Dear readers,
C MAGAZINE
Welcome to the first issue of 2025! We are so thrilled to share more stories from around Paly with you this upcoming year.
The connections we form with our peers can leave longlasting impacts on our lives. “High School Hearts” by Zoe Ferring, Silvia Rodriguez and Ellis Shyamji on page 10 takes a look at the relationships of several former high school sweethearts and friends decades later. Whether through history discussions or middle school meet-ups, the bonds formed in school may influence you more than you think.
In the aftermath of the Los Angeles fires, Estelle Dufour, Disha Manayilakath and Sophia Zhang dive into the training and work of emergency personnel as they grapple with life or death situations on a daily basis in “On the Front Lines” on page 16.
Find our third consecutive poster on page 22, which draws on the nostalgia of scrapbooking through depicting a collage of stamps, postcards and photos from the Palo Alto community. Artist Talia Boneh left messages to our readers on the postcards — give them a read!
In the wake of a record-breaking Grammys Awards ceremony, our cover story “Getting a Bad Rap” by Luna Lim, Ria Mirchandani and Amalia Tormala on page 25 discusses the history of prejudice in the music awards industry and the depiction of rap music in mass media. From racist music
category designations to the growing appreciation of the hip hop genre, the recognition of rap music has drastically evolved but still has a ways to go.
Get your popcorn out for “Cinematic Storytellers” by Lily Jeffrey and Abbie Karel on page 34, which looks behind the scenes of the screenwriting industry. The accompanying perspective piece, “Writing the Future” by Abbie Karel on page 37, details Karel’s introduction to the film industry and her screenwriting career aspirations, creating an inspiring story about pursuing your dreams.
To wrap up our issue, see through the lens of this issue’s featured artist in “@gabe.films_” by Kaitlyn Arceo and Ella Hwang on page 38, which explores the videography projects of senior Gabe Boudtchenko. From sports edits to pep rally projects, Boudtchenko expresses his creativity with the Paly community through film.
We hope that this issue brings you some joy in the new year! With spring just around the corner, stay tuned for our upcoming print issues, and if you are interested, browse our online exclusive content and past print stories at cmagazine. org.
Happy reading!
Kayley Ko, Katelyn Pegg, Anika Raffle and Gin Williams
Web EXCLUSIVES
By Kaitlyn Arceo
By Alice Sheffer and Amalia Tormala
By Sophia Zhang
Featured Artist: Ivan Sandler
thanks TO OUR SPONSORS
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The Boneh Family
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The Williams Family
The Yeni-Komshian Family
Publication Policy
C Magazine, an arts and culture magazine published by the students in Palo Alto High School’s Magazine Journalism class, is a designated open forum for student expression and discussion of issues of concern to its readership. C Magazine is distributed to its readers and the student body at no cost.
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staff
Editors-in-Chief
Kayley Ko, Katelyn Pegg, Anika
Raffle, Gin Williams
Managing Editors
Abbie Karel, Disha Manayilakath, Amalia Tormala, Sophia Zhang
Online Editors-in-Chief
Kaitlyn Arceo, Sophia Dong
Social Media Manager
Dylan Berger
Staff Writers
Creative Directors
Talia Boneh, Alice Sheffer
Business Manager
Lily Jeffrey
Multimedia Director
Ria Mirchandani
Table of Contents
Gabe Boudtchenko
Adviser
Brian Wilson
Estelle Dufour, Zoe Ferring, Ella Hwang, Annie Kasanin, Sonya
Kuzmicheva, Luna Lim, Maia Lin, Fallon Porter, Silvia Rodriguez, Ellis
Shyamji, Maria Uribe Estrada
Cover
Alice Sheffer
Illustrators
Poster
Dylan Berger, Talia Boneh
Talia Boneh, Estelle Dufour, Maria Uribe Estrada, Zoe Ferring, Lily Jeffrey, Abbie Karel, Sonya Kuzmicheva, Maia Lin, Disha
Manayilakath, Silvia Rodriguez, Alice Sheffer, Ellis Shyamji, Lily
Table of contents
On the road to adulthood, it’s crucial to know the importance of taking ...
uring the school day, most people only see a single facet of a person and their character. However, there is a lot more than what meets the eye — someone’s childhood plays a significant role in the person they become and how they treat others. In fact, many elements affect a person’s development: parenting styles, the people someone surrounds themselves with and the relationship between their parents, to name a few. It is no secret that childhood holds a major influence on people as they grow up and transition into adulthood.
Junior Sthavyarashi Chaithanya has seen many varying par enting styles among her friends, all resulting in different relation ships and dynamics.
“Some friends don’t talk to their parents; they’re always se cluded,” Chaithanya said. “On the other hand, I know some friends who like calling their parents during the school day. Both relationships have pros and cons, [and] … people should be in dependent but also have a good relationship with [their] par ents.”
Although there is not a cookie-cutter definition of what effective parenting looks like, there are three general philosophies that most parents will intuitively sort them selves into, one of which being the authoritarian parenting style.
Hilary McDaniel, Palo Alto High School’s Childhood Development Path way teacher, defines authoritarian par enting as more traditionally uptight. In many cases, children of author itarian parents learn not to ques tion the rules their parents set which can lead to challenges in the teenage or adult years.
This reliance on rule enforcement and lack of internal understanding and discipline can shape teenage behavior. Many believe that strict parents tend to raise children to be more rebellious or secretive in their teenage years — a trend sophomore Ivanka Kumar has noticed firsthand.
“I have friends who have very strict parents,” Kumar said. “They learn different loopholes and ways to avoid the rules.”
On the other side of the spectrum is permissive parenting, which is typically described as more lenient due to the lack of firmly established parent roles.
“The opposite of that [the authoritarian parent] is the permissive parent, who is more like a friend,” McDaniel said. “These are the children who actually seem to struggle the most — they have really poor social skills. They don’t really understand boundaries, and they don’t cope well with stress.”
“Meeting the kid where they’re at is important.”really
Philip Fisher, director
of the Stanford Center for Early Childhood Learning
“Children [who have au thoritarian parents] are typically younger years,” McDaniel said. “But that’s typically only when people are watching, and it’s very extrinsically motivated — it doesn’t lead to a greater understanding of why they need to fol low the rules.”
Paly Advanced Placement Psychology teacher Christopher Farina shares this concern and believes that the authoritarian parenting style can have adverse long-term effects when children leave for college.
“With authoritarian parents, kids learn to be afraid of consequences, but they don’t really understand the rationale behind things,” Farina said. “[When] they go to a four-year college, they don’t necessarily have that rationale internalized as much.”
Yet, a more lenient approach to parenting can have benefits. Kumar has always had a close relationship with her mother, and she feels that it has helped her stay account-
“With my mom, our relationship is more like siblings,” Kumar said. “She respects my wishes, my beliefs. She does not force anything on me, but in turn, I try to
Another style of parenting is authoritative parenting, which Farina has found the most research to support due to its explanatory approach.
“Authoritative [parenting is] where parents can still set warm, clear, strong rules, but it comes with a sense of support and explanation,” Farina said. “They [kids] are given a balance between rules, freedom [and] independence. That sets them up for very successful adulthoods, primarily in the social realm, but also academically.”
Sophomore Adam Maldonado’s experience with his parents is representative of authoritative parenting, and he believes they have created a very balanced environment for him to grow up in.
“They [my parents] care a lot about my future,” Maldonado said. “There are certain things that they’ll limit me to. But other than that, my parents are pretty loose. I have a lot of freedom in
my life.”
Yet, there can be additional benefits to setting clear expectations and structure. Philip Fisher, director of the Stanford Center for Early Childhood Learning and professor in the Graduate School of Education, believes that different children need differing amounts of structure.
“A lot of parenting [styles] can produce perfectly fine outcomes,” Fisher said. “A lot of parenting is [doing] what suits the individual parents and the child’s temperament. There isn’t a particular parenting style that’s best for all children. Some kids need more structure, and some kids need less. Meeting the kid where they’re at is really important.”
However, even with clear structures, children’s freedom to make decisions is shaped by parental expectations, whether con sciously or not. Maldonado believes that the way he was raised contributed to his goals for the future, specifically in ath letics.
“My dad made it to college football,” Maldonado said. “Unfortunately, he blew his knee, and so he had to cut his athletic career short. All the men in my family have been athletes so I definitely feel [that] there’s a little bit of pressure. But personally, I like the pressure. I’m always up for a chal lenge, and so it’s never really been a big issue.”
Some motivation for one’s future can also be in trinsic — meaning it is derived from one’s own thoughts and feelings. Sophomore Jen sen Craig’s parents do not force him to act against his will; instead, they support him in his choices.
habits that are very much on the nurture end.”
Additionally, the way an individual’s experiences impact someone depends on their genetic predisposition.
“The way nurture impacts kids depends on their genetic makeup and whether they’re more or less sensitive to environmental influences,” Fisher said.
Another way of looking at the nature versus nurture debate is conceptualized through an analogy of orchids and dandelions. Dandelions are described as being able to live in any environment, with no exceptional differences between harsh and habitable conditions. On the other hand, orchids need specific surroundings to thrive, and other environments are detrimental to their survival.
“If dandelion children are in really poor environments, it won’t have that much of an impact, and if they’re in great environments, they may not thrive to a great degree either; they’re going to be less impacted by the world around them,” Fisher said. “Orchid children, who might be highly sensitive, might thrive in a caring environment, but if they’re in a difficult environment, they’ll struggle.”
“I’mmorecareful aboutrelationships becausemy parentshate eachother.”
“I hold myself to high standards on my own,” Craig said. “My parents don’t really like to make me live up to [any] standards. They just want to support me wherever my interests take me.”
While a child’s upbringing influences their iden tity, there is a continual debate over whether nature (environmental and biological factors) or nurture (ex ternal and human-influenced factors) affects a child the most.
In contrast, junior Tag Draper’s lived experience has led him to believe that a parent’s personality does not affect their child very much.
“I’ve met people who had terrible parents, and they are the sweetest people ever,” Draper said. “So I really don’t think that your parents rub off on you that much.”
TagDraper,11
In contrast, many believe that the way a parent acts in front of their child significantly impacts that child’s development.
