10 November 2023
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Sip, Sip: The Hot Toddy Tea on Scripps’ Alcohol Policy Rollback By Sarah Paper ’25 Staff Writer
This August, Scripps students in leadership positions arrived on campus early for the annual Student Leadership Institute (SLI) Conference. During an informative session about event policies and updates to the Guide to Student Life, it was announced that students, including those of legal drinking age, were not allowed to possess hard alcohol in their residences under a revised alcohol policy. “This came as quite a bit of a shock to most students [present at SLI],” Scripps Associated Students (SAS) President Lily Dunkin ’24 said. “I really had empathy for the Office of Student Engagement (OSE) because they had to tell us these policies, but had no hand in making the policies.” Currently, modifications and additions to this guide do not involve student representatives or student input. Scripps students quickly organized themselves and presented their concerns about the possible effects of this policy. Student members of Residential Life consistently communicated with admin respectfully and earnestly until the policy was recently reversed. Kimai McPhee ’25 was a leader in this effort, working with the SAS president and other ResLife student staff to meet with admin. A big motivation for the student pushback on this policy was the fact that it could decrease the number of events on campus and led to an increase in outsourcing partying at other schools, in less safe environments. “One thing that I talked to Dr. Sha about is the importance of making sure that people are feeling safe drinking on campus, especially for people who are maybe turning 21 and want to be in a safe environment drinking for their first time,” McPhee said. The goal of these efforts was to foster an environment where students could learn new things in a safe space, including close proximity to emergency resources such as the Office of Residential Life.. “I would much rather have [one of my residents] drink alcohol in the dorm two bedrooms away than somewhere at Harvey Mudd where I have no idea where they are. It’s a lot easier to facilitate [support] that way,” McPhee said.
Ellen Hu '24 • The Scripps Voice
Those who advocated for the reversal of this policy emphasized that socializing or having fun is not dependent on consuming alcohol. Yet for those who do choose to partake, being able to do so in a safe and familiar environment encourages healthy drinking behaviors. “We want to make sure students feel like they can get a full nightlife experience on campus, and a safe one as well,” McPhee said. To address these concerns, Dunkin participated in weekly and bi-weekly meetings with Assistant Vice President Dean Di-Bartolo Beckman and Vice President for Student Affairs Dr. Sha Bradley. The reversal of this policy at the recent SLI follow-up panel demonstrates that students advocating for themselves results in care and improvements from the leadership at
Scripps. This both positively optimizes the institution and benefits their constituents. “Every meeting we talked about the alcohol policy and how it puts Scripps students in danger and I was really, really touched by their responses,” Dunkin said. “They were really receptive to student concerns.” Admin listened to these concerns, debated, and eventually chose to reverse the policy but there is still room for more student input, particularly when it comes to impactful policy changes, like those in our Guide to Student Life. Currently, modifications and additions to the guide do not involve student representatives or student input. Scripps students are still finding ways to make their voices heard. Students sit on the Board of Trustees
and in committees with administration where they are full voting members. Additionally, SAS and other students with on-campus initiatives are engaged in open conversations and collaborations with administration. Dunkin, however, still has critical thoughts about where students and admin can engage in Scripps policymaking. “We have this very parental relationship with Scripps administration where we ask [them] for permission to do things and we get the rules told to us with no chance for student participation in the construction and input on these rules that are enforced on us,” she said. “What ends up happening is [these rules] just end up reinforcing Scripps stereotypes and risky behaviors.”
A Snapshot of “Queer-ish" Exhibition
Core 3 Explores the History of the Los Angeles Rock 'n' Roll Scene
A Ranking of the “1989 (Taylor’s Version)” Vault Tracks
IN THIS ISSUE The Scripps Sustainabiliteam Strives for Success
1030 Columbia Avenue | Claremont, CA 91711 | Box 839 | scrippsvoice@gmail.com | Volume XXXII | Issue Three
2 • News
The Scripps Sustainabiliteam Strives for Success
Ellen Hu ’24 • The Scripps Voice
By Belén Yudess ’25 Copy Editor Intern
T
he Scripps Sustainabiliteam is starting the year off strong with multiple efforts to reduce excess waste on campus. The committee is made up of student volunteers who are dedicated to sustainability efforts on campus and works to implement institutional change. The team consists of four subgroups: waste, water, energy, and the Free Closet, and each group strives to solve a different sustainability issue at Scripps. Although student advocacy towards sustainability has been an ongoing fight, the Scripps Associated Students (SAS) supported Sustainabiliteam was assembled by 2021-22 Sustainability Chair Ana Rodriguez ’23, and has since continued to be an organization under that SAS position. This year the elected official guiding the team is Raka Mukherjee ’25, who expressed his appreciation for the opportunity to lead this group and elevate student voices about sustainability. “I ran for this position as I felt sustainability activism and change on campus was too often being dismissed in favor of other things, such as Scripps aesthetics,” Mukherjee said. “I was hoping that as Sustainability Chair, I could help generate awareness as to these issues.” Mukherjee’s sentiment about Scripps prioritizing aesthetics over other substantial changes was echoed by Medha Gelli ’23, a former Sustainabiliteam member and current employee for the San
Jose City government’s stormwater management team. “They want to maintain that aesthetic when incoming students tour Scripps,” Gelli said. “I think there is a lack of transparency about what initiatives Scripps does undertake and what actual impact they’re making. It comes off as greenwashing sometimes.” Aside from the excess watering of lawns, Mukherjee pinpointed other aspects of Scripps’ sustainability efforts that need improvement. “Some of our most unsustainable habits as a campus include our water and energy use,” he said. “I’m sure people have noticed — considering how small our campus is, 44 million gallons is overkill, and our fridges, washing machines and televisions are all old and use up energy. Not to mention long term issues, such as the fact that 80% of our energy use is non-renewable.” The Sustainabiliteam has begun combating these problems through various programming and resources that aim to get the student body involved and aware of these efforts around campus. Ongoing solutions include an emphasis on composting in collaboration with Malott and the Residential Halls, disposal sites for electronic waste, guidance on how to properly separate recyclables, town meetings and open forums regarding sustainability, and weekly updates with links to online resources compiled by Mukherjee and his peers. “I haven’t seen any initiatives that the admin has worked on
