C Magazine Vol. 6 Edition 2

ISSUE NO2 nov. 2017 vol. 6

arts & culture

12 Queens of the Spotlight 18 The Final Cut

24 Age of Trap

EDITORS’letter

Dear Readers,

What will define our generation? We are living in a time in which mainstream culture both celebrates and excludes those who are different. This issue explores the shift in attention to typically marginalized groups in modern culture.

In Queens of the Spotlight, staff writers Angie Cummings, Lara Nakamura and Rosa Schaefer Bastian explore the history of drag and talk with Galilea, an award-winning drag queen, on her thoughts about society’s sub-groups becoming popular icons. The cover story, Age of Trap, discusses the new era of music that youth culture has embraced: Trap. By delving into the production processes, origins and the genre, staff writers Gabe Cohen, Ryan Gwyn and Mattie Orloff offer commentary on the music that our generation will remember. To complement this story, Hollie Chiao writes about Rich Chigga and Keith Ape, popular Asian rappers whose music has broken through cultural boundaries.

In the culture section, staff writers Lhaga Dingpontsawa, Jaime Furlong and Isabel Hadly profile a Paly DACA recipient and gain insight into the uncertainty and exclusion that DACA students are experiencing. Staff writers Alexis Pisco and Grace Rowell remember former Paly teacher Bo Cheli and his lasting impact on the students in the senior class.

Flip on over to the snippets section to discover new tastes and sights of the city! In All for the ‘Gram, Charlotte Cheng provides an opinion on the true reasons people visit pop-up museums and the impact of their exclusivity. Writers Maddy Buecheler and Sam Guernsey uncover some of the best spots to grab a treat in San Francisco.

Happy reading!

Chiara Biondi, Hannah Darby, Amanda Hmelar, Ally Scheve Editors-in-Chief

EDITORS-IN-CHIEF Chiara Biondi, Hannah Darby, Amanda Hmelar, Ally Scheve CREATIVE DIRECTOR Katie Look

PHOTO EDITOR Ryan Gwyn

STAFF WRITERS Charlotte Amsbaugh, Gabe Cohen, Angie Cummings, Emily Filter, Jaime Furlong, Sam Guernsey, Isabel Hadly, Darrow Hornik, Leon Lau, Claire Moley, Mattie Orloff, Benjamin Rapperport, Grace Rowell, Lia Salvatierra, Talia Stanley, Jack Sefanski, Gigi Tierney, Maya Wilson, Maddie Yen

MANAGING EDITORS Maddy Buecheler, Alexis Pisco, Rosa Schaefer Bastian

ILLUSTRATORS Bo Fang, Andrew Huang, Leon Lau, Katie Look, David Foster

COPY EDITORS Charlotte Cheng, Hollie Chiao

ADVISER Brian Wilson

SOCIAL MEDIA MANAGER Lara Nakamura

COVER PHOTO Ryan Gwyn

WEB EDITOR-IN-CHIEF Lhaga Dingpontsawa

PALO ALTO HIGH SCHOOL, 50 EMBARCADERO RD. • WWW.CMAGAZINE.ORG • @C__MAGAZINE

TABLE OF CONTENTS

culture arts snippets

04

24

30

TEACHING FOR THE WORLD

32

LET'S SEE THAT MOVIE ... AGAIN!

12

QUEENS OF THE SPOTLIGHT

34

YOUNG LOVE

16

STRIAGHT OUTTA ...ASIA?

36

THEIR DREAM, AMERICA'S REALITY

GLASS PUMPKINS

40

TWEET, TWEET.

04

ALL FOR THE 'GRAM

17

06

BULLET JOURNAL: TIPS AND TRICKS

18

ARTIST OF THE MONTH:

SAM COOK

42

BROKEN RITUALS

08

ALL TIED UP

22

AROUND THE WORLD IN 17 SONGS

44

EFFORTLESS IMMERSION

10

SWEETS AND THE CITY

24

COVER:

46

SILENCE

AGE OF TRAP

34

‘ All for the Gram TEXT AND DESIGN BY CHARLOTTE CHENG PHOTOS BY ALLY SCHEVE, ANGIE CUMMINGS AND CHAYLA CUMMINGS

W

hether it is a vibrant image of food, fashion or nature, an aesthetically pleasing Instagram feed is what teenagers and young adults around the world strive for. They hope to convey the message that they are leading a perfect life.

However, a new type of desirable photo has taken the Instagram world by storm: pop-up museums, which are exhibitions that take place in locations temporarily.

Some of the popular pop-ups have included the Color Factory, Museum of Ice Cream and 29 Rooms. All of these museums are promoted through social media and sell a limited number of tickets to make the experience more exclusive.

The Color Factory and the Museum of Ice Cream have been the highly-anticipated pop-up museums for people living in the Bay Area. Both are located in San Francisco and their tickets were sold out in a matter of hours.

Two C Mag staffers visited the Museum of Ice Cream on October 6th to see what the

4 | SNIPPETS

hype was about. First, however, they needed to buy tickets. After waking up early on a day off from school, waiting in a 45 minute online queue and spending $72, the two tickets were theirs.

When the date finally arrived eight weeks after purchasing the tickets, the two girls entered the pastel pink doors of the museum full of sweet treats. While meandering through the museum, there were plenty of showrooms with different exhibits. The rooms included a pool filled with sprinkles that museum goers could jump into, a swing-set surrounded by hanging bananas and a room where mochi and cotton candy were given to visitors as a treat.

The culinary aesthetic characterizing many pop-up museums has received critique, some believing that these museums do not exhibit real art. Despite the debate, it is evident that at every pop-up museum there is an abundance of iPhone, polaroid and Nikon cameras. People take dozens of photos in front of each exhibit, hoping to capture the “perfect picture” for their Insta-

gram feed.

Pop-up museums have seemingly become more about the exclusive pictures that people can boast about on social media than the actual experience itself. The promise of pretty photo-ops that instill envy in followers is seemingly at the heart of these pop-ups.

There is a stigma in society today of putting out the perfect image of yourself on social media. When you have a feed that appeals to people, it makes them want to follow you. When the heart icon pops up there is a feeling of satisfaction because your followers like what they see.

To be frankly honest, I am guilty of all of this. My Instagram is like a cover for who I am. Before people get to know me, they are able to see my feed. They make judgements based off of the things I post and the amount of followers I have.

Since these pop-ups are considered more “exclusive” there is a sense of superiority over those who aren’t able to go. People pay up to $100 to go to these museums, but for what?

An Instagram picture?

Teenagers today strive for the perfect Instagam feed. The industry of pop-up museums has only reinforced this social pressure.

TEXT, DESIGN AND ART BY EMILY FILTER AND ROSA SCHAEFER BASTIAN

Have you ever been curious about how to spice up your everyday look? Ever wondered how you would do that with a single, inexpensive item? Well, if these questions apply to you, fear no more! We have found the perfect item to perk up your daily fashion– scarves. Scarves galore!

Here are a couple of ways in which you can use a scarf to add a kick to your everyday fashion!

Tip 1

Tip 2

Tie the scarf around your neck.

It’s super easy to do, and gives your outfit that extra finishing touch that transforms your look from just a t-shirt and jeans to a chic French-esque ensemble.