In senior Aiden Chen’s experience, the way his divorced parents acted around him when he was younger changed the way that he behaved.
“Your temperament is more governed by nature,” Farina said. “We’ve seen evidence of that through twin studies, who are separated at birth.
But your personality can be more in the middle. There are things like your political preferences and food
“Whenever my parents met, they would always argue,” Chen said. “That led to me mirroring that emotional idea, and I started acting out in class a lot when I was younger.”
Furthermore, a parent’s presence in a child’s life has serious long-term effects on that person’s development. Sophomore Loren Arcilla believes that a person’s environment can impact their perspective.
“Depending on where you live and the type of personalities that are around you, childhood definitely shapes how you believe in the world,” Arcilla said. “For example, my parents were absent in the beginning [of my life]. It definitely taught me how to live on my own and be more independent.”
Living in many areas during childhood can also impact how one views the world. For example, Kumar was born in North Dakota, but when she was younger, she lived in Ukraine. Afterward, she moved to Texas, then back to Ukraine and eventually found herself in California.
“Where you grew up, your accent, the people you hang out with, your beliefs [and] your values [can all] shape your life experiences,” Kumar said.
Along with this, people who were raised with a specific life trajectory in mind end up developing differently than those who do not have a set goal. Maldonado, a first-generation student, has always felt a drive to go to college.
“It definitely set up more motivation for me, and having the drive to go to college fuels me in a way,” Maldonado said. “I keep in my head the goal I want, which is to be able to provide not only for my family but also to give back to my parents.”
For others, the pressure of having a specific goal for life can be challenging, and a person’s life can also revolve around try ing to achieve that goal.
“When I grew up, my parents always told me I’m going to college, and that was a big thing for me,” Draper said.
The first seven years of a child’s life are crucial in the child’s devel opment. How a parent treats their child or acts around them deeply impacts their child’s values, personality and future growth. Some parents have the privilege and re sources to sacrifice their work life for their children.
specific systems in place to make it harder for families to advance out of these cycles.
“People from more affluent backgrounds have had family members go to college, [so] they have … navigational capital,” Farina said. “Parents of first-generation kids haven’t gone through that process themselves, so then there’s less of a network to support them.”
Yet, there are always opportunities to grow and change as a person. Regardless of how one was raised, a person’s character is never set in stone.
“Development is ongoing, and nothing is too late,” McDaniel said. “Certainly, there are windows of opportunity, and childhood is a very big window of opportunity. The younger you are, the more fertile the development is. Though, there’s another window during adolescence, so it’s never too late.”
Adolescence in particular, is integral to who a person becomes. Because of the sudden increase in both physical and mental changes, people are pushed to discover who
“Where you grew up... and your values can all shape your life experiences.”
Ivanka Kumar, 10
“My parents made large efforts to spend time with me and my sister growing up,” Craig said. “They made really hard choices to limit how much they were working [in order] to spend time with us.”
Events that happen during these early years can impact more than just a child’s mental health.
“The experiences kids have in the earliest years of their life have a huge impact on who they’ll become,” Fisher said. “Early experienc es also have a big impact on health. People who had very harsh early environments are more prone to metabolic disorders and cardiovascular disorders. They also have shorter lifespans.”
Similarly, how a person’s parents act towards each other during these critical years can have long-lasting effects on that person. Draper’s parents divorced when he was very young, and he grew up never being exposed to anything else.
“When I was a kid, I didn’t know that people’s parents didn’t have two different houses, and that was really confusing for me when I found out,” Draper said. “I’m more careful about relationships because my parents hate each other. So I’m really careful because I understand that people might feel that way about me.”
Additionally, a parent’s background can significantly impact their child’s future. Due to this generational aspect of parenting and development, it can often be hard to break out of continuous cycles like generational poverty. In many cases, there are also
“The very first years of life are important, but the lescence is another time where there’s an opportunity to think about who you are,” Fisher said. “Adolescence is talked about as a period of recalibration, where there’s additional flexibility in terms of brain development
As students transition into high school, their new environment causes a rapid period of
“By the time you get into high school, kids are starting to be more susceptible to their peers [that] they’re hanging out with but also what the overall culture is like, and that tends to have more influence than their specific parents,” Farina said. Being able to do what a person wants can change their worldview and how they perceive themselves. Because of this, it is important to give a developing adolescent some space for them
“Having freedom opens my eyes, and I get to see the world for what it really is,” Maldonado said. “It prepares me for when I go to college and after that.”
Regardless of the myriad of factors that influence a person’s development and future, it is imperative for people to remember that childhood lays the foundation for what comes after. However, this foundation is dynamic — there is always room to change and grow as a person ages.
“Childhood is a starting point that a lot of people hold on to too much,” Chen said. “It’s in the past. It’s affected you, but you can still change how you act in the future.”
Text, design and art by TALIA BONEH, ALICE SHEFFER and MARIA URIBE ESTRADA • Photos courtesy of TALIA BONEH, AIDEN CHEN, ESTELLE DUFOUR, ELSA LAGERBLAD, ADAM MALDONADO, RIA MIRCHANDANI, AMRITA MUNAGALA, SILVIA RODRIGUEZ, ALICE SHEFFER, EMILY TANG, AMALIA TORMALA, MARIA URIBE ESTRADA, WILLIAM XUE and SOPHIA ZHANG
HFormer students look back on the long-lasting connections they made in high school
sweethearts
igh school: four foundational years where adolescents try new things, take risks and grow into the adults they want to become. While their journey might be tumultuous, support from friends helps stu dents gain important life skills, try new things and learn a lot about themselves and others. When those four years come to an end, students leave changed for the better, excited to start a fresh new chapter in their lives.
Sometimes, relationships forged in high school last well beyond graduation day; high school experiences morph into college experienc es and last far into adulthood. These kinds of friend ships and relationships are unique for their timeline and for their strength, perfect examples of how lasting connections can impact lives forever.
Aran & Jennifer
tory class at Gunn High School.
“We became aware of each other in a class called Contemporary World [History], which was a current events class,” Johnson said. “The first time we ever interacted with each other was when we both signed up to present a news story to the class.”
“We’ve been growing together from the start.”
Jennifer Reboh, Gunn graduate
Aran Johnson and Jennifer Reboh attended Jane Lathrop Stanford Middle School at the same time, yet the pair exchanged their first words during a sophomore year his-
Neither partner wanted to spend a lot of time on the project, thus Johnson and Reboh aimed for the quickest possible strategy.
“I said, ‘why don’t we both look up news stories, and on Monday let’s just choose which one to do,’” Johnson said.
“When Monday came around, it turned out we had both chosen the same newspaper article.”
Despite the awkward coincidence of choosing the same story, Johnson and Reboh did not interact much afterwards until fate brought them together again during the next semester.
“We ended up in the same English class,” Johnson said. “[Reboh] was sitting next to me and seemed to know a lot of people that I knew. It kind of drew me into her orbit, and that’s when I started to get to know who she was a little bit more.”
The two interacted more over the course of sophomore year, occasionally talking as they left class or passed one another in the hallways. As summer approached, Johnson wanted to see Reboh more so he asked her the question that had been lingering on his mind.
“I built up the courage [to ask Reboh out], but I struggled,” Johnson said. “I was so nervous, and I was thinking, ‘Oh my God, today I’m going to ask her.’ I told her, ‘I’d like to get to know you better this summer.’”
Except, there was a problem: Reboh was going away for
the summer and was also planning to study abroad for a semester in Sweden. Johnson quickly came up with a way to stay in touch with her — a completely fabricated scenario.
“He concocted a story that he collects rare postcards with pictures of food on them,” Reboh said. “So he asked me to send him some, and in reality, he’d only ever
It started with postcards. Then, Johnson and Reboh began sending letters to stay in touch during her semester abroad. Eventually, they started dating and stayed together throughout their teens and twenties,
“We were 34 when we got married,” Johnson said. “It was a long time of us just enjoying life with each
“There’s definitely an instant familiarity you feel with people you grew up with.”
Corbin Dodd, history teacher
Undergoing so much of their lives together has been a fulfilling experience for both Reboh and Johnson and has brought them closer
“It’s really unique and special to know someone who really knows you and everything about where you came from,” Reboh said. “He [Johnson] knows everything about my life and has experienced it with me.”
Despite knowing each other for so long, the Johnson and Reboh have found that they’re still learning about each other and connecting with the world around them in new ways.
“I still find [Reboh] really interesting, and I feel like I’ve known multiple versions of her over the years,” Johnson said. “I always like and love the person she is though I don’t see her as the same person I knew in high school.”
“We’ve been growing together from the start,” Reboh said.
While some find their spark early on, it took the parents of Corbin Dodd — a ninth and 10th grade history teacher at Paly — almost a decade to establish their relationship.
“My parents actually met when they were in the seventh grade, but they didn’t start dating until they were in their junior year of college,” Dodd said.
Dodd believes that giving relationships time to grow, as well as maturing individually, can lead to a stronger bond later on.
“They [my parents] probably would not have been compatible at that young age,” Dodd said. “When you make a connection, [it] is really dependent on each person’s
Paige & William
[path]. There’s definitely an instant familiarity you feel with people you grew up with that you don’t necessarily feel with people you meet later in life.”
Although attachments formed at a young age can sometimes turn into lasting romantic relationships, others remain as close-knit friendships. Paly history teacher Steven Sabbag has kept his own ties by continuing to engage with his childhood friends whom he has always been very close with.
“I’m still in touch with many of my high school friends,” Sabbag said. “I still text everybody, especially for birthdays. A lot of these guys, I’ve known since elementary school and middle school.”
Sabbag’s bond with his friends is akin to that of siblings, sticking together and maintaining a deep sense of brotherhood.
“I can’t pull any nonsense [with them],” Sabbag said. “There’s just no wast ed energy trying to be somebody you’re not. They know me better than [I know] myself, so it’s freeing in a lot of ways.”
Similar to Sab bag, Paige Hsieh, a soccer, field hockey and track and field coach at Paly, feels like her most authentic self around people that she has known for years, includ ing her now-husband William Hsieh.
“There’s no wasted energy trying to be somebody you’re not.”