that have had such a big impact, especially when sustainability coordinators don’t stay for too long,” Gelli said. “They [admin apart of sustainability efforts] spend a lot of time understanding the problems but don’t have enough time to actually implement solutions; which is why I think supporting what students are already doing is critical.” Gelli also noted that other organizations, such as Scripps Scrapps, are integral in ensuring that sustainability is at the forefront of student actions and concerns. “Scripps Scrapps has been one of the longest standing traditions, and it’s one that has been really great, along with the implementation of the Free Closet,” she said. Both Mukherjee and Gelli championed student-led initiatives as imperative to the success of sustainability at Scripps. As current chair of this committee, Mukherjee actively encourages students to use their voices if they want to be a part of the change the sustainabiliteam works to enact. “There is one huge thing that students can do in order to become involved in these efforts: Pay attention, and make noise,” said Mukherjee. “We need bodies — in order to make genuine institutional change, we as a student body need to present a loud and unified front, showing administrators that we both need and want to have a greener campus. Pay attention to the sustainability updates, show up to sustainability meetings and events, and you’ll be contributing
to green change.” There are several upcoming events and committees students can attend or sign up for to contribute. The Mending Workshop, hosted by the Sustainabiliteam in conjunction with the Free Closet, will take place Nov. 12 at 1:30 p.m. to 2:30 p.m. in the Motley. The workshop will include an introduction to sewing in order to teach students how to mend their clothing to reduce fabric or material waste. The team also has a sustainability priority planning survey for those who were unable to attend the inperson meeting on Nov. 8, which can be found on their Instagram @ sc.sustainabiliteam. Mukherjee asks that students keep a look out for events and opportunities to gather and discuss sustainability efforts in order to ensure that the team can be successful in their endeavors. “We’re hoping to garner attention and attendance to the participatory decision making events we host, which are critical and instrumental in creating genuine change on this campus,” he said. “Administration has been transparent about being willing to make change, as long as enough people clamor for it. Keep an eye out for sustainability updates in which we list out our high priority events — and please attend!”
TSV Editorial Staff 2022-2023 Aanji Sin ’24 Editor-in-Chief Alyssa Wend ’24 Editor-in-Chief Ellen Hu ’24 Editor-in-Chief Isabel Suh ’24 Head Design Editor Elita Kutateli ’26 Design Editor Nawal Hassan ’27 Design Editor Hannah Fawley ’27 Design Editor Ellen Wang ’25 Copy Editor Juliette Des Rosier ’26 Copy Editor Frances Walton ’26 Copy Editor Belén Yudess ’25 Copy Editor Intern Ashley Ta ’27 Copy Editor Intern Carah Allen ’26 Webmaster Anna Odell ’27 Social Media Manager
10 November 2023 • The Scripps Voice • Volume XXXII • Issue Three
Feature • 3
In Defense of Mathematics: An Appeal in Favor of Many People’s Least Favorite Subject By Ella Young ’24 Staff Writer
f you pay with cash, it’s free.” Ireturn “If I buy something and then it, I’ve made money.”
“Botox counts as an investment.” All three of these statements are real examples of so-called “girl math,” a trend that has recently taken Instagram, TikTok, and other social media platforms by storm. The trend involves a social media user — usually a woman — explaining their oftentimes logically flawed thought processes when it comes to money and finances. This is meant to provide a space for women to poke fun at the fact that their financial decisions, although based on flawed logic, seem to “just make sense.” It’s meant to be cute, fun, and relatable. Instead, I find it disheartening. The trend of “girl math” embodies the harmful and unfortunate sentiments around math that are all too prevalent among women — that math, real math, is a subject inaccessible to women. After all, does “girl math” not imply the existence of some other, “non-girl” math? To me, “girl math” is reminiscent of the unfortunately-named “girl pushups.” “Girl pushups” refer to knee pushups, a modified, more beginnerfriendly version of the classic exercise.
There is no well-known opposite of “boy pushups;” there are just pushups. Likewise, the opposite of “girl math” is just math. Perhaps that is why the girl math trend makes me so livid. As a woman who is a math major, attends a historically women’s college, and takes many math classes at other co-ed campuses, the distinction between “girl math” and “math” is all too reminiscent of the misogyny I’ve experienced in the classroom. This very distinction speaks to some larger issues about the way society teaches women to regard math: as a subject only accessible to women after it has been watered down, affixed with “girl” before it. The best way to fight these issues? For women — regardless of their major — to take more math. I n t h e c l a s s ro o m , m y m a l e classmates have talked over me, disregarded me, and even once called me “unusual” to my face for being a Scripps math major. In addition to experiences like this, I have also noticed others affected by this mathematical misogyny. When I tell people my major, I am usually met with responses along the lines of “Wow, that’s crazy,” or “You’re built different.” However, for those who aren’t men, the responses also tend to take on a more self-deprecating tone: “I could never,” or “That’s way too smart for me.” I will be the first to admit that the
content of my major is challenging. But it’s not the inaccessible technical realm that so many women regard it to be. In fact, it is empowering. I frequently joke that math is “school-sanctioned puzzle solving.” My assignments and exams involve solving problems and using logic to connect several, sometimes seemingly unrelated, ideas. The moment of figuring out a difficult problem, when everything suddenly “clicks,” is a feeling like no other. The ideas weave together, and you are left appreciating the beauty of what you’ve just done. Not just the beauty in the logic itself, but the beauty in the fact that you did it. Don’t just take my word for it. As a Scripps peer math tutor, many of the folks I work with come in underconfident, jaded, and resentful of the subject, often thanks to poor teachers and uninspiring classroom environments. And yet, despite this oftentimes complicated history with the subject, I have still seen math resonate with them. Their faces light up as they finally grasp the complicated ideas they’ve been working towards. Many students who supposedly hate the subject, upon solving a complicated proof, admit that what they’ve just done is actually pretty cool. Even non-math majors can see that despite its intimidating exterior of notation and Greek letters, math is a big old softie. Because every so often,
with the right problem, or on the right day, every student I’ve worked with has had an “a-ha” moment of intrigue and empowerment. The moments that made me fall in love with the subject are the same moments that keep me going despite the hurdles the field can offer. Having been socialized as a woman, I find myself and many of my friends here at Scripps overly apologizing, using qualifying language, and deprecating our abilities. Yet, math helps me unlearn this. I don’t need to qualify my ideas; I’m always proving that they are airtight. I don’t need to apologize for my solution; I completed it successfully and joyfully. I don’t need to self-deprecate; I am completing the same, difficult problems as the men who look down on me. Calculus. Linear Algebra. Real Analysis. Abstract Algebra. It’s college-level material that offers a rich challenge, intellectual and emotional empowerment, and a counterexample to the field’s virulent misogyny, all in one. Math doesn’t just teach problemsolving; it teaches rigorous and definite defense of your ideas. And it’s for this reason that I encourage everyone — math lovers, math cynics, math majors, and math haters — to take a math class in college. Because, despite what anyone may have told you, math has something in it to empower everyone. That is my “girl math.”