Use your scarf as a headband.

This can easily solve a bad hair day, or give a fun aspect to your usual school day outfit.

Tip 4

Tip 3 Can’t find your leather belt in the mess of your sock drawer? Use the scarf as a belt. Switch it up and tie a colorful patterned scarf around your waist to add a unique feature to your style. Trust me, it works just as well as a normal belt, if not better. You don’t have to worry about not having enough holes with which to tighten your belt!

8 | SNIPPETS

Tie the scarf onto your backpack or purse.

Are you feeling like your backpack is being drowned out by the sea of identical North Face bags and Longchamp purses on campus? Add a bright scarf to one of the straps of your backpack or the handle of your purse. That will definitely add a pop of color and a dash of originality to your look!

TEXT, DESIGN AND ILLUSTRATIONS BY DARROW HORNIK

SWEETS CITY and the

Have you ever stumbled across a beautiful picture of a cute dessert on Instagram and wanted to know where it was from but had no clue where to start? Have no fear! C Mag is here to help. Here is a guide to some lip smacking tasty treat shops in San Francisco.

TEXT AND DESIGN BY SAM GUERNSEY AND MADDY BUECHELER PHOTOS BY KATHERINE BUECHELER, SAM GUERNSEY AND ALEXIS PISCO • ART BY SAM GUERNSEY

Uji Time (22 Peace Plz. #440,) This Berkeley sweet shop, best known for their fish-shaped cones filled with soft serve, just recently expanded to San Francisco. Their famous cones, called taiyaki, are based off a traditional Japanese dessert cone usually filled with a red bean paste. Uji Time decided to take this dessert to its next level by topping it with soft serve, with flavors varying from black sesame, matcha and even tofu! This is the place for those craving a unique and photo-worthy dessert.

Honeycreme (839 Irving St.) Honeycreme is a sweet little soft serve shop in the Inner Sunset District of San Francisco. All flavors are created with the same creamy and rich vanilla base, and toppings are added to create new flavors. Their menu consists of unique choices like cotton candy, cereal, and chocolate bacon. The cereal flavor includes the base cream, caramel and frosted flakes, and the cotton candy flavor is made up of the base cream with cotton candy surrounding it. If you are looking for a tasty treat to soothe your tastebuds, cruise on down to Honeycreme!

Beard Papa’s (99 Yerba Buena Ln.) Beard Papa’s is a cream puff shop that has two locations in San Francisco’s Yerba Buena district. Beard Papa’s is a chain so it does lack some of the character other sweet shops have, but the food does not lack in taste. The freshly made cream puffs come in multiple flavors, but we chose to try the original and green tea flavors. Both had delicious creamy fillings and crispy shells topped with powdered sugar. Beard Papa’s is definitely a go to for a road trip with some friends, or a quick pit stop on one of your SF adventures.

Hot Cookie (407 Castro St.) Hot Cookie is one of the funkiest cookie shops in San Francisco. Located in the Castro, the shop is a hole in the wall not stretching farther than 10 feet wide.

The service is wonderful, the vibe is very relaxed and welcoming, and its cookie selection far outweighs its size. The cookie assortment ranges from plain chocolate chip to cookies shaped as vulgar body parts. The cookie we purchased, called the “Sticky Nikki,” was a fresh soft chocolate chip cookie topped off with gooey caramel and salted pretzel sticks. Hands down, one of the best cookies we have ever had.

Belly Good Cafe and Crepes (1737 Post St # 393.)

This just may be the most adorable dessert you’ll ever have: delicious crepes filled with ice cream, whipped cream and syrups then topped off with a unique animal face. Nestled in the Japantown shopping area, you will have to venture around to find these crepes... But trust us, they are worth getting lost for. Remember to bring cash, since cards are not accepted!

Doughp (2175 Market St) This fairly new cookie dough shop near the Castro takes a spin on raw cookie dough, serving scoops of edible cookie dough in either a cup or cone. The shop itself is sheltered in a large room, similar to a food court, that contains other small food restaurants. The cookie dough cones are a cute idea, but the reality did not live up to its vision. While Doughp serves moist cookie dough and sweet cones, it was not worth the whopping $5 per scoop. Should you choose to visit this cute cookie dough stand, we recommend trying the flavors before you buy!

SNIPPETS | 11

queens of the

spotlight

A look into one of the most popular art forms in San Francisco’s Castro District, and how drag has transcended the LGBTQ community.

T

he room is in complete darkness. The sharp clicking of stilettos on the floor pierces the silence. All of a sudden, a bright spotlight snaps on and illuminates a figure on the stage. Applause rages out from the audience and fills the room. The figure turns, with a perfectly glammed up face of makeup, a brightly colored eye-catching outfit and hair so big that it could touch the sky. The audience quiets and the drag show begins.

It is commonly thought that drag is just men dressing up like women; however, it is an artistic form of self expression that’s often overlooked. It is a true art form where artists use their bodies as canvases to express themselves.

Drag was present long before it hit mainstream media. In the early days of drag, from the late 1800s to the early 1900s, men pantomiming as women was a common form of mockery. By dressing up like a woman, men would parody women, laughing at the symbols and form of femininity. In the twentieth century that began to change. As underground LGBT bars and establishments started emerging in the 30s, men acting like women transitioned from the original ridicule to a genuine form of entertainment and performance.

This transition still did not mean acceptance for drag performers. It wasn’t until the 80s, when more gay bars and clubs were opening, that drag was finally known as a phenomenon.

It is clear to see, like in “RuPaul’s Drag Race,” that there are many different kinds of drag queens.

Some are men that are not in transition or had any procedural surgery in the changeover into a woman. Meanwhile, others have undergone minor surgeries like a breast augmentation to attain a more feminine figure. There are also drag queens who have undergone gender reassignment surgery and have completely transitioned.

Because of the variation in style, theme and structure, it is hard to make a single general statement about the nature of drag queens and drag shows.

As an art form, it has no boundaries, yet people can’t help but generalize all drag queens as the same. Every single person has different reasons for being on that stage and their own way of using their craft to express their individuality. It is impossible to put these people in a box when the possibilities are endless and the rules are nonexistent in the world of drag.

Drag means something different to every performer. “Drag is an art, it’s an illusion and you give a certain look on stage that if you can dress, put on make up and give that illusion of who you are and what performer you are, go on stage and perform, you are a drag queen,” Galilea, an award winning drag queen from San Francisco, said.

“That is an art;

12 | ARTS

TEXT AND DESIGN BY ANGIE CUMMINGS, LARA NAKAMURA AND ROSA SCHAEFER BASTIAN

PHOTOS COURTESY OF GALILEA

ARTS | 13

14 | ARTS

that is very hard to find anymore.”

Galilea, a queen born in The Valley has been performing all over the city of San Francisco for more than 25 years.

Throughout her career as a performer, she has done shows at various local clubs to pageants, even going on to win the Miss Gay SF award, given to her by the Imperial Council of San Francisco in 2003.

She later went on to become the 41st empress of the Imperial Council, the highest rank to reach, from years 2006 to 2007. “To be an Empress, you have to prove yourself to the community; you have to be very giving.”