Steven Sabbag, history teacher
“We met in middle school,” Paige said. “We dated in middle school and then throughout high school. We broke up when we graduated high school because we wanted to establish ourselves as adults and as individuals.”
After their freshman year of college, Paige and William ended up getting back together.
“It was extremely helpful for us to break up and have some time to become our own people because when we got back together, we liked our individual selves so much more,” Paige said.
She believes that growing up and exploring adulthood together has helped them both strengthen their rela tionship and discover who they are as individuals.
“As we adapt and change, we have learned a lot of life skills together,” Paige said. “Not having to explain your life story to someone because they were with you along the way is very special.”
that they were going to the park to play ‘Pokémon Go,’” Tang said. “He told Shannon that they were going to drive around to the park and catch Pokémon.”
When they got out of the car, Shannon saw Lily with her leash tied to a tree and a new heart-shaped collar. According to Tang, Steven had to play dumb so as not to spoil the surprise and said they should check if it really was their dog.
“It was a long time of us just enjoying life with each other.”
Aran Johnson, Gunn graduate
The extended family of Em ily Tang, a junior at Paly, is home to many pairs of high school sweethearts. For Tang, one of her fondest memories is the engagement story of her cousin, Steven Hua. Steven decided to center the proposal around his girlfriend Shannon’s love for his family dog, Lily, and the game “Pokémon Go.”
“They walked up to Lily and checked her dog tag, and the tag said, ‘Will you marry me?” Tang said.
Tang has witnessed first-hand the everlasting bonds that can form during high school and in the earlier years of life. Wheth er building friendships or experiencing a romance, fostering a relationship together is rewarding in many ways.
sweet-
“The way that [Steven] set up the proposal was
Lily
“High school is a time where you really grow into yourself, and you pick up on habits that shape who you are and who you become,” Tang said. “If there’s someone who can stick with you through all that, that’s really special.”
Sabbag (& friends)
Aran & Jennifer
Text and design by ZOE FERRING, SILVIA RODRIGUEZ and ELLIS SHYAMJI • Art by ZOE FERRING, SILVIA RODRIGUEZ, ELLIS SHYAMJI and LILY WILLIAMS •
Photos courtesy of PAIGE HSIEH, ARAN JOHNSON, JENNIFER REBOH, STEVEN SABBAG and EMILY TANG
food
design and
C Magazine’s guide to Bay Area food truck finds
Text,
photos by KAYLEY KO, KATELYN PEGG, ANIKA RAFFLE and GIN WILLIAMS
Tostada ($17)
Sometimes referred to as the “Mexican pizza,” the tostada is one of the most popular items on the menu. A handmade corn tortilla is toasted over a comal until crunchy, then topped with black bean puree, toasted avocado leaves, queso fresco, tomatoes, avocado and your choice of protein. The fresh-pressed tortilla delivers a satisfying first-bite crunch, while each topping brings an authentic and unique flavor. The carnitas were perfectly spiced, and the black bean spread added a rich, velvety touch that tied the dish together.
MAMACITAS! ZAIDA’S KITCHEN
Zaida’s Kitchen food truck brings the authentic flavors of Oaxacan cuisine to the hustle and bustle of the Saturday morning farmers’ market in downtown Palo Alto. With an entirely gluten-free menu, the food truck serves unique dishes from their Mole De La Casa ($20-$22), a traditional, velvety and thick sauce frequently used in Mexican cuisine, to their Mexican Wedding Cookies ($3), a tender butter cookie made with nuts and sprinkled with powdered sugar.
Super Burrito ($16)
A thick, soft, fresh-pressed corn torti lla encases a delicious com bination of rice, beans, cheese, sour cream, guacamo le and your choice of protein. Although the burrito was packed with flavor, the ratio of tortilla to filling was oc casionally skewed, with some bites consisting of only tortilla.
Mamacitas! Taco Truck brings bold and flavorful Mexican street food to the heart of Mountain View, delivering a taste of tradition in every bite. Located in the parking lot next to the Mountain View Target, this colorful truck is hard to miss and a go-to for locals in the area.
Birria Taco ($11.95)
The Birria Taco was a standout on their menu — a crispy, cheesy and flavor-packed taco filled with tender, juicy beef. Dunked into a side of warm consommé, it was apparent why this is a customer favorite. Every bite of this was balanced, with no ingredient overpowering the other. Though it came piping hot, this didn’t cause the shells to become soggy.
Super Taco ($4.50) The Super Taco has a lot of potential; however, it fell short in execution. It was generously filled with well-seasoned al pastor meat, but it was difficult to eat, and the overload of sauces made the crispy taco soggy. While the combination of the ingredients was delicious, the textures made it harder to enjoy.
A bright red truck and a rich, spicy aroma are in stark contrast to the adjacent gas station and parking lot. Pav Bhaji and More is an entirely vegan, affordable and authentic Indian food truck located roughly half an hour from Paly driving or 45 minutes on bike in Sunnyvale West. Pricing is surprisingly reasonable, with most meals ranging from $5.99 to $11.99, not including the eight percent discount for cash purchases. The staff is friendly and helpful, though there may be a minor language barrier for those who do not speak Hindi.
Amul Pav Bhaji ($11.99)
— A viscous vegetable curry with a punch paired with Amul butter, onion, lime and cilantro and served alongside Masala Pav (bread rolls). The curry’s powerful, slightly tangy and barely spicy flavors resemble comforting home cooking. While plain on its own, the Masala Pav balances out the strong spices in the curry and has a splendid crispy and soft texture for dipping.
Tandoori Vada Pav ($6.99)
While the tan vegetable patty, white bread roll, tandoori sauce and roasted green chili pepper may appear bland, the flavors blend to create a pleasant, approachable dish. The center of the dish, a deep-fried potato patty, has a smooth texture and contains most of the star qualities in this dish. The chef’s special tandoori sauce is a less vibrant orange than most tandoori sauces, which is reflected in its flavor palette similar to that of a shy aioli. The untoasted bread is a dry, unimpressive addition, only slightly redeemed texture-wise by the chef’s special tandoori sauce. The smallest component is the most deadly — beware the green pepper unless you want intense spice.
Burrito ($12)
As one of their most popular menu items, the burrito is highly customizable with seven protein options to choose from. Despite the generous portion for the price, the burrito al pastor was lacking in flavor and texture, as the pork was not very tender and tasted slightly metallic. The salsa, pinto beans and rice were far superior to the pork, with a pleasant spice level that salvaged the bite from the sub-par meat and complimented the lettuce and sour cream.
PAV BHAJI AND MORE PETRA’S KITCHEN
Located in a quiet parking lot at the corner of San Antonio Road and California Street in Mountain View, Petra’s Kitchen is immediately recognizable, painted to resemble the flag of France. The truck is an amalgamation of cultural symbols, with a Buddha statue wearing an evil eye necklace at the checkout window and a menu ranging from traditional Mexican entrees to French desserts to American classics. Founded three years ago as a family business, Petra’s Kitchen’s menu is expansive, and picking just one meal can be difficult. Overall, while Petra’s Kitchen’s vast options are appealing to some, the execution of their menu is a hit or miss. The food was slow to come out but can be ordered either in person at the truck or online, and the staff is very friendly and welcoming to customers.
Crepes ($12) In contrast, the crepes were a standout dish — containing Nutella, strawberries and bananas, the classic combination of flavors was perfectly balanced and filling. The fruit was perfectly ripe and was complimented nicely with whipped cream, creating a pleasant dish.
On the FrontLines
to evacuate civilians who might be in the area and have them be out of danger,” Reifschneider said. “But the second part of that is you’re also then limiting the risk to firemen who might have to go in and try to evacuate an occupied home that should
According to Geoffrey Blackshire, Chief of Fire at the Palo Alto Fire Department, having a pre-planned strategy during rapid evacuations is essential for civilian safety and survival, as it promotes public cooperation and helps streamline the safety process.
“By preparing effectively and planning escape routes, making sure your smoke detectors are working, even medically, if someone has a medical emergency and a bystander knows hands-only CPR, this is
responders
medical people who can get in and help extract and provide treatment,” Reifschneider said.
The synergy within a team is crucial for effectively assisting civilians under demanding time constraints.
John McCann, Lieutenant of Rescue 1 located in Manhattan, believes that difficult situations make teamwork, camaraderie and adaptability even more essential.
“The splitsecond problem solving is what makes us so successful.”
John McCann, Lieutenent at Rescue 1
Civilians are key to the process of organizing, rebuilding and cooperating with first responders after emergencies. Many civilians may believe that the job of a firefighter is limited to battling fires, but according to Fire Captain of the Suisun City Fire Department Aaron Leming, this assumption is
“It’s not always just about fighting fires,” Leming said. “Firefighting is probably 80% medical calls, and the rest is fires, traffic col-
In times of crisis and panic, the coordination of different first responders is key to successfully handling both medical needs
“The fire and police departments have to be able to work collaboratively together because if there is a situation where people have been injured and need to be extracted, the best way to do that is to have trained
“The most valuable thing on our truck is the six brains of the firefighters and officers working,” McCann said.
“The split-second problem solving is what makes us so successful.”
Being a first responder appeals to those who thrive under pressure while assisting others and embracing dynamic environments. For Palo Alto High School senior Lucy Kristofferson, the work ethic, quick thinking and compassion that being a first responder entails piqued her interest in becoming an Emergency Medical Technician.
“I like that I can directly help patients and that the situations you’ll encounter are so different depending on where you get dispatched,” Kristofferson said.
There is often a lack of in-depth understanding regarding the work of EMTs and paramedics. Michael Cabano, Assistant Chief of the Emergency Medical Services Agency, believes that this unfamiliarity reduces their versatile job to a constrained role.
“Many people think that we just put the patient in the back of the ambulance and get them to the hospital,” Cabano said. “It’s a lot more than just that. It’s interact-
ing with the patient, making sure they are transported in a safe and effective manner.”
The gravity of the situations fluctuates depending on the different situations they encounter through the job.
“Our EMTs or paramedics have delivered babies in the back of the ambulances and also deal with very tragic situations on a daily basis, whether that be somebody going into cardiac arrest or being in a severe accident where they possibly lose their life,” Cabano said.