Thrill Me, Chill Me, Fulfill Me: The 5Cs “Rocky Horror” Production’s Triumphant Run By Ella Young ’24 and Belén Yudess ’25 Staff Writer and Copy Editor Intern
emand was high for The Rocky D Horror Picture Show this year and with good reason. Hundreds of
students lined up in advance to see this year’s shadow cast production of Rocky Horror, put on by 5C groups 5x5 and Spotlight. We went to the production’s second showing on Oct. 29, but the first show was put on the night before. We would like to extend our congratulations and praise to the cast and crew who worked on the first show; we know your performances would have made Susan Sarandon weep with pride. We would be remiss not to acknowledge the tragedy that struck our campuses the same weekend with the passing of Jesse Lopez PZ ’24. Lopez was a valued friend of mine who I (Ella Young) miss immensely. I had been debating skipping my Rocky Horror plans because of my grief. Wishing to avoid getting stuck in an emotional spiral, I decided against staying in and was struck by the strong sense of love, camaraderie, and acceptance that was present at the showing. The kindness and appreciation displayed by all the cast, crew, and audience was emblematic of the strength of the Claremont student community, and it served as a heartening and much-needed reminder that our community supports and accepts one another. I greatly appreciated the safe space that the production offered into which I could retreat as I navigated the intense emotions of that weekend.
The loss has been and continues to be immense and devastating, and although the production could not change that, it did temporarily soften the ache. I sincerely hope that everyone struggling with this know that their fellow students are there for them. If you are struggling with this loss, please remember that your community is there for you and supportive of you. If you took a glance at our last issue, the two of us previously covered the preparation of Rocky Horror. After conducting interviews and learning more about this year’s creative cast and crew, our enthusiasm to be invited up into Frank’s lab was ignited. Upon learning about the immense turnout for the Friday show, we packed our bags with extra sweaters and snacks in order to camp out in line to guarantee ourselves a frontrow seat to the science fiction double feature. We waited in line for nearly two hours, passing the time with discussions of Twilight, games of twenty questions, and shivers of antici … pation for the upcoming show. When doors finally opened, we were ushered in by students clad in eclectic costumes, drawing red lipstick V’s on the faces of so-called “virgins.” Once the theater was fully packed, the lights dimmed and Rocky Horror came to life. The show was excellent. Director Aidan Trulove ’24 and stage manager Ash Ahrenhoerster PO ’25 delivered a night filled with electric energy and outstanding performances. The opening burlesque-inspired dance was fantastically performed by Aviva Maxon ’24. Ella Lehavi ’24 and Elise Thuresson CM ’24 had
hilarious takes on Brad and Janet. There was undeniable chemistry between Riff Raff (Vera Caldwell PO ’26), Columbia (Amelia Lewis ’25), and Magenta (Regan Rudman PZ ’24), and of course, the portrayal of Frank N Furter by Elle Roc PO ’24 was remarkable. The audience participation by veterans, virgins, and vivacious cast members from the previous night added to the strong sense of community cultivated by every Rocky Horror show. One of the most memorable moments of the show was during the movie’s infamous cannibal dinner scene. During the scene, Ryan Ziel Hutchins PO ’25, who played Eddie, lay on a foldout table underneath a tablecloth to portray the consumption of Eddie’s corpse by Frank’s dinner guests. With a literal bang, one of the legs of the table collapsed, sending the end with Hutchins’s head to the floor. From our third-row seats, we could not tell whether this was staged; Hutchins, staying in character, did not move from his position on stage. The movie paused as Trulove and Ahrenhoerster entered the stage. Although there were a few moments of concern about Hutchins’s head, he proceeded to rise, as iconically noted by the night’s Dr. Scott played by Wendy Walter ’25, accompanied by intense cheers from the audience. This incident was a testament to the show’s ongoing commitment to safety and care for the cast, as well as the cheerful and supportive character of the audience. Although this moment was clearly not part of the cast and crew's plan, its comedic yet thoughtful nature cemented it as one of our favorite moments of the night.