Before winning both Miss Gay and Empress of San Francisco, Galilea started her career in the early 90s in a Latino gay bar called Esta Noche.

She was the first caucasian to make it to Esta Noche, as most of the other performers were Latinos.

“There were big shows at Esta Noche,” Galilea said.

“We did our big Sunday shows and Saturday shows, and if you didn’t speak Spanish or weren’t Spanish you weren’t accepted. A lot of [drag queens] tried to get in and that’s how I first started out. I was there for ten years.”

Galilea got her name when she was just starting out in drag. She decided to stop using her given name after a session with a famous card reader in the San Francisco’s Mission district, where Galilea was told she was to be a drag queen. She agreed, to which the card reader told her that she would not find success with the name she was going by. “[the card reader] says, ‘Galilea was a prostitute on a viking ship in the 1300s on the high seas’; she wrote it on the piece of paper so I’d have it.”

Galilea said. “She wrote my name out—Galilea— and I’ve been Galilea ever since.”

Today, Galilea is now the proud performer of her own show at Ginger’s, a drag club in San Francisco. The show, named “Galilea Saturdays,” takes place every first and third Saturday of the month. In these shows she is the main act but

“

has other drag queens who perform with her as well.

“We are old school drag,” Galiela said. “We like the glitz and the glamour, gowns and the rhinestones, of course, and big hair and everything to give that show for our friends. It’s a little bit of the 90s, it’s a little bit of the 80s, it’s a little bit of this, a little bit of that. It’s gowns, you don’t come out in just a dress with a little makeup and a wig on, no that doesn’t work, it’s thought into and it’s always a very good show.”

The eye catching aspect of the show does not only have to do with what the drag queens are performing, but also what they are wearing. In each show she wears “anywhere from 3-6 different outfits, three sets of hair,” Galilea said. “You don’t go out in the same set of hair two times in a row, ever. The heels have to change, jewelry changes, it’s a full change each time you go on for a number.”

This allure is also present in “RuPaul’s Drag Race,” however, Galilea feels that this TV series exposes the younger generation to only one type of drag. “Drag has kind of become weaker because of RuPaul; she has a platform where there’s more competition [between drag queens],” Galilea said. “We used to have so many shows in San Francisco and we’ve gone down to very few shows because the younger generation, the millennials, they don’t understand it as much as the older crowd.”

Having the ability to be a drag queen has created a way for Galilea to show who she is and to feel comfortable with herself. “Drag is my identity, what I believe in as a gay man and how I am presented as a drag queen, too,” Galilea said. “How I have been accepted over the years, it has a lot of gratification.”

There is not one way to define a single drag queen. Each one has had their own unusual experiences, unique reasons for participating, different definitions of what it means to them and a large variety of performances that they have put on.

Drag is a one of a kind art form that really allows for self expression and gives people a chance to show their true selves. There are no restrictions on the performances, the outfits, the hair dos or any other aspect of being a drag queen. Drag is so much more than just men dressing like women.

We like the glitz and the glamour, gowns and the rhinestones, of course, and big hair and everything to give that show for our friends, it’s a little bit of this, a little bit of that.

- Galilea

”

ARTS | 15

W

hat comes to mind when you think of Asian rappers? Is it the dark, mumble rap of Rich Chigga, Keith Ape’s Korean screamo-esque ballads or Honey Cocaine’s traditional rap style reminiscent of Tyga’s prime? Whatever the thought may be, Asian rappers have always been tied to controversy and apprehension in the rap industry.

In the case of Sochitta Sal, the female Cambodian rapper known to many as Honey Cocaine and on Twitter as @QueenHoneyC, came under fire for her use of the n-word in her song “Feel Sh*t.” As an outspoken and unapologetic artist, she has not yet addressed these complaints and concerns. She first rose to fame when she signed to Last Kings Entertainment. Early in her career, Honey C and her business partner, rapper Tyga, were shot at while leaving one of the star’s “Rack City” concerts. Since then, Honey C and Tyga have maintained a close relationship and have produced numerous collaborative tracks together.

The newest of the three rappers, Brian Immanuel, also known as Rich Chigga, just turned eighteen this past September. In his hilarious music video featuring his breakthrough song, “Dat $tick,” Chigga is seen strolling around in his pink polo shirt, pouring cognac onto the streets of an unnamed suburban neighborhood. Like Honey C, the song has received backlash for the use of the n-word. In response to the criticism, Chigga recalls that “[he] was basically just trying to make people less sensitive to the word and take the power out of the word, but then [he] realized [he’s] totally not in a position to do that.” Controversy aside, Chigga maintains a strong fanbase with over three million monthly listeners on Spotify. One of those listeners, Paly senior Eric He, embraces Chig-

16 | ARTS

ga’s authenticity and humble upbringing. “I really respect that before ‘Gospel’ and all his recent collaborations with big artists, when he came out with ‘Dat $tick,’ he was just some boy from Indonesia… Now he’s performing all over the U.S.” Another well known Asian rapper, Dongheon Lee, is a 23 year old South Korean rapper known to millions as Keith Ape. Ape skyrocketed to fame after his collaboration with Waka Flocka Flame and A$AP Rocky on the song “It G Ma.” Ape’s music has been heralded and criticized for its rowdiness. Although most of the song is in Korean, there is no lack of enthusiasm from people of all backgrounds when the first four notes of the head-banging track are heard. “Personally, I don’t understand a thing he says,” He said. “But it’s a slap.”

Recently there has been a larger Asian presence in the rap industry; not only with these three artists, but also managing companies that focus on Asian rappers such as 88Rising and The Higher Brothers. Their integration and adaption to the trap frenzy has been met with undeniable controversy, but more importantly, acceptance. Moving forward, we can expect a more diverse group of rappers to appear under the trap and rap radar, offering a fresh perspective on rap music.

STRAIGHT

OUTTA ...ASIA?

TEXT BY HOLLIE CHIAO • DESIGN BY KATIE LOOK

Glass Pumpkins An inside look into the largest glass pumpkin patch in Northern California

T

he largest Glass Pumpkin Patch in Northern California takes place in our very own city: Palo Alto. Glass Pumpkins are created through the process of glassblowing and come in a variety of sizes and colors. This annual event is located at the Art Center and is open two days a year from 10am to 5pm. Scattered throughout the grass outside the Palo Alto Art Center, hundreds of glass pumpkins are placed in rows for customers to pick up and view. Pumpkins are organized into groups by their artist. Over ten artists contribute their glass pumpkins to the sale so there are many to choose from. Because each artist has their own style when creating their pumpkins, there’s a variety of unique options. Glass pumpkins sell from 20 to multiple hundreds of dollars. While every pumpkin has a unique color, shape and size, choosing one to take home can be very difficult.

Although the glass pumpkins are the main attraction at the event, other glass objects are also sold. You can find glass squash, leaves and pumkin tea kettles made by the same artists .

Proceeds from the event support three main groups: Palo Alto Art Center, Palo Alto Art Center Foundation and the Bay Area Glass Institute. Artists who contribute their glass art are given earnings for their art as well.

Buyers walking through the Pumpkin Patch have the opportunity to watch artists construct the glass pumpkins right in front of you. The intricate process to create a glass pumpkin takes

roughly 30 minutes, plus extra cooling time.