Some of these experiences can cause lasting trauma for first responders, a risk that they take on with their job.
“The one [situation] that seems to be the most impactful for any first responder … is any situation that involves a child that you know either leads to death or another tragic situation …” Cabano said. “A child has so much life to live, and when we deal with them in these emergency situations it’s very impactful.”
Along with these mental impacts, the job also takes a toll physically. Most first responders, like Greg Larsen, a retired paramedic localized in Los Angeles, have busy schedules and regularly lose hours of sleep.
sponsible for.”
Many positives come with the hardships of the job. This career can develop one’s compassion towards others, as Benjamin Slaughter, a firefighter from the Palo Alto Fire Department, exemplifies.
“Especially as a firefighter, we see people on some of the worst days of their lives, and we want to be able to show them compassion while also trying to help them the best we can,” Slaughter said. “It opened my eyes to realizing that we don’t always know what’s going on in everybody else’s life, and we need to show compassion for everybody, whether I’m at work being a firefighter or if I’m at home.”
Alongside the empathy needed in a selfless and community-minded occupation, it is necessary to take preemptive action to reduce the effects of potential dangers.
first repsonders
“In my department, you were sometimes running 18 to 21 [hours] a shift,” Larsen said. “You never went to bed, so you’re up for maybe 30 hours straight.”
Different cities and locations have various levels of busyness regarding the number of calls they receive, affecting how
“Depending on how busy the system is, each of those calls usually takes about an hour to an hour and a half from start to
Since these calls take a different amount of time depending on the situation at hand, it makes for an unpredictable schedule. The difficulties of this type of job may be overwhelming for prospective first responders, but McCann believes they are a part of the learning experience which helps to
“I would have to say the challenges that my team encounters are the best part,” McCann said. “We constantly train both mentally and physically for the disciplines we are re-
“We’ll go out within our district that we serve, and we’ll pre-plan different things,” Slaughter said. “If it’s a high-rise building in our district, we will have an idea of how we’re going to handle that emergency; if something was on fire or if there was a gas leak, we’ll be able to note or identify where everything is.”
As they become more experienced, first responders encounter a greater variety of emergencies. The impact of these events varies from person to person. For some, it can be important to consider how the job would match their needs and wants.
“Make sure that you’re aware of what you’re going to be going through, doing or seeing in order to figure out if it’s a good fit for you,” Leming said.
Recently, the first responder community has seen an increase in the prioritization of mental health, a significant improvement for emergency personnel.
“We have not for many years done a good job of addressing mental health within the first responder community,” Cabano said. “There’s been an initiative over the last five years to increase the awareness due to the number of suicides within EMS, fire and law enforcement because of what they see daily.”
As suicides have risen among first responders, medical professionals have increasingly been brainstorming ways to effectively support their mental health.
“We are increasing awareness on actually reaching out, maybe having regular visits with a counselor to help walk through some of the tragedies that you see, because the tragedies you see at work might then carry on into your personal life,” Cabano
said.
repsonders
As the traumas of work seep into their personal lives, these communities have developed ways to confront and manage the stress that comes with their work.
“The wellness programs are big right now in the first responder community,” Cabano said. “We have peer counselors at our organization, as well as all the fire departments and law enforcement agencies, so they can meet with one of their co-workers, decompress and determine whether or not that individual needs to be placed on some time off.”
Similar progress can be seen at Paly; these values are reflected in the Wellness Center and the multiple counselors and therapists available to help students. However, these resources have not always been readily
“It wasn’t normal for people to outwardly express their feelings,” Cabano said. “Over the last 15 years, we’ve really done a better job — I won’t say we’re perfect yet, and I don’t know that we’ll ever get perfect, but we’re increasing awareness.”
One way to cope with the feelings and emotions associated with trauma is to find activities that separate work and time off.
“I enjoy being with my family,” Reifschneider said. “I enjoy being with my kids. I enjoy running. I like doing things away from work and really being able to check out because the job can be all-consuming.”
“It’s been one of the greatest honors of my life to be able to serve this community.”
en,” Cabano said. “You have to know that the reason why you’re getting into this profession is not to make hundreds of thousands of dollars. You really, truly have to be in this profession for the right reason, and that’s to serve the community and to treat people in their times of need.”
Geoffrey Blackshire, Palo Alto Fire Chief
There are many qualities needed to enter this type of job, such as being able to distance yourself from the job or being brave enough to show up every day. Cabano believes some values are necessary to start a career in this line of work.
“You have to be compassionate, you have to be empathetic, you have to be driv-
While the struggles make the job difficult, ultimately, the satisfaction and privilege of serving others is what makes being a first responder worth it.
“I’ve been the fire chief since 2019, and it’s been one of the greatest honors of my life to be able to serve this community and to work with such a dedicated team — not just the fire department, but also the city,” Blackshire said.
Text, design and art by ESTELLE DUFOUR, DISHA MANAYILAKATH and SOPHIA ZHANG
& Treasures
cutetrinkets[SonnyAngels] bringsmealotofjoyandalwaysmakesme smile.”HarrisonLan,11
Collectibles and charms are more than just aesthetic - they hold personal stories and meaning
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Text, design and photos by
DYLAN BERGER and SONYA KUZMICHEVA
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Getting A BAD RAP
While Black music has made a lot of progress in terms of gaining recognition, the industry still has a long way to go
At the 1999 Grammy Awards, Lauryn Hill made history when “The Miseducation of Lauryn Hill” captured the Album of the Year award. As Hill, then 23, stepped up to the stage, she was met with cries of support from the star-studded audience. In her acceptance speech, Hill declared her surprise at winning the highly coveted trophy, saying, “This is crazy because this [album] is hip-hop music.”
Since its inception, the Grammy Awards have given 65 albums the widely-respected Album of the Year award. Out of these, three were categorized as hip-hop.
This disparity is no anomaly according to Palo Alto High School Choir and Audio Music Production teacher Michael Najar. In fact, the Grammy Awards introduced the Best Rap Performance category in 1989 — three decades after the first awards ceremony — which is emblematic of the larger lack of recognition of hip-hop in the music industry.
“For the longest time, there was no rap album [category], even though rap albums were dominating the music industry,” Najar said.
Additionally, the Grammy Awards had a category titled “Best Urban Con-
— a name describing music of Black origin that was dropped as a category in 2020.
After claiming “Best Rap Album,” hiphop and neo soul artist Tyler, the Creator denounced the Grammy Awards “urban” label, citing its racist origins.
“I don’t like that ‘urban’ word — it’s just a politically correct way to say the N-word to me,” Tyler said. “Why can’t we just be in pop?”
In response to the urban category’s existence, Vivian Medithi, a rap columnist at the music magazine The FADER, explained how the Grammy Awards often has a skewed categorization system.
“The academy body is very male and very white dominated,” Medithi said. “At the Grammys, this idea that all [Black] artists are in the urban category has been criticized.”
Voting mechanisms further complicate the recognition of artists, as there is often a disconnect between what the general public thinks and the Recording Academy’s voting; record companies and members of the Recording Academy are the only ones with a say. Public campaigns, like publicity and strategic song releases, can be helpful, but often lead to contentious results.
“Artists have to campaign themselves to the Recording Academy and encour-
“Kendrick Lamar [might] lose rap album of the year to Macklemore, even though his record has more streams or more acclaim, but the Academy has the final vote.”
Senior and Paly’s Black Student Union president Alec Bonnard believes that these differing opinions may be due to racial prejudice within the voting groups.
“I think that it [Macklemore’s 2014 win] was as a result of the [voters] choosing the Grammy award, who were all white,” Bonnard said. “[They were] coming from a white background and wanting to look at it from a white lens, rather than what rap is for.”
According to Medithi, mainstream music recognition has been tainted with racial bias, although it may not be intentional. This stems from the lack of Black representation in the music industry, as evident by a 2021 study from the University of Southern California concluding that 86% of top music executives in the industry were white men.
Due to this skew, subtle racial judgment toward music can be detrimental to the artists as a whole and is visible beyond the consumer perspective. Race frequently shapes how certain artists are acknowledged.
“There’s a lot of implicit racial bias in how people talk about rap and Black artists
“[They were] coming from a white background and wanting to look at it from a white lens, rather than what rap is for.”
Alec Bonnard, President of paly’s black student union
bias] comes into award ceremonies and the voting process. Separating things by genre as a proxy for race has been fraught and problematic.”
The Recording Academy, according to Medithi, has had a history of undermining the artistic merits of rap and hip-hop music.
“When the Best Rap Performance category was created, some of the nominees were trying to organize a boycott because the award wasn’t going to be televised,” Medithi said. “Even at the first instances of rap awards, rap was already being marginalized or sidelined.”
In addition to award shows, hip-hop has faced these hurdles since the beginning of its introduction to major studios. Consequently, major record label executives often do not reflect the identity of the artists they represent.
“Record labels essentially [group] and push [all] music to be part of the mainstream,” Medithi said.
This may also affect how genres like hiphop are discussed and evaluated. Hip hop is often compartmentalized or stereotyped into being a substanceless genre.
“Hip hop can seem really unserious or light but [it can] also have implications of heavier stuff,” Medithi said. “Rappers like Dave Blunts, for example, embody a lot about both the good and bad in hip-hop culture.”
Beyond the industry’s structural issues, there may be a deeper complexity in how hip-hop is interpreted in mainstream cul-
ture. In the past, hip-hop has been deemed by some as a lighthearted or unintelligent art form, but the political and social response to the genre has changed today.
“A lot of progress has been made in terms of respect,” Medithi said. “If you look at hip-hop 30 years ago versus now, it’s insane. Just look at Fat Joe, an artist who [was considered] satirical and now is on stage with Biden and Kamala.”
Yet, despite these visible signs of progress in increasing respect and representation, prestigious awards often neglect rap and hip-hop as meaningful forms of music. According to Medithi, conservations and debates about diversity have yet to make a tangible difference.
“Even though the Grammys have made an effort for diversity at the nomination level and at the broadcast level, I don’t think that’s really reflected in major categories like Song of the Year or Album of the Year,” Medithi said.