This moment is emblematic of the culture of acceptance and love that Rocky Horror fosters. The movie has an extensive history in the queer community, and the film itself plays with often stigmatized themes of sexuality and queerness. This vibrant culture of acceptance was on full display at the showing we went to, through both the production itself and the audience’s reactions of laughter, cheers, and joy. These reactions showed appreciation and love for the cast, crew, and fellow audience members, and they exemplify a loving, supportive, and joyful space from which the Claremont community could benefit. This year’s 5C production of The Rocky Horror Picture Show not only showcased excellent dancing and acting, but also brought students together in a unique and powerful way. Despite not knowing each other’s names, colleges, years, or majors, the attendees, cast, and crew were unified by the meaningful shared experience of culture, callouts, and Curry (Tim, that is). Every face leaving the theater was overcome with a smile, and we are so grateful we got to be a part of that fantasyfreeing experience. That being said, we can’t wait to do the time warp again during the winter show. Join the Rocky cast and crew for their holiday spectacular in the upcoming weeks, and make sure to follow their Instagram @rockyhorror5c for more updates!
10 November 2023 • The Scripps Voice • Volume XXXII • Issue Three
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Grieving, Interconnectedness, and Resurrection: Ada Limón Brings Poetry to Scripps Presents By Zoe Tomlin ’27 Staff Writer
O
n Nov. 2, Scripps Presents welcomed Ada Limón to the Garrison Theater stage for a poetry reading, followed by a conversation with Lynne Thompson ’72. Limón is the 24th Poet Laureate of the United States. She is currently serving her term by speaking at events, working on a poetry anthology with the National Parks Service titled You Are Here, and working with NASA to send a poem into space with the Europa Clipper spacecraft. Thompson is a former Poet Laureate of Los Angeles, and sits on the Scripps College Board of Trustees. The event commenced with a greeting and introduction of the night’s guests from the Director of Events and Conference Services at Scripps College, Marcy Robinson. Thompson walked onto the stage, followed by Limón, who made her way to the podium. “I really do think that poetry can be an opportunity to grieve, and it can also be an opportunity to resurrect parts of ourselves,” Limón said as she began the presentation. It was Dia de los Muertos, a holiday with deep significance for her, so she even brought her shrine and photos with her from Lexington, Kentucky, to Claremont. At the podium, Limón read a series of poems embodying resurrection in its different forms. “Relentless” was a resurrection for her stepmother, Cynthia, and “Field Bling” was a “resurrection of the self.” Her poem “Sacred Objects” was a resurrection of the body, and “Drowning Creek” was a backstage request from Thompson. She concluded with a heartfelt reading of her piece “The End of Poetry,” her gestures growing emphatic with the last few lines: “enough of can you see me, can you hear me, enough/ I am human, enough I am alone and I am
Aanji Sin ’24 • The Scripps Voice
desperate,/ enough of the animal saving me, enough of the high/ water, enough sorrow, enough of the air and its ease,/ I am asking you to touch me.” Her arms worked with her voice, as though she were conducting an orchestra, to convey the depth of her feelings. Listening from the audience, it was clear that Limón was born to be a poet. The pauses between her readings were peppered with witty statements; referring to herself in the third person, Limón remarked on the intimacy and depth of her words, saying, “It’s like she thinks she’s alone.” Just as she spoke, a loud noise came from the theater lobby and Thompson commented, “Or is she?” The irony garnered many laughs. A blaring round of applause concluded the reading, and Limón joined Thompson to sit down for a conversation. They began by speaking on the “interconnectedness of the human and the nonhuman.” Limón often thinks about “all of our animalness,” and to her, it is strange that we do not talk about it more often. “I joked about being up there alone, but I never feel alone because
of the trees and grass and earth and animals, and I love that if you sit long enough, everything is alive,” she said. Thompson then asked her about her thoughts on the possibility of poetry as a healing agent, an idea Limón had mentioned in a speech at the Library of Congress. Limón’s answer echoed her opening remarks: poetry can be an opportunity to grieve. For Limón, grief is too often ignored in our culture, and though grief is not healing, it is a necessary element of the healing journey. She discussed the “business of death” and the obsession with “moving on” from loss. Poetry allows for stillness, processing, and eventual healing. Limón has experienced her share of things to grieve; her beloved grandmother passed away last month. The day after her passing, Limón was awarded a MacArthur Genius Grant. When Thompson asked about it, Limón prefaced her response with a question for the audience: “Does anyone answer their phone when they don’t know the number?” One person raised their hand, and Thompson called them a “trusting soul,” eliciting laughter from
the audience. Limón continued to explain how, when the MacArthur Foundation called her, she thought they were “the headstone people” for her grandmother. Once they realized that calling was a lost cause, the foundation emailed Limón, asking her to speak on someone else’s behalf, to which she said of course. She explained, “I got on the phone, and they said, ‘Actually, that was a ruse – you’ve won a MacArthur Genius Grant.’” Thompson’s final question for Limón was directed toward the students in the audience. She asked, “What can you share with our students about … whatever passion they have in life – how do they pursue that passion in a world that says, ‘Get a job, be practical, and don’t follow those passions?’” Limón replied that, in reality, it is about “wholeness.” There is no singular thing in life – passion, work, grieving, joy – everything is interconnected. She has always had a job, but she has also always written poems. If anything, the other aspects of her life are what make her art meaningful.