Palo Alto High School is lucky to be one of the three high schools in the United States that offers glass blowing as a course.

The first step to creating a glass pumpkin is to place the tip of the blowpipe into an oven with molten glass. The pipe must be spun three times in the glass and then pulled out of the oven while constantly turning the pipe so the glass stays centered. The glass is then marvered on a flat surface so the glass squeezes off the pipe. Next, the pipe is held facing upwards so you can blow inside it while being sure to cap the top of the pipe so the air stays inside and a bubble forms.

Tools are used to ensure that the glass is shaped into a circular figure. The glass is constantly reheated so the temperature stays extremely hot.

The artist then stands on a stool hanging the pipe downwards, quickly placing it into a metal mold that gives the glass a pumpkin shape. At the same time, another person gets a different pipe with glass, rolls it in color and then sticks it in a smaller mold for the stem. That person then places the stem on the bottom of the pumpkin and pulls away as the stem is cut and twirled it with a tool to give it the perfect shape. Lastly, three drops of water are added to the bottom of the glass to separate it from the pipe and it is placed in an oven to cool.

Although making glass pumpkins is no simple task, with practice and diligence, it is an amazing opportunity to take advantage of.

TEXT AND DESIGN BY EMILY FILTER AND CLAIRE MOLEY • PHOTO BY RYAN GWYN

ARTS | 17

18 | ARTSE

artist of the month: Sam Cook the final

cut.

A look into student filmmaker Sam Cook’s life and work.

T

hree a.m., in front of a glowing computer screen surrounded by towering speakers, the junior sits writing a script that will most likely never leave his bedroom.

This is a glimpse into the life of student film-maker Sam

Cook.

Cook began making videos with friends in elementary school, and since has produced two films with James Franco, in addition to countless films he has produced independently. Only a junior, Cook has a resume that someone twice his age would envy. His film “Nadir” co-directed with Sebastian Chapela, was selected for the All American High School Film Festival in New York City. The film premiered at AMC Times Square. “Nadir,” tells the story of a young boy and his struggle with substance-abuse.“Warped,” another film of his, has been recognized with a Scholastic Key Award. Cook wrote, directed, shot and edited both of these films. “I would have flown out for ‘Nadir,’ but I care about my films way more than I care about awards,” Cook said. “I’m not trying to win anything or get famous. I’m just doing what I’m passionate about.”

Cook first picked up a camera in elementary school when he and a group of friends made a film to promote his school’s core values as a class assignment. He then transitioned to making YouTube videos in middle school, amassing a following of a couple hundred. At one point, Cook was producing up to three videos a month and getting paid promotions from Maker Studios, a studio that would be a future partner in a film he produced with James Franco.

However, there came a point where the YouTube content he was creating no longer felt genuine. “I found that I was no longer connecting with my audience and [YouTube] just didn’t feel as fun anymore,” Cook said.

A new era of his film career began when he was selected as one of

TEXT AND DESIGN BY CHARLOTTE AMSBAUGH • PHOTOS BY RYAN GWYN AND COURTESY OF SAM COOK

20 | CULTURE

two freshman to participate in a film class taught by After the initial disappointment dissapated, Cook was James and Betsy Franco. Their mission was to make a full ultimately pleased with the experience. “It turned out to be length feature film from scratch. way more hands on than the year before, and since so many The first step was adapting Betsy’s book, “Metamorpho- students dropped the class we all got to do way more,” Cook sis: Junior Year” into a screenplay. After the writing was said. done, each student selected a role in the production for In Cook’s free time, he writes, films and edits his own themselves. “I chose to direct, because even though I was movies. “Most of my scripts I don’t even bother making,” one of the youngest there I just wanted to do it, because I felt Cook said. “I will write them and the next day look back that I was qualified,” Cook said. “I wanted to push myself.” and just hate everything. If something makes it through that His peers and mentors helped Cook to realize his full [process], it’s something really special to me and something potential in film making. Working in a professional environ- I’m passionate about. It’s so much easier to make a film that ment, using high-grade equipment and making connections you’re passionate about.” with industry professionals made Cook aware of his promisHis process is simple: once he develops a script, Cook ing future in the film industry. “It was a lot of young people will begin production. Using actors from Paly and often [that I worked with], but they actually work in the indus- working with co-directors, Cook films and eventually edits try professionally.” Cook said. his projects. “I like to work “If something makes it through “I could ask them anything with others but I can’t work that [process], it’s something I wanted to, and they would with just anyone,” Cook said. really special to me and give me real answers. I really “I need someone who I can got to see how I could even- something I’m passionate about.” bounce ideas off of and get tually fit into this professional genuine feedback from.” world.”

Cook is the definition of a The final film, “Metamorperfectionist. “Whoever said phosis: Junior Year” premiered at the Cinequest Theater in ‘films are not made, they’re stolen,’ had it exactly right,” Redwood City and was showed at the Mill Valley film fes- Cook said. “I’m never done, there’s always something I want tival, which showcased hundreds of films over the span of to fix or work on, but there are deadlines and time conten days. straints, so at some point I have to stop,” Cook said.

In his sophomore year, Cook was eager to participate in For the future, Cook is looking forward to continuing to the class once again, this time as a student mentor. “I was participate in the Francos’ class– if it continues. He has amshowing the new kids the ropes, and it was a totally new bitions to study film at Dodge College of Film at Chapman experience,” Cook said.

University, which he has already toured and visited many The project was set to be a feature length film with a sev- times. Although he is young Cook knows he wants to ineral hundred thousand dollar budget, until their major in- fluence the film industry. “I want to leave my mark on the vestor pulled out. “When [the investor] pulled out of it, all industry and to show kids that all it takes is some passion of a sudden it went from this huge [film] to a short film with and ambition,” Cook says. As to how, Cook said: “I guess almost zero budget,” Cook said. we’re gonna see.”

ARTS | 21

Taking you on a musical journey across the globe 22 | ARTS

TEXT BY ANGIE CUMMINGS, ISABEL HADLY AND SAM GUERNSEY • ART BY ISABEL HADLY

M

usic is a universal language. Anyone, anywhere can listen to the same song and experience the same feeling.

Although the love for music does not vary from country to country, the music that tops the charts in each country does.

Without experiencing other countries first hand, it can be hard to grasp what their cultures are about. One way to learn more about these individual countries is through the art that the people who inhabit it create. Different cultures have different music for dancing, festivals and for listening just for fun.

Reggaeton, a mix of hip hop and reggae, is a popular genre of music in Latin America. Some of the more popular artists in this genre are CNCO, J.Balvin and Danny Ocean. Reggaeton became super popular in the 90s, and has been growing as a genre since. It is typically sung in Spanish, upbeat and easy to dance to.

Bollywood music has been popular in India since the 1930’s. Now, people have combined the traditional aspects of Bollywood and added hints of rap, R&B and pop. This hybrid of traditional Indian and popular American genres is what most of India’s top music charts consist of. Artists like Arjit Singh, Zack Knight and Jasmin Walia are all part of this new style.