Dr. Daphne A. Brooks, a professor of African American studies at Yale University and author of multiple books on Black women in the music industry, believes that the Grammys are an example of a system flawed with structural inequity.
“The fact that [Beyoncé] is only the third Black woman to ever win Album of the Year in the 66 year history of the Grammys is an indicator of how extraordinarily disproportionate the institution is with regards to valuing the art of white artists versus that of Black artists,” Brooks said.
Institutions like the Rock and Roll Hall of Fame, the Pulitzer and the Grammys have the power to define what is important, in both an artistic and academic context.
“We need to take these institutions se-
riously because they create meaning and value,” Brooks said. “They get to define the narrative of what culture matters and what culture does not matter.”
When these institutions historically fail to recognize the art of certain groups, particularly that of African Americans, they must invent their own metrics of cultural importance.
“All marginalized people, not just African Americans but people of color and women, historically in this country, have had to create their own meaning,” Brooks said.
Music is inherently political and culturally important, providing different meanings to different groups. For many Black Americans, music has served as a way to preserve the past.
“For African Americans in particular, music has been a powerful way to create counter-narratives about themselves,” Brooks said. “The ways music can operate as historical archives, to store the memories and hopes and desires of communities who are locked out of power, is incredibly important.”
Yet, while marginalized communities have used music as a powerful tool for documentation and expression, the authority to criticize popular music has historically been delegated to predominantly white groups.
“White men were the ones who creat-
“We need to take these institutions seriously because they create meaning and value.”
Daphne brooks, professor of african american studies at yale university
“For the longest time, there was no rap [category],album even though rap albums dominatingwerethe music Michaelindustry.” Najar, paly music and choir teacher
in evaluating popular music and rock and roll in particular and really pushed an effort to define music that was important in the 60s and 70s.”
The impact of this early gatekeeping became even more pronounced as genres evolved into the modern era, leading to significant shifts in how Black artists could navigate the industry.
“Something happened in the 21st century in regards to hip-hop’s extraordinary global dominance and pop becoming a racially segregated space,” Brooks said. “Although we know that there are crossovers, the gray area and liminal genres [between pop and hip-hop] that existed and offered different opportunities for different kinds of artists to emerge [went away].”
This transformation of the musical landscape has especially affected the career trajectories of Black female artists.
“Beyonce and Rihanna are the last of this generation of Black women who are crossover artists, like Whitney Houston, like Diana Ross, who was the first Black woman pop superstar, arguably,” Brooks said.
While previous generations saw the emergence of these superstars who could move between genres, that path has become increasingly rare, reflecting a larger shift in how Black artistry is defined.
“Hip-hop, as powerful as it is, closed ranks around our definitions of what Blackness can and should sound like,” Brooks said.
Dr. John Rickford, a Professor of Lin-
guistics and the Humanities at Stanford University’s Department of Linguistics, was shocked at the Grammy Awards’ historic ignorance toward hip-hop and rap music.
“It [the lack of recognition for hip-hop] is surprising because we’re talking about a genre that has been around since the 1970s,” Rickford said.
In fact, he says that hiphop celebrated its 50th anniversary in 2023. According to Rickford, hiphop was created by both African and Caribbean Americans in the Bronx. In August, 1973, DJ Kool Herc and Cindy Campbell hosted the first hip-hop party in an apartment, he says.
ple didn’t hear Black records,” Penniman said. “They had race stations, they had Black stations and they had stations for white people and stations for Black people.”
The segregated broadcasting of music impacted the careers of Black artists of the time period, including Penniman. Pat Boone, a white artist, covered Penniman’s 1956 song “Tutti Frutti” and achieved great success — in fact, Boone succeeded more than Penniman himself.
“[Boone] outsold me,” Penniman said. “He sold more records because the stations would play him and wouldn’t play me.”
music genres
In 1942, the “Harlem Hit Parade” — a Billboard magazine chart ranking the most voguish African-American records of the time — was released to the public. This chart marked Billboard’s first acknowledgement of Black music. Seven years later, Black albums would begin to be called “rhythm and blues” on Billboard’s chart, today more frequently referred to as “R&B.”
Hip hop’s Black origins have led ethnicity to play an integral role in hip-hop culture. However, this comes with consequences; hip-hop is often less praised than other genres due to its reputation as a way to instigate violence or perpetuate gang conflict.
“There is a racial undertone that it [hiphop] is not seen as gloriously as pop music, even by some people in the Black community, because they [think hip-hop] is setting us back,” Bonnard said. “It perpetuates those harmful connotations of gangster life.”
In actuality, the history of bias against the music of Black artists stretches back decades before the 1970s and hip-hop’s emergence. The migration of Black Americans to rural, Southern cities beginning in 1916 was when Black music initially gained more popularity, according to the Music Forward Foundation. Despite the surge in popularity with artists such as Duke Ellington and Ma Rainey, during this time, terms such as “race music” and “race records” categorized the music of Black artists, delegating Black tracks and albums to separate catalogs and even separate radio stations altogether.
Soul artist Richard Wayne Penniman, known as “Little Richard,” referenced these divisions in a 1991 televised interview documented by Reeling in the Years Archive.
“When my music came out, white peo-
“African Americans created R&B; they created the blues genre,” Brooks said. “They were barred from the industry, creating [different] pathways for them to record their own music.”
Eventually, in the 1970s, Billboard’s chart began categorizing Black music as “urban contemporary.”
It was around this time, according to Rickford, that hip hop’s popularity began to slowly increase.
“It [hip hop’s growth] fits into the larger tradition of Black music and culture, evolving from what came before it,” Rickford said.
In the 1980s, there was a shift to Black artists being a part of mainstream music. Artists were able to transition from the gospel or the R&B genre to pop music.
“There was a Black pop renaissance in the 1980s: Whitney Houston, who was very much groomed to become a global pop superstar and came out of the Church and Lionel Richie, who crossed over from an R&B funk band [to the mainstream],” Brooks said.
In response to these giant Black musicians in popular music, hip-hop began to evolve as a counterculture, especially in lower-income neighborhoods. In the 90s, hip-hop shaped
the experience of many Black communities and would prevail as the dominant music form for Black Americans for decades.
“Hip hop’s total dominance in the [1990s] and past 30 years has been extraordinary, but that took up a lot of the oxygen around where people presumed Black artists belonged,” Brooks said.
genresDespite this categorization of Black artists, the impact of hip-hop — especially in cities — was undeniable.
“[In the 90s], you had the rise of hip-hop culture with real names like Tupac, Biggie and Snoop Dogg,” Najar said. “The LA and New York [rap scenes] were just rising.”
Junior Nalani Walsh’s favorite era of the rap genre was during the 1990s because of its artistic integ rity.
“Hip hop can seemunseriousreallyor light but also have implications of heavier stuff.”
“The 90s rap sound is defi nitely still around in rap music today,” Walsh said. “90s rap mu sic was really significant because there was a lot of art in it then, especially with the ways that DJs would mix beats with actual records live.”
vivian medithi, rap columnist at the fader magazine
bring communities down,”
Similarly, sophomore and Black Student Union secretary Kendall Butler has seen 1990s hip-hop’s tangible impact on her life, as she listens to rap on a daily basis.
“The rap genre is very good for creativity and lyrical play,” Butler said. “To me, it [hip-hop] is a way of self expression and poetry.”
Despite widespread admiration for the decade’s music, hip-hop’s rise to the top came with controversies. Due to the hedonistic themes and graphic content of more mainstream rap music, the genre has been used as a form of subtle oppression against African American communities.
“Rap music is being misused in order to
Butler said. “[Rap music] is usually associated with the words ghetto, thuggish or aggressive, and oftentimes those associations are pushed on to me as a person of color.”
University of California Los Angeles graduate student Chanel Cox believes Black artists have been molded to fit into the distinct spaces the music industry sets aside for them.
“They [the music industry] don’t really want Black artists in other genres and categories for award shows because they’re still trying to award and show recognition for white artists,” Cox said.
For her research on African American Studies, Cox analyzed the transformation of iconic figures like Tupac Shakur, whose image was changed to become more palatable to a mainstream audience.
“Tupac was not always this gangster,” Cox said. “He was in prison, and then when he came out, he [had] a whole different persona that really was commercialized and commodified for the white viewer.”
Racial stereotyping has often been a business model within the music industry, where Black artists are reduced to one-dimensional caricatures that align with audience expectations.
“The industry makes money off of the Black male stereotype of being a gangster, of being a criminal,” Cox said.
Today, many artists still adhere to this image, while others navigate these expectations by paving their own path.
“There are still those artists, hip-hop artists, who are getting arrested and going to jail and then coming back out, and it does play into their street credibility as an artist,” Cox said. “But, there’s the other side of hip-hop and rap, where some of the artists, like Tyler The Creator, [are] not trying to play into those stereotypes at all.”
Gender dynamics add another layer of complexity to the experiences of Black rap and hip-hop artists. Female artists must simultaneously deal with racial stereotypes and gender role expectations.
“Hip hop is such a virtuosic aesthetic
across the board,” Brooks said.
The expectations to adhere to a certain stereotype in hip-hop sometimes keeps Black women from expressing femininity or their full identity.
“Gender and economic status intersect in the experiences of hip-hop artists,” Cox said. “Megan Thee Stallion and Doechii are Black female artists, but they come off as more masculine sometimes, and they have to because of the industry [standards] which play into that stereotype of Black womens’ independence.”
According to Cox, the predetermined portrayals of Black artists can limit how much of their work is shown to the public.
“There is a box that [industry executives] try to put [Black artists] into as they’re creating music,” Cox said. “Some of their music might not be released because it’s not marketable or sellable.”
Many of these deep-rooted societal biases stem from misogynistic or violent lyrical content, especially prevalent in late-twentieth-century hip-hop.
“The 90s did not help the problem,” Najar said. “You still had a ton of misogyny; you still had a ton of violence in the lyrics towards women.”
While the 90s may have shaped problematic trends in rap music, others point to how the modern industry continues to promote certain styles of rap over others.