Nothing more Joy-ish than Queer-ish: A Snapshot of “Queer-ish: Photography and the LGBTQ+ Imaginary” By Belén Yudess ’25 Copy Editor Intern
W
hat does it mean to be queer in one’s own time? On Oct. 28, the Ruth Chandler William’s Gallery opened its latest exhibit “Queer-ish: Photography a n d t h e L G BT Q + I m a g i n a r y ,” thoughtfully curated by photography and humanities professor and Fletcher Jones Endowed Chair in Art, Ken Gonzales-Day. Split into four sections – “Touch,” “Portrait,” “Queer Imaginary,” and “Acting Out” – the gallery features several black and white portraits of same sex couples embracing or holding hands, modern photos of queer couples and individuals in creative settings, and
a handful of snapshots of eclectic objects or vibrant collages. The exhibit highlights several queer icons and role models such as acclaimed author Ger trude Stein and her life partner Alice B. Toklas; actress, singer, and trans activist Christine Jorgensen; and Annie Sprinkle who is an advocate for sex work and founder of the sexecology environmental activism movement. Besides Gonzales-Day’s own work, pieces from the following contemporary ar tists are also present: Laura Aguilar, Ohan Breiding ’06, Bruce of Los Angeles, Claude Cahun, Tammy Rae Carland, Rick Castro, Zackary Drucker and Rhys Ernst, Naima Green, John K. Hillers, Taizo Kato, Molly Landreth ’01, Bob
Mizer, Pierre Molinier, Paul Mpagi Sepuya, Catherine Opie, Marcel Pardo Ariza, Pau S. Pescador, George Quaintance, Pacifico Silano, Annie Sprinkle, Baron Wilhelm von Gloeden, and Austin Young. Although Gonzales-Day had the idea for “Queer-ish” in the back of his mind for some time, the recent spike in anti- LGBTQ+ legislation inspired him to act. “Dozens of state legislatures are attempting to turn back the clock on decades of civil rights progress,” he said. “Recent global estimates suggest that 83% of those who identify as lesbian, gay, or bisexual, must keep their orientation hidden for their safety.” The exhibition aims to promote increased awareness and
understanding of gender identity and how photographic practices have shaped LBGTQ+ history. In recent years, anti-LGBTQ+ activists in California have demanded a repeal in LGBTQ+ inclusive policies and there have been a record number of antiLGBTQ+, specifically anti-trans bills. Amidst the fear and ongoing struggle the queer community faces to love and live freely, Gonzales-Day’s gallery encourages people to reflect on concepts of identity within a queer space. The first category, “Touch,” depicts what it means to physically embrace queerness through human contact and the historic and present risks of these actions. This flows into the idea of “Portrait”: how these Continued on page 4
10 November 2023 • The Scripps V
TURE
Songs of the City: Core 3 Explores the History of the Los Angeles Rock 'n' Roll Scene
By Juliette Des Rosiers ’26 Copy Editor
he City of Angels. La La Land. Los T Angeles is known by many names and by many people, but beyond the
lights, camera, action of Hollywood Boulevard sits the sex, drugs, and rock ‘n’ roll of the Sunset Strip. LA has birthed some of the best bands of any decade, but the popular limelight is, unfortunately, shared by too few. In light of this selective popularity of rock artists, the Core 3 LA Rock ‘n’ Roll class designed the exhibit titled “Listening to LA – Rock ‘n’ Roll Realities.” The exhibit, curated by Scripps students, displayed vinyl LPs, books, photographs, and merchandise from influential genres and artists of the LA rock ‘n’ roll scene dating back to the 1950s. Many of the artists were those who were overlooked by the mainstream at the time because they were people of color or simply spoke too loudly against that very mainstream. Nicole Kerschner ’26, a student in the Core 3 class, commented on the importance of learning about LA music. “I feel like I’ve learned so much about the diversity and culture within LA through learning about the music,” she said. “In Claremont, we live so close to LA, but sometimes it feels like it’s a world apart. By studying a lot of the history and culture from this area, I feel more connected to the place I’m going to school.” The exhibit opened on Oct. 5 with a welcome reception attended by students and professors alike. Guests were welcomed by a soft background of classic rock as they filtered into the Humanities Museum. Refreshments of taquitos, chips and salsa, and agua frescas were available while attendees chatted and strolled around the room to view the displays. The 5C student band Fischli’s Animals, born from a project for this very same Core 3 class, performed a set with music ranging from hippie to punk rock in order to showcase the broad range of music celebrated in the exhibition. As for the exhibit itself, the museum was split up into five areas, each spotlighting a unique artist or genre, with artifacts pulled from the stores of Professor Hao Huang, the HonnoldMudd Library, and purchased from eBay. One section titled “Chicanx Rock and Roll: Sound of Cultural Fusion” explored how Latin American immigrants and Latines used music to celebrate their cultural identity and raise awareness for resistance to U.S. immigration politics.
The exhibit highlights influential names like Los Lobos, Los Ilegales, and Ritchie Valens, who is considered “the forefather of the Chicano rock movement.” “Quetzal has a really interesting connection to Scripps since a Scripps professor is part of that band,” said Kerschner. “We were really happy that we were able to pull a bunch of things together from many of the most influential voices in Chicanx rock.” The object captions below photographs and vinyls of the bands detailed how the music was a fusion of cultural sounds and was founded from both American and Latin American music. However, the exhibit also highlighted how these artists used their fusion of sound to draw attention to the Chicanx experience in Los Angeles, citing “La Bamba” by The Plugs as an example of an anticapitalist message and the band La Ley as those who raised awareness for the deportation and mistreatment of immigrants. The next section, “Songstresses and Social Change in the 60s and 70s”, focused on the powerful women performers of Laurel Canyon, an iconic neighborhood near the Hollywood Hills that was home to many influential musicians in rock ‘n’ roll history. The section displayed vinyl LPs and the cases of Jackie DeShannon, Carly Simon, Carole King, and Joni Mitchell, referring to her album “Blue” as one of the most iconic albums of all time. The captions
and artifacts celebrated the influence of women in rock ‘n’ roll who built the foundation for other successful names in music. The exhibit referenced the importance of the 1960s peace and love movement that flourished amidst these rockers’ homes but also alluded to the darker history of the area that involved drugs, violence, cults, and militarization. In a similar celebration of women in music, a corner of the museum was dedicated to “Alice Bag: The Violent Girl.” The exhibit displayed many pictures and posters from Alice Bag shows and magazine cameos, with the object captions describing how her music was seen as outrageous at the time, but these documents are now valuable primary sources for a revolutionary movement of the vibrant LA rock scene. This section also had a projection of a filmed performance, commenting on her stage presence and how her shows being open to all ages exemplified the acceptance and widespread influence of the Riot Grrrl movement. Another section, entitled “Foundations of LA Punk: Grime and Glam in the City of Angels,” spotlights the raucous voices of the LA punk scene. The section highlights iconic punk bands like Black Flag, The Masque, and The Germs. The gig posters on display demonstrate the in-your-face resistance manifested in the punk rock movement and the captions discuss how the violent sound of the bands alienated
them from mainstream music and labels, nurturing the rise of indie for-artists-byartists labels in the 1980s. The exhibit also showed punk rock history bibles, such as Punk is Dead, Punk is Everything, in cases for visitors to observe. Kerschner also had positive comments on the diversity in the type of objects on display in the exhibit. “I also loved the giant collages of posters that the LA Punk group put together, as well as the mason jar of songs from the Alice Bag group,” she said. “I really appreciated seeing the creativity of everyone in the class.” The most modern section of the museum was “Empowering Voices: Women Leading the Beat in LA Music,” which focused on recent women in music from Los Angeles such as Mitski, No Doubt, and HAIM. It displayed merch from H.E.R., referencing her incorporation of activism in her music, and Olivia Rodrigo, one of the promising young voices in pop. Additionally, it highlighted artists such as The Linda Linda’s, at the forefront of new wave punk, and Jhene Aiko, an underrated singer promoting spirituality and self-love through her work. The exhibit was an informative look into the diverse musical history of Los Angeles, emphasis on diverse. It showcased artists that many students may have previously not listened to and promoted exploring LA rock ’n’ roll through an inclusive lens that mirrors the multicultural music scene of the city.