In Brazil, the top charts resemble American charts very closely, but in addition to the many Reggaeton songs, you’ll find some pop and rap songs in Portuguese. Karol Conka and MC Livinho are both prominent Portuguese artists from Brazil, some of their songs resembleing American artists like Nicki Minaj and Justin Timberlake.

Static & Ben El Tavoriia are a very popular musical group from Israel who produce albums consisting of pop and “club” songs. Hints of traditional Israeli music are mixed into beats that are easily recognizable as electronic club music.

Stromae, a Belgian hip-hop singer/rapper, has many American influences within his music, the most prominent being jazz. His Belgian listeners battle the same struggles of sexuality, gender equality, and race as do the youth of the United States. These cultural struggles are clearly visible in Stromae’s songs, since he is Rwandan and androgynous. In his music video for “Tous

Les Mêmes,” which translates into they are all the same, Stromae dresses as part woman and part man to highlight stereotypical interactions between men and women.

Some big names in the Russian rap industry are Rem Digga, Jah Khalib, MiyaGi and Endshpiel. The songs these artists have produced resemble popular American rap songs with low beats and softer instrumentals to compliment their harsh tones. Despite common assumptions regarding Russian pop culture, defining it as nonexistent or dated, these songs tell stories of heartbreak, love, parties and flings.

American influence is common throughout most popular music in China, but one thing that most may be surprised to hear is the popularity of hip-hop in China. Unlike American artists, artists in China must obey the strict censoring laws, restricting anything that may offend or threaten China’s governmental and societal balance.

As a mix of both English and Chinese rap, groups such as Higher Brothers are breaking down stereotypes by proving that good hip-hop can be found anywhere in the world, despite differing cultures and harsh regulation.

Wiley and Skepta are some big names in Grime, a popular British genre. Grime is a mix of hip hop and garage music with strong, hard hitting lyrics. It’s the inner city music scene of London.

Another popular type of music in Britain is the mix of Indie and Folk. Jasmine Lucilla Elizabeth Jennifer van den Bogaerde, more famously known as Birdy, is a singer-songwriter whose new sound has not only become extremely popular in England, but has spread to America, as well. Her voice is haunting yet uplifting, and can be recognized in films such as The Hunger Games and The Fault in Our Stars.

Much like America, one of Albania’s most famous genres is pop, but when listening to their music it is clear that it includes a unique element of native tone and modern beats that American music does not have. An artist who is cruising to the top of all the Albania’s music charts is Era Istrefi. Her most recent song, Bonbon, has a catchy tune with a unique beat and has not only spread all across Europe, but has even landed her a record deal in the US.

age of A complete dissection of the Atlanta-based hip hop subgenre that has taken the world by storm.

TEXT AND DESIGN BY GABE COHEN, RYAN GWYN AND MATTIE ORLOFF PHOTOS BY RYAN GWYN

W

hat will be the 2010’s defining musical genre? Each decade can be identified by the music that was popular at the time. The 60’s had the British invasion and protest music, the 70’s had disco, the 90’s had grunge–the list goes on. These musical eras provide a snapshot of their respective cultures, and often are remembered as the voices of the youth. So, which musical movement will be looked back on as our generation’s defining genre? Currently, it seems that hip hop’s new form, Trap, will be this decade’s most standout movement for years to come.

In terms of the music itself, Trap’s beats are characterized by heavy, distorted and layered bass and kick drums in addition to catchy instruments and sample use. Classic trap generally has one or more climaxes, known in the industry as a “drop” or “beat drop.” The drums in trap are made up of double or triple time subdivided hi-hats (the cymbals on the drum kit that make the “tsk” sound behind every beat) and a deep, grimey rhythm. Usually, kick drums are acquired from a Roland TR-808 or a similar drum machine. This drum machine is the root of the popular term “808s” used to describe the style of drumming of trap music. Many producers in the Trap industry use some type of Digital Audio Workstation, or DAW. This is a computer program to create, house and edit music recordings, whether from real instruments

or digitally created software instruments.

The most commonly used program among trap artists is Ableton Live 9, because of its powerful drum and bass and sampling capabilities, which allows for producers to create music by editing and repurposing existing songs.

The term “Trap,” surprisingly, can be traced a long way back. The first usage of the word can be heard in the duo Outkast’s song “Spottieottiedopalicious,” a popular rap song released in 1998, when one of the duo, Andre 3000, spat the line “so now you back in the Trap just that, Trapped.” But what is the “trap” that Andre refers to in this bar? The term was coined as an Atlanta-based slang term for a place where illegal deeds transpire, such as the dealing and consuming of drugs. In 2003, Atlanta rapper T.I. took the term and used it as a title and description for his new album “Trap Muzick.” With that, the genre was born, but modern Trap music as we know it still had a long journey ahead of it.

The early 2000’s movement of hip hop that preceded Trap music is commonly referred to as the “Bling” era of hip hop.

It’s characterized by its braggadocious lyrics and upbeat production. While Bling hip hop was enjoying its popularity, some smaller artists from Atlanta were beginning to pioneer the Trap sound we’ve grown accustomed to. Along with TI, rappers such as Gucci Mane, Young Jeezy and Yo Gotti all wrote songs about drug dealing and

their poverty stricken lives in Atlanta.

The years between 2001-2007 encompass the first wave of Trap music. In 2007 Kanye West released his album 808’s and Heartbreak, a pop-inspired album of moody beats and autotuned vocals. West’s use of the Roland Tr-808 drum machine’s kick drum layers a deep booming bass sound underneath the mix.

Once 2010 began, popular music was further from its acoustic roots than it had ever been before. EDM music was in

full swing, and synthesizers and heavy drum beats were being utilized more frequently. It was at this time that Atlanta-based producers

technique that West first pioneered. These producers also experimented with rattling hi-hats, which gave trap music its bouncing, rhythmic tap. Lebanon High School in Ohio’s Music technology educator, Will Kuhn, discussed how producers like “Lex Luger,” “Flosstradamus,” etc. essentially slowed standard Hip Hop tempos down and filled in the empty space with lots of fast hi-hats.” The result of their music was the modern Trap sound that would soon rule the airwaves.

Artists like Future rose out of the Atlanta scene, throwing autotune vocals on Trap beats. In 2013 Migos released their song “Versace,” one of the first modern Trap songs to gain attention by the general public. Artists like Travis Scott emerged and tinkered with the Trap formula, adding an even darker side to its aesthetic with his echoing, ghostly production. In 2014 Fetty Wap released “Trap Queen,” a melodic Trap anthem that would not gain popularity until the following year, when it became practically unavoidable.

The song introduced Trap music to the masses, and the public showed interest in the new sound emerging out of Atlanta. Future then released his 2015 album Dirty Sprite 2 which gave him his biggest hits and cemented him as a Trap-king. The following year, Drake released the album If You’re Reading This It’s Too Late, a mixtape that relied heavily on Trap producers and hard hitting beats. Drake raised Trap music’s popularity to an even higher level, which increased further when Migos released their smash hit “Bad and Boujee” in October of 2016.

Since then, Trap music has inarguably dominated the culture of hip hop, and has shifted the genre closer towards pop music than ever before. “The Trap hi-hat sound is so prevalent now, you hear it in every top 40 song,” Kuhn said. Due to its roots in

“It is the most listened to genre in the world and it’s only getting bigger.”