“Upbeat rap gets more recognition because it’s way more comfortable to listen to, while spoken word rap does not because it usually includes topics of society, life and deep emotion, rather than money, gambling and fast life,” Butler said. “Many people fail to realize that not all rap is the same. The rap music pushed to the top of the platform is badly representing the point of what rap is supposed to be.”
These concerns about representation in rap music reflect broader issues that have faced the music industry. During the Feb. 2 Grammy Awards in 2025, Recording Academy CEO Harvey Mason Jr. delivered a speech addressing past issues regarding the Recording Academy’s staff diversity and lack of transparency.
Mason Jr. mentioned the Grammy Awards’ recent addition — the Black Music Collective — designed to increase the diversity amongst Academy members and create a staff that “reflects the entire music
community,” as he put it.
As of today, 40% of the Grammy electorates are people of color, a 90% growth for Black artists, according to The Hollywood Report.
“The current president Harvey Mason Jr. spoke about [the lack of diversity] last night, and I am aware that they have tried to make institutional changes, especially at the level of transforming the voting body,” Brooks said. “Other sites of cultural recognition, like the Oscars for instance, have tried to reform at the level of evaluation.”
While striving for change, it is important to recognize the efforts and contributions of African American artists to the evolution of modern music.
“The Black Music Collective does a fair amount of programming and historical work, so that people will understand, for instance, the story of how African Americans were architects of the blues, which then became the DNA for popular music culture,” Brooks said.
As the music industry and awards ceremonies have begun to recognize Black artists more and more, many like-minded listeners hold aspirations as to what rap music could be in the future.
“Rap music should be used to uplift communities,” Butler said. “I would like people to view rap music as more of an art, rather than a lifestyle or characterization.”
Bonnard has seen significant progress in hip-hop becoming more respected by the public and obtaining a more di verse audience.
“More people of all races are enjoy ing hip-hop — all races, backgrounds and socioeco nomic class es,” Bonnard said. “Hip hop has grown in that way.”
“Ideally [in the future], hip-hop is viewed in a way that’s equal to that of rock music or pop music, especially if you see people who consider what is the greatest music of all time,” Bonnard said. “A lot of time, you’ll just see pop and rock albums rather than any rap album being [recognized as great]. Hip hop’s recognition as a legitimate music genre that’s equal to other genres [is what I hope to see].”
This vision of hip-hop achieving equal recognition aligns with a broader hope for expansion in Black artistry.
“I hope that we’ll continue to see these younger Black artists experiment with new genres,” Brooks said. “It doesn’t mean the death of hip-hop, as Kendrick [Lamar] said. Hip-hop will never die, but hopefully, it will expand the [boundary] of what is possible for Black musicians.”
Brooks emphasizes the importance of allowing Black artists to fully express their creativity beyond the bounds of genre expectations and cultural stereotypes.
“We want to see more innovation from Black artists,” Brooks said. “[We want] for them to be seen as truly multi-faceted human beings by the industry.”
“the industry makes money off of the Black male stereotype of being a gangster, of being a criminal.”
Despite in creased attention to rap, Bonnard believes that there is still progress to be made in terms of hip-hop’s respect as a genre.
CHANEL COX, ucla gRADUATE STUDENT
Text and design by LUNA LIM, RIA MIRCHANDANI and AMALIA TORMALA
Being part of the audience is more than just passive listening
concerts Concert Courtesy
Aside from the slight rustle of performers raising their instruments, the room is still. The audience waits with anticipation as Palo Alto High School Band Conductor Katie Gilchrist raises her hands. After a deep breath, she lets her arms fall, ushering in a choir of clarinets, saxophones and bassoons. When at last the music stops, the audience, moved to tears by the music, bursts into thunderous applause.
While the average audience member may be captivated by the performance, most do not realize how crucial their role is. Concerts require significant time and effort to organize, and yet the performers only represent half of the experience. Often, a concert experience is what you make of it, and that depends on audience participation and etiquette.
Elena Sharkova, the artistic director of the Cantabile Performance Choir, believes in the importance of audience preparation and engagement. For her, the audience isn’t just a static entity but an active part of the concert experience.
“The audience is really the other half that makes the performance very special,” Sharkova said. “We performers feel the audience. We feel when the audience is engaged or when the audience is just there opening the bonbons.”
To do that, audience members must be eager to take an active role in contributing to the concert environment. Ceira Motoyama, a vocalist and sophomore at Lynbrook High School, thinks that being present at a concert is more than just showing up and sitting down.
“Performers live for performing,” Motoyama said. “You can get that only when there’s an audience present. To show up to a performance is to show that you are willing to contribute to an art form by bearing witness to [it] and being part of it.”
Text and Design by SOPHIA DONG and MAIA LIN • Art by MAIA LIN
As a concert planner, Sharkova is constantly coming up with new ways to engage the audience to make the concert experience more pleasant.
“It’s something that’s always in my mind: ‘How can I erase the divide between the performer and the audience?’” Sharkova said. “Any folk song can go forever because nobody’s sitting there actually listening to it. Everybody’s singing — the music feeds itself.”
When the audience seems disengaged with the music, it can be disheartening for the performers, especially since many concerts are visual as well as auditory.
According to Paly math teacher Alexander Dade, a frequent concert-goer with a wide range of musical tastes, concert etiquette plays a large role in not just respecting performers, but also other audience members at the venue.
“Bad concert etiquette can really just ruin a night,” Dade said. “You’re seeing [a performer] that you really want to see, and the people around you are just killing the vibe.”
“To show up to a performance is to show that you are willing to contribute to an art form.”
Jessica Carlson, Cantabile’s associate conductor, suggests reading the program in advance so that people can remain focused during the performance.
Ceira Motoyama, 10
“Something that I struggle with is when you look out into the audience and everyone’s heads are down because they’re looking either at their phone or program during the music,” Carlson said. “If you just stare down, not only do you deprive yourself of the performance, but [you disrespect] the performers [who] see the heads down.”
At the same time, good concert etiquette can create a positive impression on fellow attendees that lasts until long after the performance has concluded.
“Whether it’s somebody helping you out or just making a good connection, that can be as memorable as the concert itself,” Dade said. “While it’s not always make or break, [concert etiquette] can really enhance or detract from the experience.”
With many fans streaming in to see a concert, it is essential for concert attendees to be aware of other audience members and regulate their volume. Unfortunately, this is not always the case. Senior Andrew Gonzalez recalls attending an Olivia Rodrigo concert where three girls were screaming during a quiet song.
“You could really hear it [the screaming] in the recording, which is pretty annoying,” Gonzalez said. “I understand you’re trying to have fun, but it kills the vibe for other people.”
Beyond screaming and phone use, sophomore Katya Kuykendall finds it frustrating when taller people stand in front of shorter individuals or hold up fan signs that obstruct other’s views.
“If you’re in the nosebleeds and you have a sign, that’s fine because you’re in the nosebleeds; no one’s really going to see it anyway,” Kuykendall said. “But if you’re [at the] front in general admission, you’re just blocking a ton of people.”
Junior Gabriela Suriani, a punk concert attendee, describes a common annoyance for audience members: smoking. Though smoking policies differ from venue to venue, it remains a persistent
“Being mindful of what you say and what you do … is so important for the safety of others and [their] enjoyment and for the reputation of the artists.”
Gabriela Suriani, 11
“The polite thing to do is blow the smoke so it doesn’t hit people’s faces,” Suriani said. “I hate it when people don’t do that and blow the smoke forward or to the side … [because] it stinks up the place.”
Many concert goers, like freshman Ashton Montgomery Dahl, dislike excessive phone use during performances. Recently, many concerts have adopted policies where phone use is forbidden to ease this problem.
“It was actually a really engaging experience because everyone was there: present at the show instead of on their phone,” Dahl
In contrast, some concertgoers go above and beyond to uphold concert etiquette, enriching the experience for those around them.
Photo courtesy of CYNTHIA DONG
As Suriani notes, good concert etiquette isn’t just about following rules or avoiding disruptions: it’s an active responsibility.
“We had multiple people ... barring [my friend and I] when we were walking, so no one would touch us or bump into us or anything,” Suriani said. “Taking care of those around you, being mindful of what you say and what you do … is so important for the safety of others and [their] enjoyment and for the reputation of the artists as well.”
Conductors are also starting to embrace this shift to accommodate new listeners. As concert culture becomes more relaxed, Dr. Yun Song Tay, conductor of the Golden State Youth Orchestra’s Senior Symphony, has seen long-standing customs evolve to better suit a new generation of listeners.
“For a long time, the classical music concert hall was almost like a religious sanctuary where rites are supposed to be performed in a certain way,” Tay said. “These rules and customs make newcomers feel awkward instead of welcomed. If my audience members ... choose to hold back their applause between movements, that’s fine with me. If they enjoyed it so much that they felt compelled to applaud us, that’s great.”
For Kuykendall, concerts hold sentimental value, particularly because they offer a chance to connect with others. She says that everyone should experience a live concert at least once in their life.
“Being surrounded by people that have the same respect for music and for the same artist as you is incredibly powerful.”
For classical music listeners, pet peeves often differ from those of more modern genres. While it may seem trivial, Monta Vista High School senior Kartik Patel is often frustrated by clapping between movements.
“In general, different movements are written in such a way that they relate somehow and clapping in between disrupts the flow,” Patel said.
On the other hand, Motoyama acknowledges that those unfamiliar with concert traditions might make mistakes and that frequent classical concert attendees should be accommodating.
“I don’t like it when people shush others for clapping in between movements,” Motoyama said. “It’s a bit pretentious and discourages people from attending classical concerts out of fear of ‘messing up.’”
“It might not be [the concerts of] mainstream artists, or even concerts at the Guild or Shoreline,” Kuykendall said. “But even if you’re far back and in the nosebleeds, going to a concert and listening to live music is such an important experience.”
Despite the reservations some people have about attending concerts, Dade believes that attending live performances is more important than ever.
“[Music] takes on a new weight when you get to see it live,” Dade said. “It creates this memory that’s centered around a love of music; ... being surrounded by people that have the same respect for music and for the same artist as you is incredibly powerful.”