Juliette Des Rosiers ’26 • The Scripps Voice
Nothing more Joy-ish than Queer-ish
Voice • Volume XXXII • Issue Three
5
Ellen Hu ’24 • The Scripps Voice
Continued from page 3 displays of affection and intimacy form perspectives on representation and self representation. Another idea the exhibit explores is the “Queer Imaginary,” which Gonzales-Day explains is the meshing of frameworks that are applied to queerness. “Drawing on Jean-Paul Sartre’s notion of the imaginary as well as Judith Butler’s concept of performative identity,” said Gonzales-Day. “It posits queerness as a generative personal and cultural space that is exploratory, celebratory, precarious, unseen, fluid, and always changing.” This leads into the final aspect of the show, “Acting Out,” which presents how people perform or present their personal experiences with queerness. This takes the form
of dressing in drag or the ways in which one chooses to display their body. Although the gallery covers a variety of diverse, innovative, and beautiful queer stories, all of them share a common thread that weaves them together: resilience. GonzalesDay notes that despite the issues that arise for representation of the queer community, his gallery and the work of its contributors aim to remind the queer community that they are not alone, and their identities should always be celebrated. “The exhibition and related programming acknowledge and celebrate queerness and its myriad expressions,” he said. “They also remind those who wish queer people harm that love is universal and timeless.”
Feature • 6
5C Flavors: 5C Café Rankings & The Illusive Fall Drink Menu By Dahlia Roe ’27 and Audrey Green ’27 Staff Writers
C
offee and café culture is the lingua franca, or the shared language, of a college campus. Sweet treats and study spaces are an essential part of the day, and these items can make or break a college student’s social and academic experience. On college campuses, cafés act as essential meeting spots for friends, networking, starting the day, and of course, studying. Every coffee bar at the 5Cs has a distinct personality, and each occupies a different niche on campus. Here’s a guide to help you navigate and find the best spot for every occasion. Most Social: Claremont McKenna’s The Hub has become the most social café on campus. Its new feature of a pool table makes for a collaborative workspace that also provides students with a place to decompress and meet up with friends through meals and a game of pool. In addition to great quesadillas, they offer must-try mango smoothies and the space is the perfect place to socialize and run into people you know. Sometimes the music and noise levels make it more ideal for socializing than for studying. Students say that they will go here hoping to run into a friend or be distracted from their
work. For those who are looking to concentrate on their work, The Hub also provides a beautiful outdoor patio. Best Breakfast: Café 47 on Pomona campus is the place to go for a great breakfast sandwich. If you can get your hands on their vegan bagel before it sells out, it will become an essential part of your breakfast routine. The plain bagel, lightly toasted and topped with scrambled “egg” and “sausage,” is a delicious experience that most would think impossible for something only using vegan ingredients. Beyond their breakfast, this Pomona stop has some excellent drinks. If you are searching for a Starbucks refresher replicate, then make sure to try one of the many Tea Shakers: iced tea enhanced by fruit juice and other dried fruits. The inside seating of Café 47, although cute and well-lit, is very limited at most times of the day. However, do not fret — the café’s outdoor seating is part of a larger Pomona courtyard which makes for a lively atmosphere. It is always full of students, which balances out the quaintness of the indoor space. B e s t To - G o Fo o d : T h e b e s t grab-and-go food can be found at Muddbucks, officially named The Café, on the east side of Harvey Mudd. When compared to the other 5C café fridges, this location contains a wide variety of sandwiches, wraps, and
salads ranging from a delicious tuna melt sandwich to a chicken pesto pita pocket. They rarely sell out, and most options are available well into the afternoon. The indoor seating at Muddbucks is separated from the café, which makes for a much quieter working environment than that of The Hub. Especially in the mornings, people look to Muddbucks for a productive morning workspace while they enjoy breakfast. Best Late Night Meal: We’re giving the Best Late Night Meal to Jay’s Place, also at Harvey Mudd. Many 5C students told us that their ice cream, popcorn, quesadillas, and grilled cheeses are perfect after a night out or for a post-study midnight meal. The look of Jay’s Place is akin to that of a diner with its booths, dim lighting, and neon signage. It is hard to find, hidden beneath the academic buildings of Harvey Mudd, but it is worth the trek. Due to its diner-esque ambiance, Jay’s Place is not the ideal place to study and get work done, but it is great for a post-work hangout or late-night hangout session. Best Overall: The Motley Coffeehouse won three of our awards in our search for the best café on campus: Best Ambiance, Best Study Space, and Best Drink Menu. Not only do they serve delicious drinks, but the coffeehouse also redefines the
community aspect of a café. The Motley playlist is a culmination of uplifting, encouraging, and moony songs; it is the only café that we could willingly work in without headphones. The student-run Scripps coffee shop has a constantly rotating drink menu full of creative ideas, such as Christian Girl Autumn and The John Lemon. The featured drinks always have a twist. We always have enjoyed the spicy chai, which is a staple on the Motley’s menu. However, the Christian Girl Autumn elevates the chai flavor with maple simple syrup and cinnamon powder. This makes for a perfect fall flavor for those who long for fall leaves in the Southern California weather. Even better, they have many ways to personalize your drink with different milks, toppings, and syrups. We believe the vanilla syrup and cold foam are simple but delicious additions to virtually any drink on the menu. The ambiance of The Motley brings people together in a newly renovated, but still cozy study space complete with couches and a mellow but uplifting playlist. It’s also the most versatile café on campus. The establishment’s managerial team have mastered the ability to utilize the space, as exemplified by how it can quickly go from a beautiful study spot to a late-night Bottoms viewing party or a live music venue.