26 | ARTS

- Max Kelmon like Lex Lugar began using EDM influences for drum beats, while incorporating the 808’s

EDM, Trap music can also be defined outside of the hip hop culture. In Kuhn’s words, “Trap today means different things to different people. A rap fan might hear “Bodak Yellow” by Cardi B and call it Trap music. An EDM fan might hear ‘Say It’ by Flume and call it Trap music. Both would be right, but you probably wouldn’t put those two songs on the same playlist.”

Its prevalence begs the question: what makes Trap music so popular? There seems to be a few reasons, the first being the genre’s pure abundance of released songs, which can be accessed mostly for free. Trap music can be created from someone’s bedroom, with the only necessary equipment to produce it being software and a microphone. Tracks can then be distributed to the internet incredibly easily

through streaming sites such as SoundCloud.

It might have no discernable difference from trap music released elsewhere, but this type of Trap has been dubbed “SoundCloud rap” by some. Trap music’s popularity has coincided with the SoundCloud boom, allowing millions of artist to release their own Trap music to the world.

Another contributor to its popularity is Trap’s main demographic. Data released by Spotify showed that the vast majority of Trap music listeners were between the ages of 1218, and the tastes of the youth have generally dictated what is popular throughout contemporary music’s history. When looking at the lyrics of Trap songs it is easy to see why the genre resonates with so many teenagers. The lyrics are almost exclusively about the party

scene; they are anthems of rebellion. Many Trap songs tell stories of highly intoxicated evenings filled with dancing and letting loose, with infectiously catchy beats. “It sells because it’s relatable,” Kuhn said.

Fun and relatable lyrics, combined with the heavy and hard hitting production result in Trap music being the soundtrack of many parties and clubs throughout the country.

These songs are also specifically tailored for their target audience. One of Trap’s most notorious artists, Lil Uzi Vert, once said that he believes that his music will not connect with anyone over the age of 24.

The reasons why Trap has gained so much traction as a genre today resonate with the same reasons that led Rock And Roll to be popular in the previous century. Consequent

ly, Trap artists are compared to the rockstars of the 20th century because of their wild lifestyles, and in the same way rock music was initially seen as “the devil’s music,” Trap is receiving its own wave of backlash.

Even though Trap music has found its way into the hearts of America’s youth, the genre has become a somewhat contentious issue in the world of hip hop. Classic hip hop fans are the number one critique of Trap music’s lyrics. Hip hop was once a genre that championed skilled poets – artists like The Wu-Tang Clan and Nas worked rigorously to pack their verses with clever wordplay and storytelling. They showcased their talents in freestyles and their ability to flow and rhyme on the spot, all which asserted their lyrical skill. This was put on the backburner for Trap music, in favor of the artists with the ability to write the catchiest tune. “Old heads” (those who favor old-school hip hop) see many Trap artists as lazy.

A freestyle from Trap artist usually ends up using a pre-written verse instead of a spontaneous improvisation, and many Trap songs feature highly repetitive hooks and lyrics. It was imminent that fans of older hip hop would berate that aspect of the Trap movement.

Trap music moving hip hop into the pop-spotlight has also been another source of conflict. Hip hop’s target audience has never been younger, and this has caused a generational divide within the genre. Some major Trap artists have deepened the divide by trivializing the past of hip hop. Lil Yachty sparked a major controversy last year when, during an interview, he said that he couldn’t name five Tupac songs and questioned why anyone still cared about old hip hop.

This incited an internet war among hip hop fans, one side arguing that new artists are obligated to pay respects to those who came before them, the other arguing that new artists do not need old influences to change the game.

Despite the controversy, supporters of

Trap are glad to see the growing audience of hip hop that Trap has elicited. “I think the state of hip hop right now is the best it’s ever been,” said Max Kelmon, a Paly senior who creates hip hop music and releases it on SoundCloud. “It is the most listened to genre in the world and it’s only getting bigger.”

Trap music as a subgenre of rap is yet to have a hard definition, as creators are experimenting and discovering what the genre means to each individual. Pioneers such as Future and Migos have helped the rest of the nation define the style for themselves as the genre continues to evolve. With the artist’s input, Trap music relies more heavily on production, which is a departure from the lyrical focus of old-school hip hop. The beat can make or break a track, and producers are taking steps to credit themselves for their music. Listeners may have heard repetitive tags at the beginning of songs such as “Murda on the beats so it’s not nice,” a repetitive trademark of highly regarded Trap producer Murda Beatz. These are commonly known as producer tags, and the vast majority of trap songs begin with one. The appeal to many young music makers is that even their heros are using the same, or similar, technology to create their music. “My favorite parts about Trap music are the erotic drum patterns producers use to give the song its swing,” Kelmon said. “It is so new and refreshing.”

As Trap continues to evolve in the music industry, it has no certain direction, but it’s clear that the popularity is not going away anytime soon. The explosion of Trap is expected to last the decade, with new artists gaining attention each month. While the genre may still be growing, there will be a time down the road when trap artists are given the same recognition as Mick Jagger and Kurt Cobain. When millennials and youth are blasting “Black Beatles” at their high school reunions you can be sure they will be talking trash about whatever new genre succeeds trap.

ARTS | 29

Teaching for the world

A

s the appeal of the conventional teaching methods begins to fade, many teachers find themselves favoring student-centered and philosophical educating practices. Essentially, philosophical thought in educational circumstances contains more than just rote memorization, which is commonly exhibited in school systems, but the act of engaging with the world and understanding it. The approbation towards philosophical thought was highlighted by Bo Cheli, a former Paly English teacher who taught during the 2014-2015 school year. Cheli is recognized by students and staff due to his instructional efforts to provide students with a trusting environment, oriented around community building.

A working definition of the term “teaching” suggests the explanation of certain information, an action that does not require much exertion from both students and their teacher. The turning point that educators, and especially Cheli, have experienced is the recognizable need for more than just learning, but the motivation to learn, discover and explore, all provided and gifted to students by their teachers.

Influenced by the modernization of teaching practices, educators everywhere have been challenged to turn their classroom into one that is autonomous, giving students the chance to understand the importance of accountability. Cheli excelled in these practices– until he announced his resignation after his first year at Paly.

“It was like sticking my hand in a vacuum and reaching for something that’s not there anymore,” senior Stephanie Lee said, describing the feeling when she heard that her favorite teacher would not be returning to Paly the following year. It was Cheli, her freshman English teacher, who had managed to change her life in that freshman english class.

Cheli was known for teaching in an aggressive and passionate manner that represented the fastpaced reconstruction of educational teaching strategies.

“He encouraged [students] to express their emotions in ways that aren’t really considered conventional,” Lee said.

With traditional teaching practices thrown out the window, Cheli had made himself known within the Paly community as an unconventional teacher. Lee and another one of his past students, senior Ida Sunneras Jonsson, reflect on their experiences as students Cheli’s classes.

“It didn’t hit me hard at first,” Sunneras Jonsson said. “It was honestly surreal. I remember crying a lot on the last day of class.”

Cheli had also achieved the formation of a tight knit community in which students felt comfortable to express themselves. A representation of this unique environment is demonstrated through

the technique Cheli used to help his students learn the required vocabulary words.