Photo courtesy of SHUN CHEUNG
Photo courtesy of CLAIRE SHI
Alexander Dade, math teacher
CSTORYTELLERS STORYTELLERS
In the world of ‘lights, camera, ac tion!’ aspiring actors and directors often shine in the spotlight, cele brated as key architects for the success of a film. But behind every captivat ing and emotion-provoking scene lies the work of a film writer.
These unseen stars craft the blue print for every big motion picture hit we see in theaters today, yet their name often hides in the credits. As the popularity of reading is re placed by watching television, the next generation of writers is pivoting towards film as a career.
other people see into the personal bends of your work.”
Hollywood film writer Daniel Rogers has worked as a staff writer on the CW drama “In the Dark” and recently was a story editor on the Netflix series “Partner Track.” Rogers explains how critical the writer is to a story.
“The role of a writer is instrumental to any project because, without
who then talk about the directors. It narrows down to a niche collection of people who really enjoy film, or are filmmakers themselves, who know about writing and how hard writ ing can be and know writers by name.”
Pursuing a film career is undoubtedly challenging and often requires years of dedi cation and persistence before a script is ready to be sold.
“The truth is that television and film are evolving quickly in ways that we can’t antic ipate,” Rogers said. “The great thing about the world today is it’s easier than ever to start working on your
own stuff; people are making movies that are shot on iPhones. … Don’t be discouraged by the fact that when you’re first starting, your work isn’t going to be as good as others around you.”
Obtaining a job as a writer in the film industry is another exceedingly difficult challenge; it often takes months or even years of unemployment to secure the script. Recently, there has been a writers’ strike in Hollywood due to the under-appreciation of their work in film and television.
Gabriell e M
“When you realize your own unique perspective, you can delve into topics you find interesting,” Makower said. “That’s why we do it; it’s so fulfilling and fun to write.”
a k o w re
As a result of the increase in film and streaming services for entertainment, film writing tracks are becoming increasingly popular among graduating high school seniors who are deciding on their career paths.
Senior Ryan Backhus, an aspiring film writer at Saratoga High School, is attracted by film’s ability to open minds.
“Racial injustice, climate change and political activism is an important piece of who I am,” Backhus said. “I want change in the world, and I want sto-
diverse stories they and the rest of our generation will bring to the table that are fresh and exciting.”
While film writers often find similarities in their scripts, the differences in generations bring more perspectives and variety to the table. For junior Brendan Giang, a member of Palo Alto High School’s film writing club, these evolving perspectives inspire his own storytelling as he hopes to continue filming professionally.
GABRIELLE MAKOWER, FILM WRITER
“When you’re able to collaborate, you can challenge ideas and end up finding what’s the most interesting.
Before you can go too deep, people are
“Every generation of writers will have something different to say,” Giang said. “We have grown up in this era of technology, data and shortform content that has made a huge rise, and I
RYAN BACKHUS, SARATOGA HIGH SCHOOL SENIOR
“As a result [of the strike], we gained a lot of opportunities in the entertainment industry,” Rogers said. “I’m not saying that there’s not still work to do, but I do think the writer strike proved that writers are a force to be reckoned with.”
“Our generation is part of the pioneers for change. Part of what we bring to the table is that attitude for change and bringing new solutions to the world, and we can advocate through film.”
While the strike highlighted the power of writers when united, their passion for storytelling remains a deeply personal and enduring force. Freelance film writer Ga brielle Makower reflects on what initially drew her to the world of film.
There’saversionjust forwriters!TheWriters GuildofAmericaAward, foundedin1949,honors Hollywood’stopwriters everyyear!
most successful product.”
Senior Koseli Thakali is the president of Whitemarsh High School’s film writing club and highlights a film’s ability to foster collaboration through working closely with club members.
DON’T LOOK UP
film FunFact! EverheardoftheOscars?
“[Film club has] a writer’s room of over twenty people, so I’ve grown used to immediate criticism and feedback,” Thakali said. “We rarely agree with each other right off the bat, and while that makes our process slow, it also makes it more thoughtful.”
Above all else, the uncanny joy the artists feel may be the most significant pull factor for a film.
“I think there’s a lot to be said in terms of just the joy in the art form,” Giang said. “I said at the beginning, I want to write stories and I want to craft films that are interesting to watch in the moment, enjoyable to watch for everyone, but also, interesting to think about in the afterward.”
What these writers have in common is the opinion that film writing holds the power to inspire change, challenge the status quo and unite audiences across the globe.
As the next generation of writers soon step into the spotlight, their passion for storytelling promises to shape a more innovative, intriguing and impactful future for the film industry. These stories linger long after the credits roll, these writers are not just creating scripts — they’re creating history.
“Art means nothing, film and television mean nothing if it’s not coming from someone with a point of view and if it’s not coming from somebody who has lived and seen the world,” Rogers said. “So get out there and experience things and bring those experiences back and put them into your art. Don’t be afraid to get personal and let other people see into the personal bends of your work.”
Text, art and design by LILY
JEFFREY
by Adam McKay & David Sirota
2022
“Any time you write something, whether it’s a script or a book, you become all of the characters. So all of the characters represent different sides of ourselves. What was so satisfying about writing the script was that I got to express all those different points of view.”
— Adam McKay in The Hollywood Reporter
EVERYTHING EVERYWHERE ALL AT ONCE
by Daniel Kwan & Daniel Scheinert
“Every time we come up with an idea, we always, in the back of our minds, know we have to pair it with these other things so that we get this beautiful constellation effect.”
— Daniel Kwan in Deadline
2024
THE HOLDOVERS
by David Hemingson
2023
“I love television, and I will continue to write television, but there’s a beauty in being able to write a movie where the four corners of the world and the universe are going to be contained in those two hours.” — David Hemingon in The Credits
ANORA
by Sean Baker
“I know if I had somebody make a film about my life, I wouldn’t want it to look just gray and drab. Even when I’m going through hard times, I still see color, I still see beauty. And I think that we tried to reflect that in the style of the film.”
— Sean Baker in NPR
and ABBIE KAREL • Photos courtesy of GABRIELLE MAKOWER 2025
WRITING THE FUTURE
Written by Abbie Karel
MY PERSPECTIVE: A passion beginning with a love for film and storytelling and a career driven by determination and ambition
Growing up, I can’t remember a time when I wasn’t fascinated by television shows and movies. I’ve always enjoyed unpacking sophisticated language and deeper meanings in seemingly innocuous dialogue. My parents always used to say I had a lot of fun hyper-fixating on movies I loved, but
film writing
Collins. I have watched “The Hun ger Games” franchise at least 30 times throughout my life, partly because of the intriguing world of Collin’s creation, but also due to the hidden Easter Eggs that lay within the frames.
After being inspired by this movie in the third grade, I began writing in my free time. I would write about anything, from fantasy realms to eye-opening poems about the beauty in a silent world. I could escape into the world of my creation. I could be anyone and do anything. When I wrote, time stopped, and everything would feel a little brighter for a moment. I felt completely in control with a pen in my
Around the same time, two of my cousins were accepted into NYU’s film program. With this, I witnessed how quickly film captivated and pulled them in. One of my cousins, Gabby, graduated from NYU with a degree in Film and TV Writing. From the day of her graduation on, I wanted nothing more than to
Gabby’s journey in the film industry was both inspiring and motivating. She shared stories of the sets she worked on, the projects she was passionate about and the goals she was determined to achieve. She spoke with the kind of passion that was infectious. Seeing her journey unfold made me realize that writing for film wasn’t just a dream — it was something I could chase, something I could make real. This drove me to shift my focus from creative writing to film, and she has been a guiding influence in my jour-
During the summer before my senior year, I had the opportunity to study film writing at UCLA with around twenty other students. During this program, I learned the art of constructing a television show and how to write captivating scenes that evoke audience emotion. Above all, I realized that being a film writer is exceptionally hard.
There were many days when I debated if being a film writer was what I truly wanted to pursue, but someone said something that resonated with me ever since: “The only thing standing between you and your dreams is the belief you can and the will to try.”
And that's exactly what I intend to do.
Text by ABBIE KAREL • Art and design by LILY
JEFFREY
@gabe.films_ FEATURED
ARTIST
Senior Jeremiah Fung yells in excitement after scoring a crucial touchdown against Mountain View.
Text by KAITLYN ARCEO and ELLA HWANG • Design by ELLA HWANG • Photos courtesy of GABE BOUDTCHENKO
he crowded gym goes quiet as the lights dim, signaling the start of the long-awaited video beginning on the screen. As the crowd reacts to his ‘HISTORY REPEATS ITSELF’ basketball introduction video with screams and chants, senior Gabe Boudtchenko takes a deep breath before entering the gym.
Boudtchenko captures these moments on his camera often at Palo Alto High School’s many sporting events. From football to lacrosse to basketball, Boudtchenko is always on the sidelines with his camera, taking pictures and videos of the game, which he then shares on social media.
From a young age, Boudtchenko has shown a natural interest in film, which quickly grew from a hobby to a full-fledged
“I got into videography in elementary school through access to my mom’s old camcorder,” Boudtchenko said. “I would record my sister’s piano recitals, and I would record music videos and make little things with whatever I had access to.”
In addition to making these videos, he learned to edit and put together films independently.
“I downloaded this free editing software that I watched YouTube videos on how to use,” Boudtchenko said.
That early self-teaching eventually led him to filmmaking camps, where he learned how to use professional equipment.
“Eventually, that led to working at those camps and teaching them,” Boudtchenko said. “Then in high school I started working in studios and little things like that.”
in a community [I was] familiar with was very beneficial to my start.”
In addition to filming for his own benefit, Boudtchenko helps many athletes improve through his videography. By filming an athlete’s plays so they can later watch them, Boudtchenko gives players a chance to notice their mistakes and build on their strengths.
“Oh yeah, that’s my kid’s video.”
Vera Shinsky
Boudtchenko gives a lot of credit for his progress in creating films to the Paly Athletics community.
“Paly sports has given me the greatest open access to sports to film, so it was a good starting point,” Boudtchenko said. “The Paly community really supports this type of creative expression — starting out
“What I found most valuable is capturing those moments and solidifying them, creating a memory for someone that they can treasure,” Boudtchenko said. “They can look back on it to be happy. Even just the instant smile of them watching back their amazing play, or seeing something they might have otherwise lost in memory, is great. That’s why I feel it’s very important.”