Our Recently Played: a Ranking of the “1989 (Taylor’s Version)” Vault Tracks By Aanji Sin ’24 Editor-in-Chief
T
aylor Swift’s ever-iconic 1989 was the soundtrack to my adolescence, as it was for so many others, and marked her full transformation from country artist to one of the most prolific popstars of our time. The widely anticipated rerecording of this album was released on Oct. 27, and despite the hopes Swifties held for the brand new “From The Vault’’ tracks to live up to the album’s original pop sound, some were disappointed to hear familiar synths and sensuous reverberations from Swift’s latest studio album, Midnights. This review ranks the Vault tracks on how worthy they are of being included in Swift’s pop bible, Midnights-esque or not. #5: “Slut!” Although “”Slut!”” is at the bottom of my ranking, it’s nowhere near a bad track. My initial listen pleasantly surprised me, its romantic atmosphere was a lovely divergence from its title that suggested a completely different ambience. Compared to the rest of the five, it’s one of the lyrically strongest, the true marker of any self-respecting Taylor Swift song.
However, unlike Swift’s best, ““Slut!”” has absolutely no musical variation. The song stays at one level for its entire three minute run: dreamy, lulling, sickeningly in love (and with a British man. Gross). It doesn’t go anywhere, not sonically or narratively, and leaves the listener wishing for something more … interesting. ““Slut!”” becomes just another love song, relying on nothing but its asymmetry in title and sound to make it interesting, and its superficiality begs the thought: maybe it would be a better song if it sounded the way ““Slut!”” looked. #4: Suburban Legends “Suburban Legends” is a track that grows on you. Out of the Vault tracks, it sounds the most Midnights, practically copying “Mastermind”’s flow beat for beat. It’s one of Swift’s more experimental tracks, playing with fluctuating cadences and nontraditional rhyme schemes, resulting in a song that feels a little all over the place. Still, “Suburban Legends” has its high points. If you hate this song, you’ve obviously never been in an on-and-off situationship with someone you went to high school with and romanticized your hometown because of it! If you went to private school and have no idea what
“a 1950s gymnasium” is supposed to imply, it’s not too late to just say so. #3: Now That We Don’t Talk This might be controversial, but despite its catchiness, “Now That We Don’t Talk” lacks too much to give it one of my top two spots. Its chugging beat is reminiscent of fan favorite 1989 track “New Romantics.” Without the latter’s musical climaxes and edgy lyrics, it sounds unsatisfyingly one dimensional and, dare I say, a little bland. There is so much room to go bigger and better, but Swift never does. Even so, you can’t deny that “Now That We Don’t Talk” succeeds at what it does do. Swift does one of her best jobs yet in capturing the emotional nuance in the aftermath of a complicated relationship, the fluctuation between indifference and obsessive what-if-ing all too real. She knows the breakup is for the better, but even her listener can’t help but wish for a reconciliation between lovers — if not for Swift herself, then at least for more songs about the ways pretentious, acid-rock-loving exboyfriends will always let you down. #2: Say Don’t Go “Say Don’t Go” is probably the Vault’s most 1989-adjacent track; it’s fun, it’s dynamic, it’s earnest and yearning in
a way only 2014 Taylor could capture. While it’s not her lyrically strongest, it makes up for it in its singalongableness. She’s finally shouting off the cliffsides in the backing vocals again — we used to pray for times like this! “I said I love you, you say nothing back,” followed by an actual silence will never cease to give me shivers. (Also, people on TikTok make Pride & Prejudice edits to this song, so really, what else can I ask for?) No notes. #1: Is It Over Now? Anyone who knows me for my astonishing self importance and the fact that I’ve never let go of anything ever should’ve anticipated that this track would take my top spot. “Is It Over Now?” features Swift at her lyrical best; mixing eloquent and artful images with terse, punchy lines makes for the dynamism and dramatics the Vault was missing. The track also features a slurry of 1989 signatures, including those satisfying harmonies up the octave, a belt at the song’s final chorus (seriously, we used to pray for times like this), and of course, a lights reference. At least now we know why she saved the best for last: she wanted to get him comfortable, then punch Harry Styles in the throat when he least expected it.