Senior Noga Hurwitz remembers the apprehension that came with Cheli’s vocabulary quizzes. “We would have these grammar quizzes and you could give yourself extra credit,” Hurwitz said. “If two students gave themselves extra credit, then everyone [would receive] minus one point. If no[one] gave themselves extra credit then nothing would happen to anyone.” Standards like these prompted the class to become so close-knit that students did not want to risk negatively impacting their peers as a consequence of their selfishness. Another circumstance that highlights the comforting feeling of security in Cheli’s classroom was the grading process that came after the quizzes. After each vocabulary quiz, Cheli would read off the correct answers and students responded with their scores, announcing them in front of the class. This alternative method encouraged honesty and “owning your grade,” Sunneras Jonsson said. “It wasn’t a class you could lie in or even want to lie in. We were a family.”

The promise of this type of familial environment was destroyed with Cheli’s resignation. “I was not only upset I wouldn’t be experiencing his support and guidance anymore, but I was more upset that nobody recognized the impact this man had on his students,” Sunneras Jonsson said. The most upsetting aspect of this ordeal was presented in the looming possibility that she would never see this teacher again.

Following the official announcement of his resignation, Cheli held fifteen minute meetings with all of his students addressing their progress and giving them feedback. “I just expected him to give me this general spiel of things, maybe ‘Oh you’ve been such a great student’ or ‘It was a pleasure to have you,'"Lee said. “When I sat down next to him… he said, ‘Stephanie, you’re a very strong woman with strong opinions, but you hold yourself back. Stop holding yourself back.’ The fact that he said that opened a door within me to just trust myself…if I didn’t trust [Cheli’s belief ] that I was an opinionated woman and I shouldn’t hide from my strength, I probably would’ve shrunk back and stayed within the crowd.”

These meetings not only established the fact that Cheli always strove for a positive classroom community, but that he prioritized his students, their well being and their futures at Paly. “It was … one instance where he really got me to believe in myself.

Everything all school year really lead up to that one moment. I wouldn’t change that one moment for the world,” Lee said.

The idea of running into someone you haven’t seen in a long time can seem alarming at first, yet most students in Cheli’s class held no qualms about the likelihood of this happening.

“Throughout my sophomore year, I imagined what I would say if I saw [Cheli] at a Safeway or something, [but] I haven’t thought

A reflection on how English teacher Bo Cheli impacted the lives of his students with the use of unconventional teaching methods during his one year at Paly.

TEXT, DESIGN AND ILLUSTRATIONS BY ALEXIS PISCO AND GRACE ROWELL

“He didn’t just teach the class about English, he taught the class how to be themselves, [to not] be ashamed of who they are and how to be a good person, striving to have good morals and to make an impact on the world.”

Stephanie Lee

about this in two years,” Lee said. Many of his former students agreed. Following reintroduction and small talk, Lee would recognize the impacts Cheli has made on her life. “I’m now the captain of my speech team and managing editor of a magazine and I wouldn’t have gotten there without you,” Lee said. “'You changed my life so much.'” Sunneras Jonsson agrees that Cheli had a tremendous impact on her life, and that if she were to reunite with him in the future she would explain “[how grateful she is] for not only what he has taught [her] but offering his life and career to teach students in such a critically important and in-depth way,” Sunneras Jonsson said.

“Cheli could have easily gotten other jobs or kept his job at Paly if he taught in a way that was easy or generic, but he didn’t want to do that. He actually cared about each and every one of his students.”

Three years later, these students reflect on the ways Cheli impacted them and how it translated throughout their high school careers. Freshman year of high school is considered a formative time in a student’s life, and having a teacher that impacts your life immensely can impact a student’s foundation. Sunneras Jonsson expressed that freshman year was a very challenging transition for her, and that Cheli had helped her open up and exposed the most sensitive parts of herself. She had a very difficult time coping with and expressing negative emotions. Cheli helped her show a side of herself she never even shown to her best friends: he taught her to cry. “It wasn’t that I cried in his class because I was uncomfortable or he made me sad,” Sunneras Jonsson said. “[It was] because I felt like I could be vulnerable.

He was just able to bring out the side of me I wasn’t able to show in regular day life.”

Additionally, Lee reflects on how the manner in which Cheli taught set him apart from other teachers she has had. “He didn’t just teach the class about English, but he taught the class how to be themselves, [to not] be ashamed of who they are and how to be a good person, striving to have good morals and to make an impact on the world.”

Cheli provided a safe student environment and came from a place of wisdom and understanding, ultimately representing that he, as a teacher, had recognized the importance of reaching beyond the repetitive give-andtake informational and hierarchical relationship between a teacher and students.

The environment and the relationships that Cheli created during his year at Paly ultimately had a tremendous impact on those around him.

As the students he taught in 2015 are preparing to graduate, all memories of Cheli could be lost. The most significant part of Cheli’s career at Paly was the fact that he became such large part of students lives within one year. A teacher that can achieve such a difficult goal and manage to affect a student’s life and make a positive difference is one that they will never forget. During their freshman year, Lee, Sunneras Jonsson and Hurwitz were all affected by Cheli greatly, whether it was educationally, emotionally or philosophically. Cheli’s alternative methods represented the possibility of these modernized methods in newer teachers, providing the hope for a future in which students can learn beyond required curriculum.

CULTURE| 31

Let’s see that movie...

O O

AGAIN !

ne of the most highly anticipated movies of 2017, “IT,” comes 27 years after the original production on a bigger screen. While the original was aired as a TV show with a limited budget and had mediocre reviews, Warner Brothers spared no expense on the remake, spending nearly

1961 1998

D

three times more than the original at $35 million. “IT” has already made a sizeable profit, and at this point has grossed over $600 million worldwide; it is likely that this is partially fueled by the creepy clown craze of the past year and from the film’s casting of Finn Wolfhard, who plays a main character on Netflix’s newest gem, “Stranger Things.”

1990 IT 2017

The Parent Trap

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his is a story about two twins, separated as infants but reconnected at summer camp, who then end up bringing their divorced parents back together. We all know the version with Lindsay Lohan, but many are unaware that it is actually a remake of the 1961 film. The remake pays great homage to the original as it incorporates small references to the original throughout the

Beauty and the Beast

isney is known for revitalizing old Grimm Brothers fairytales and turning them into animated films. The 2017 version of Beauty and the Beast, a modern adaption from 1991 film, tells quite a different story. While the film is set during the same time period, there is a more progressive 21st century thread of feminism throughout, in conjunction with the advancement in technology. In the newer film there is a scene of the main character, Belle, teaching a young girl to read, while the other characters find this very upsetting. Set in an 18th century French village it is already bad enough that one girl has access to knowledge, let alone two. Bringing up the topic of women’s

32 | CULTURE

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oday it seems like most of the movies coming out are either sequels or remakes and it’s hard to know if they have lived up to their originals. Remakes differ from their originals in a few ways: some have slight plot twists making the film more modern, others are made using newer technology and some have become more progressive with messages they convey.

new film. A scene in the newer film where one of the twins is humming a particular song is a reference to the song the twins dance to in the original film. The major difference between the two versions is the noticeable technologic contrast. In both films, the twins are played by one single actress, however the newer version displays more realistic physical interactions between the twins.

education exemplifies the 21st century influence that was not present 20 years ago when the first film was made. Another piece giving the film a twist is the fact that Gaston’s friend, LeFou, is gay. Including a homosexual character in the film exemplifies the progression.