Vera Shinsky, Boudtchenko’s mother,
described one notable moment she is proud of in Boudtchenko’s filming journey: when he made a video for Paly’s boys lacrosse team’s end-of-season banquet.
“He made it [the video] into such a tearjerk,” Shinksy said. “I’m sitting there with a bunch of other parents, and we’re watching his video, and they’re all commenting on it. I’m sitting there going, ‘Oh yeah, that’s my kid’s video.’”
Additionally, Boudtchenko had many achievements stretching back years before his start at Paly, including winning the Pride Video Awards, a film festival centered around the LGBTQ+ community and getting a film stored in the UCLA Film Archive in middle school.
“He made the film [Pride Video Awards film] in seventh grade, and submitted it in eighth grade,” Shinsky said. “He [Boudtchenko] is always like, ‘Oh, that’s really old,’ but that’s an impressive achievement, especially that early.”
Although many of Boudtchenko’s early achievements in filmmaking date back to middle school, his passion for the craft has only grown stronger over the years. It’s clear that the foundation he built at a young age has not faded with time.
Balancing filmmaking with the demands of high school and college admissions is not always easy for Boudtchenko, but he still makes time for his passion.
“In high school, it’s more of a challenge to integrate it [filmmaking] into my lifestyle because in the upperclassmen years, schoolwork becomes increasingly difficult and time-consuming on top of trying to fit in filming, editing and sending out emails for client work,” Boudtchenko said.
Boudtchenko finds that planning out each hour of his day and setting achievable daily goals helps him make time for both his academics and his filming. However, no matter the amount of planning, there are certain sacrifices that have to be made.
“If I have a big test coming up, I’m going to study more for that and then delay projects, and then the other way around,” Boudtchenko said.
Clare Antonow, a Paly graduate from the class of 2024 who also pursued videography, helped Boudtchenko in his photography and videography journey during her time at Paly.
“She [Antonow] helped me a lot with getting started at Paly specifically and getting situated as a sports creative,” Boudtchenko said.
Antonow worked closely with Boudtchenko through Madrono, Paly’s yearbook, and shares what she first observed when he started.
rience with the artsy and musical side of it, and it was cool to see him grow in that aspect of film.”
Antonow is now attending UC Berkeley with a double major including media studies and is hopeful for Boudtchenko’s future in filmmaking.
“Gabe could go in a lot of different directions of filmmaking,” Antonow said. “I don’t want him to limit himself because people [filmmakers] either keep pursuing it or get bored. I just hope he finds something that fulfills him creatively because that’s what I’m trying to figure out right now. I’m leaning away from what I did in high school and exploring new creative work. My advice to him is to always keep things fresh and experiment with his films.”
With pursuing a creative career comes a set of obstacles. Boudtchenko’s biggest hurdle was navigating Paly’s complex system for media credentials and limited field access.
“There is a story in everything you shoot.”
Gabe Boudtchenko
“One thing I noticed was Gabe constantly striving to improve the technical aspects of his work, and I found that unique,” Antonow said. “I found a setup that works for me, but he was always driven to improve the quality or make the colors better.”
While Antonow and Boudtchenko share a passion for filmmaking, they started off differently.
“Gabe came in with much more of a technical background,” Antonow said. “It’s been really cool to see him get more into the cinematics and creative color. I started out with the opposite — I had more expe-
“When I started, the system [media arts system] wasn’t set up for students having access to shoot things they wanted to shoot or express their creativity,” Boudtchenko said. “I communicated with athletic directors about how photographers and videographers on the field could better support our creatives here at Paly.”
When Boudtchenko finally gained access to the field, Paly sports events provided the most accessible environment for filmmaking, which eventually expanded to further opportunities outside of Paly, including paid work for clients.
“When you start filming for clients and for a paycheck, everything changes,” Boudtchenko said. “Not only are there more expectations for your work, but a lot
of the time if there’s money involved, you can lose creative liberty or lose a lot of aspects of the work that you would feel are your personal contributions to it.”
Although he describes less personal creative freedom for paid work, he also belives that working for a commission is beneficial.
“I’m very grateful that they [clients] have given me much more creative control than I would have expected,”
Boudtchenko said. “Working under commission has helped me stay motivated because it validates my work. It allows me to market myself and invest in myself. It’s very beneficial and has helped me establish myself as a brand and as a business and build strong relationships with the clients that I have.”
myself up or constricting myself to any sort of medium,” Boudtchenko said. “I hope to just make cool stuff.”
Along the journey, Boudtchenko’s perspective on storytelling continues to grow.
"Storytelling can be very dynamic and doensn't have to fall into that traditional sense."
Gabe Boudtchenko
“Storytelling can be very dynamic and doesn’t have to fall into that traditional sense,” Boudtchenko said. “By discovering stories and beginning to watch films with different lenses, you can search for deeper meanings, emotions and personal connections that make them much more meaningful to watch.”
Boudtchenko’s journey of filmmaking has been one of persistence, creativity and continuous learning.
there,” Boudtchenko said.
Through every obstacle, whether it is navigating media access, balancing school with client work or defining his own creative style, Boudtchenko has found ways to push forward, refining both his skills and artistic voice.
More than just documenting moments, Boudtchenko has created lasting memories for athletes, families and his community, turning fleeting moments into stories that will be remembered after the final whistle blows.
“He’s seen the impact of his films beyond just somebody saying, ‘Oh, that’s a cool video,’” Shinsky said. “He has seen the impact on the community and people’s personal lives. It’s very fulfilling for him, and it serves as a big source of inspiration and affirmation.”
As Boudtchenko looks ahead to college and beyond, he remains committed to his craft, ready to explore new opportunities and continue to tell stories that resonate.
“There is a story in everything you shoot,” Boudtchenko said. “You just have to try to express it and find it.”
Boudtchenko plans to continue his passion following high school — not only in college, but as a career.
“After high school in college, I’m looking to major in film and meet more people that are like-minded and passionate about the same thing,” Boudtchenko said. “I want to take that time to explore what section of the film industry I want to pursue — or maybe not the film industry at all.”
Boudtchenko is also excited about pursuing film in college because of his previous experience working with San Jose State University.
“For filming athletics, college is going to be great because there [will] be a full community of people that you can grow with and learn from,” Boudtcheno said. “It was cool seeing their [San Jose State University’s] media team, and finding that [a creative team] at a fouryear college will be great.”
While Boudtchenko is not completely sure where film will take him in the future after college, he is sure he wants to continue his career in the creative industry.
“I like not knowing [future plans] because I’m not setting
“Starting out, it was amazing to have a level of community support immediately behind my work,” Boudtchenko said.
From capturing childhood memories on a camcorder to standing on the sidelines of Paly’s biggest games, his passion for storytelling has only grown stronger.
“It [filmmaking] was more motivating to continue when you see recognition and people watching your work because it’s a piece of your creative expression that you’re putting out
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FLea Finds
In a world dominated by fast fashion brands and product overconsumption, it can be challenging for shoppers to find sustainable and budget-friendly clothing options. To combat pollution and waste buildup, Palo Alto High School hosts a flea market located in the Paly parking lot every second Saturday of the month. The market offers a wide range of unique second-hand items for shoppers to thrift, benefiting the Paly community and environment.
In 1989, the Paly Flea Market began as a fundraiser in the El Camino parking lot to support Paly’s music program. During this time, the proceeds went towards buying instruments and materials for music students.
The Paly Flea Market offers locals the opportunity to purchase unique secondhand treasures
ronmentalist, and I just felt like the current fashion industry didn’t really align with that value,” Talian said. “I’ve always really loved fashion; I actually went to school for fashion design, but I really didn’t like the industry, so I’ve gotten far more into secondhand fashion.”
“You can find a lot of really cool and unique stuff that you wouldn’t find at any other store.”
Paolo Buendia, 10
While it was started to aid the music program, the flea market also promotes environmentally conscious shopping habits. One of these is limiting waste from unwanted and discarded clothing.
Secondhand shopping reduces the number of items ending up in landfills and decreases the demand for production. Rylie Talian is one of the many flea market vendors passionate about reducing the environmental hazards caused by overproduction.
“I’ve always been a big envi-
According to the New York Times, the fast fashion industry produces 92 million tons of textile waste annually, making up 35% of microplastic pollution that lasts centuries and contaminates oceans. A recent study from Thred-Up, a popular online thrift store, states that “If every consumer this year bought just one second-hand garment instead of a new one, it would lower CO2 emissions by more than two billion pounds, equal to taking 76 million cars off the road for a day, and save some 23 billion gallons of water and four billion kilowatt-hours of energy.”
Now more than ever, the public must understand the true cost of their clothes and invest in finding alternatives to fast fashion brands, like purchasing from thrift stores or flea markets.
Another benefit of purchasing second-hand clothes and items is the rarity of each piece and how they stand out from typical styles. Sophomore Paolo Buendia loves how the flea market has more eccentric items.
“I love going to the Paly flea market because it’s here every month, and you get to meet really interesting people and get a lot of good clothes for a really good deal,” Buendia said. “I feel like
in Palo Alto there’s not a lot of interesting stores.”
The flea market allows shoppers to browse items from clothes and CDs to paintings and trinkets.
“You can find a lot of really cool and unique stuff that you wouldn’t find at any other store,” Buendia said.
Vendors come to the market for various reasons, but all of them find joy with the people who attend the flea market.
“My favorite thing about coming here and selling is probably the regulars that come and see me,” Talian said.
Lori Kinyon, a returning vendor, was motivated to start selling her items at the flea market because of her love of thrifting.
“I’ve been doing the Paly flea market since the early 90s,” Kinyon said. “I started in an old collectibles store, just buying stuff and bringing it in … and then finally I was selling at flea markets.”
Ultimately, Kinyon has returned to the flea market year after year because of the people she interacts with.
“It’s not all about the money to me — it is simply just socializing,” Kinyon said. “I know a lot of people here like to sell things for a lot more, but I love the feeling of passing on things for the joy of it.”
Text and design by FALLON PORTER and ANNIE KASANIN • Photos by FALLON PORTER