10 November 2023 • The Scripps Voice • Volume XXXII • Issue Three
Column •7
Satire: The Return of Questions You Didn’t Ask
By Aviva V. Maxon ’24 and Belen Yudess ’25 Staff Writer and Copy Editor Intern
D
earest readers, we have once again returned to answer the most
pressing questions you did not ask us. We are just as scared, concerned, and fraught as you are about the upcoming course registration so we thought we would continue to share our old wisdom. We got through it, and so will you. Q: How do I PERM? First, you log into the portal. Now that you have jumped into a portal, you will find you are in another land, complete with fairies, sparkles, and rainbows (very different from Scripps). Next, you find the hobbit hole that the professor lives in and prostrate yourself. Beg for mercy and begin to loudly sniffle. You’re past the point of shame. Finally, hope that the smiling gods find favor with you. But more seriously, click the PERM button and tell the professor why you want to take the class. Is it for your major? Do you really care about the topic? Isabel Suh ‘24 • The Scripps Voice
Is your current class crush taking this class? If you want to be extra special, email the professor to make your case and show your interest in the class. It will work out, and you will get into the courses you need. If nothing else works, show up to the first day of class next semester and see what happens. Professors are just like us — they want to feel needed. Q: What should I do postgrad? Go live in the other fairy dreamland where you can PERM for classes. Or adopt a manatee. Q: Why is course registration so stressful? Just for funsies. And also because the portal is 100 years old. It feeds its soul on the distress of college students who can’t get into an intro class. Class sizes are small, which is great when you are in the class, but it makes getting into the class harder. You are also probably more stressed about this than you should be. Take a breath and go for a walk. It will all work out. Q: How do I choose my classes for next semester? The important thing to remember here is that you should solely be taking classes based on the schedule of that random CMC student you have a
vendetta against. Whether they took
for you! Registration roulette (ages 17
more out there and so much more for
the last spoonful of scallion cream
and up) is a fun, easy-to-play game
us to look forward to.
cheese at Pitzer breakfast or the final
that
anti-On-Wednesday-We-
As for first years who are still new to
swirl of strawberry Dole Whip — they
Wear-Green goers a chance to spin the
registration, the same advice still ap-
must now PAY. Befriend their room-
coveted wheel. First, you steal borrow
plies (Belén here now)! Be patient with
mate’s best bro (just look for that one
the “On Wednesday We Wear Green”
yourselves and know that it is going to
guy in a CMS shirt, Nike shorts, and
wheel and label each spot with a dif-
be ok. You will get into the classes and
backwards baseball cap — you know
ferent discipline. Once you have four
find the path that is right for you, even
the one!) and casually prod them about
upper-division psychology courses,
if it sometimes doesn’t seem like that
their roommate’s major and planned
three classes that have “queer” in the
at first. Remember that you have so
course load. You’re just quirky like that.
title, and not a single GE, you give it a
many people who are here to answer
Once you chart every semester of econ
whirl and allow fate to be your new ac-
questions,
dude with a minor in FGSS’ schedule,
ademic advisor. Don’t make decisions
Novy to you profusely, or be a source
it’s GO TIME. Who cares about getting
— be decisions.
of support as you frantically fight the
into that ceramics course you need to graduate? You can do that later. It’s not
gives
Q: This is my last time registering for classes at Scripps!
recommend
Professor
impulse to not press the back button on the portal. Aviva and I believe in you!
Aviva here. Not a question, babes.
Juniors and sophomores, we could
And same! It is really scary and over-
never forget about you! For those of
Instead, use that 8:30 a.m. regis-
whelming to know that the end of col-
you going abroad, you will be missed
tration time to take him DOWN. Take
lege is so close. We have spent three
next semester, but have a magical
those final spots in every econ class
(kinda) years here, and now we can
time exploring new places and making
and be the one who fills the last seat
see the end. Remember the first time
memories that will last a lifetime. For
in Women in the Bible that no one sees
we registered for classes? Sitting in our
those of you who remain, think about
unless they refresh the portal. You have
parents’ homes (or at your office job if
how much easier course registration
to keep them on their toes! Remember,
you’re me), having a panic attack that
will be without a good chunk of our
it’s all about supply and demand: he
your dad witnesses, and then getting
class here! It truly is a win-win.
supplied you with motive, and now you
on psych meds. Class registration is
Thank you, dear readers, for listen-
are demanding he pay his dues.
important, but it is not the end. After
ing to us. We are not responsible for
If the only mortal enemy you have
you register for classes you have to
the outcomes of any of this. Much love.
this registration season is your inde-
take those classes. College might be
cisiveness, well, we have the solution
coming to an end, but there is so much
like those 100 PERMs will be there next semester.
10 November 2023 • The Scripps Voice • Volume XXXII • Issue Three
8 • Column By Tara Zhang ’24 Guest Writer
November Horoscopes
Edge
Canyon Daddy
By Aviva V. Maxon ’24 Staff Writer
By Rebecca Allen ’25 Staff Writer
Teetering on the cusp of life of love and the cusp of sorrow of fear and to keep going
You were our canyon daddy and we heed Your call.
choosing when there are no more tears to cry
We met You in Californian streets and alleyways. We were damaged, all ego and Your voice told us to surrender. You gave us shelter, You sang to us, playing Your guitar on the grass in Golden Gate Park.
their cars glistening under the desert canyon sun. We held our babies up to the sky for Your blessing. You were us and we were You and it was all love and beauty. We shaved our heads for You, Marked X’s on foreheads when You told us. We did it out of love, love for You and for the world we would one day rescue from helter skelter.
You told us to braid our long hair and it became Yours. We lived with You on farms and ranches, driving around in a big black bus, acid on our tongues. We would hitch rides from the city, and we never grew tired of telling others of Your mystical wonder.
We were all over the news and down at the courthouse they said we were the rebels, the bad hippies. Your love made us strong, but not strong enough to stop the doubt. The trial was endless. Some of us surrendered, others held out.
On the ranch, we nursed old Spahn and cleaned up when the music producers drove over,
Most of us spent the rest of our lives in grand, state prisons and now, our love for You is another American myth.
Photo Courtesy of Leio McLaren
10 November 2023 • The Scripps Voice • Volume XXXII • Issue Three