan Chen said. “He was always working with us, so losing him was a really disheartening thing.”
Crane had been a new addition to the coaching team the prior season, teaching alongside head coach Steve Weng and assistant coach David Reyes, and working with all three teams: varsity girls, boys and JV. His novel coaching style led to improvement among team members. He increased the diffculty of practices and focused on technique while also coordinating meetings off-season and during weekends. Opening the door to students from both Lynbrook and Miller Middle School, Crane held an unpaid open gym during the summer on the Lynbrook campus.
“He worked with all the kids, no matter who they were,” Weng said. “He’s a former state champion and wrestled in college at a very high level. He has the accolades and the knowledge. We had one of our best seasons.”
During the last season with Crane, the team achieved previously unforeseen goals, sending two wrestlers — senior and boys varsity captain Aidan Phattanaphibul and sophomore and girls varsity wrestler Mia Gonzales — to the California Interscholastic Federation State Wrestling Championships, the second and third to do so in the past 25 years. Summer training and conditioning especially boosted their skill sets and morale, leaving them looking forward to the season to come.
S“A lot of wrestlers grew as people last year,” Mia
Gonzales said. “They learned what they really wanted to do, and I think this year it showed.”
Following the loss of a coach this season, the team found itself adjusting to a new norm. Evening practices remained the same, yet morning practices focused on individualized training halted completely. Advanced technical training decreased. With one less coach, it became hard to divide attention between all three wrestling teams, especially when girls and boys tournaments occurred in different locations. This placed more pressure and responsibility on existing coaches, who needed to put in extra time, especially over tournament weekends.
We still have amazing coaches that teach us well, but it was different because we were missing the technique and the experience of our old coach.
Isabella Guzman Junior and girls varsity wrestler
The loss of variety in wrestling style presented further challenges. Each coach is knowledgeable about different styles of wrestling as the sport evolves constantly, with new moves and styles gaining popularity over time and old moves and styles quickly growing outdated. Crane’s versatile knowledge and experience, along with his ability to work one-on-one with wrestlers’ specifc needs for improvement, allowed wrestlers to expand their skill set on the home mat. During his absence, the team instead focused on basic training.
“With Coach Crane gone, if wrestlers couldn’t learn anything new, they had to go back to the basics,” junior and girls varsity wrestler Natalie Tan said. “At some point, the basics will stop working. Wrestling is getting funkier, and you can’t win with the basics.”
Despite these setbacks, the team was not left completely stranded: several volunteers, including Sergio Gonzales and volunteer coach Boyl Fowler, assisted during practices and matches. Tan, who had sustained an injury and could not compete for a portion of the season, offered technical guidance as well, along with pre- and post-match encouragement for wrestlers. With the increase in freshmen on the team this season, experienced upperclassmen served as a crucial source of mentoring.
While many of the experienced wrestlers were happy to help out the team, the smaller number of coaches made this a necessity, taking away time for those wrestlers to practice and grow their own skills. Tan explained how she and others would need to take up the position of a coach during the match, shouting suggestions and moves at their teammates as they wrestled.
“We’re all young, and I can’t be everything they need when coaching,” Tan said. “It was really stressful going to coach, then going to my matches, back to back, just running around all over the place.”
In the end, the wrestling team received excellent results at the Santa Clara Valley Athletic League Finals and the CCS Sectionals tournaments. Three wrestlers subsequently scored among the top six. Two wrestlers, Mia Gonzales and Phattanphibul, advanced to CIF State Wrestling Championships.
“As a team, we are closer than we were last year,” Phattanaphibul said. “Because it was my last season, I had a lot more experience, which made it a lot more fun for me. I think our team performed a lot better. As individuals, everyone performed better.”
“The most memorable moment was making States, because that’s all I’ve thought about all year. After a long season, I was pretty tired, but making States was like a new burst of energy for me. Watching our team succeed was really nice.”
Coming out of their season, many wrestlers are now taking a break, while others
continue to train with clubs outside of school. Without the advanced training and extra off-season practices that Crane provided, many invested wrestlers have resorted to practicing at Miller or off-campus clubs, sometimes driving multiple hours and spending hundreds of dollars a month to practice off-season.
Despite many challenges, the wrestlers’ rankings and numbers will most likely continue to climb. The Lynbrook wrestling program is a recipient of wrestlers from the extremely large and successful Miller Middle School wrestling program, where wrestlers consistently place high in tournaments and gain a love for the sport. With adequate support, wrestlers coming from Miller to Lynbrook have the potential to fourish.
“There isn’t a shortage of kids that are capable and want to wrestle,” Sergio Gonzales said. “You do need to motivate them. You do need to support them. You do need to make sure that it’s a program that they feel
part of. If you had that, Lynbrook could be top three in our league, top six in CCS every year, easily.”
The team hopes that next year they will be able to increase training and build a culture of persistence. However, many of the wrestlers do not think this will be possible without a strong and dedicated full-coaching staff to run practices and supervise at tournaments and matches.
“I don’t know what’s going to happen next year, it’s going to be pretty hard. With more coaches, it’s more hands to help out. You get different points of view and different ideas. Coaches can help bring out your potential. If we don’t have enough people to do that for us, then it’s gonna be way harder to be successful.
Natalie Tan Junior and girls varsity wrestler
“The team remains optimistic that they will continue to have success and grow the program further within the strong community they’ve built.
“Everyone has different goals,” Phattanaphibul said. “Some people just want to make CCS. Some people just want to have fun with the team. Whatever it is, it’s fne. I just hope they can all accomplish their goals.”
“I started wrestling my freshman year, and making States is the goal for everyone, so making it this season was really fulflling. I felt like I fnally accomplished my goal. It’s the
last thing I wanted to do, and I’m glad I was able to do it this season.”