This remake does the original justice, paying tribute to the old tale as well as modern ideals.

1991 2017

TEXT AND DESIGN BY MADDIE YEN AND JACK STEFANSKI • ILLUSTRATIONS BY LEON LAU

paly madrono 2017-18

Let us

KNOW...

Nooran

Chloe

Xander

Got coverage ideas?

Contact your editors!

• Take a cool photo we might want to put in the book? Let us know!

• Interested in joining us on the staff next year? Let us know!

• Want to just see how the yearbook is put together? Let us know!

We interviewed kids from the ages of five to ten to take a look into their hearts and see what love means to them.

TEXT AND DESIGN BY CLAIRE MOLEY, GIGI TIERNEY AND LIA SALVATIERRA PHOTOS BY RYAN GWYN

How does love make you feel?

Wolfie, 6

“Bored...bored...bored and protected.”

Mack, 9

“Happy, not feel sad...It makes me feel appreciated.”

Elena, 8

“Happy, like if i’m in bed and I can’t fal asleep. I like when my mom comes in and tucks me in...I feel safe...I just feel tired.”

What do you love?

Will, 10

“I love hockey and I love reading... my favorite book is Harry Potter.”

Duffy, 7

“I would have to say TV and video games because I get to do them at night when my mom does not see.”

Caroline, 8

“I love drawing flowers...I love dogs and my parents and my friend Katherine because she is nice and sweet.”

34 | CULTURE

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ids are unique in the way they think about love; the value and complexity of love develops as kids move through the stages of childhood and begin associating love with memories and feelings of connection rather than external objects. One quality that makes kids so wide-eyed and innocent is their ability to love the world around them unconditionally. As the brain grows, so does a child’s perception of love and how they choose to define it. Kids around the age of three are more likely to define love as concrete objects, like balloons or puppies.

Berit Brogaard Ph.D from psychologytoday.com writes that “any extra

prodding to get them to explain why they think these objects are love is likely to be met with much exasperation.” Although explaining love can be exasperating, every age, despite how young, can recognize love. It is human nature to crave connection. The ability to love is ingrained in humans, even if they are too young to have the vocabulary or ability to self reflect and describe it. When the brain matures, concepts such as love attach to memories and attitudes. In this stage, kids can recognize what acts of love are and how to display it; they see love in their parents and demonstrate it towards them through kindness and selflessness.

where do you see love ?

Luke, 10

“I see love in my family and on TV...sometimes I see it when people come together for holidays...in friendships and when people get married and on birthdays...also when people come together for dinner or lunch.”

Emma, 9

“I see love in dogs and puppies and from my mom and my dad, but not my brothers!”

What does love mean to you?

Kostas, 5

“It’s how somebody feels and it’s like if someone marries you and you want them to. That would be love... It means you want to have kids.”

Zoe, 8

“It’s gross because people kiss... But when my mom loves me it is better than the gross kind.”

their dream, america’s reality Deferred Action for Childhood Arrivals (DACA) is a program that has given protection against deportation to over 800,000+ undocumented immigrants. It specifically protects children coming into the US, and continues to protect them from deportation throughout their adult lives. DACA recipients are all over the US, including the Palo Alto Unified School District. Due to the recent political controversy, C Magazine hopes to inform readers about how this affects students everyday lives.

M

ost American citizens do not think twice before taking their driver’s test, filling out a job application or writing their college essays. However, for over 11.4 million people living in the United States, including some Palo Alto High School students, doing these seemingly mundane tasks do not come as such a luxury.

America is viewed by many as the land of opportunity; millions of people immigrate to the United States in search of success they otherwise wouldn’t be able to attain in their country of origin. However, immigration has been a controversial topic in American history since its founding. In the mid 1800s, Irish immigrants were immediately met with discrimination upon arriving to the US due to their Catholic beliefs.

Furthermore, in 1882, the government banned the immigration of Chinese laborers to the U.S. through the Chinese Exclusion Act. Most recently, in the last presidential election cycle, the Mexican border and illegal immigration were popular debate topics.

In California alone, there are 220,000 undocumented immigrants. The ability to attend school or purchase a home are just a

few of the privileges that are not as accessible for undocumented immigrants as they are for those born in the US. This changed in 2012 when President Barack Obama issued an executive order to enact a bill called the Deferred Action for Childhood Arrivals (DACA), which deferred 800,000+ illegal immigrants from being deported.

The executive order’s goal is to protect

undocumented immigrants who were children when their parents brought them to this country. Now, the future of DACA is threatened by a six month expiration date that the Trump Administration put into place.

The topic of undocumented immigrants was consistently debated in Congress before and throughout Obama’s presidency, but

yielded unproductive results. President Obama bypassed their approval in June 2012 through an executive order to enact DACA. The Republican response to his order was negative as many people believed that his circumvention of Congress’ vote and implementation the bill was an unconstitutional abuse of executive power.

Although Congress disagreed with President Obama’s use of executive power, DACA was rolled out.

E s s e n t i a l l y, DACA is a twoyear, renewable permit that shields recipients from being deported; the goal is to ensure the protection of young, undocumented students, referred to as Dreamers, and allow them to attend school or work legally in the US if they meet basic requirements.

Dreamers are named after a 2001 bill called The DREAM Act, or Development, Relief, and Education for Alien Minors Act, which was a multi-process legislative proposal that would allow for undocumented people brought into the US as children to first be granted “conditional residency.” Upon meeting additional requirements, Dreamers could be considered for permanent residency which would potentially grant them US citizenship.

TEXT AND DESIGN BY LHAGA DINGPONTSAWA, ISABEL HADLY AND JAIME FURLONG • ART BY ANDREW HUANG The hope was that they would have the ability to create a better life for themselves in America without the constant fear of deportation. However, the DREAM Act failed to receive enough votes from Congress to pass. It has been reproposed multiple different times in both the House of Representatives and the Senate since its initial rejection, but continues to be unsuccessful.

Opposers to the bill cite it as possible incentive for more undocumented immigration into the US. This said, California created their own version of the DREAM Act to implement through the state government. The California DREAM Act was enacted in 2011, allowing undocumented immigrant students access to private school scholarships within the state. Since the DREAM Act never passed federally, President Obama also introduced the policy of DACA in 2012, which did contain many similar concepts to the DREAM Act. As the discussions began to arise regarding the idea and implementation of DACA, political party tensions rose due to much of the Republican predisposed opposition to President Obama.

However, no official action was carried out against the bill due to the Democratic Party maintaining the majority in the Senate.

Many people, regardless of party, also agreed that these children were brought to America by their parents and should not be forced to live by the constant concern of their citizenship status; much of its opposition was instead targeted towards President Obama’s choice to use his executive privilege.

To further combat the barrier that undocumentation creates from having a normal life in the United States, Obama opened up a program to include the undocumented parents of children who are US citizens called Deferred Action for Parents of Americans or DAPA in 2014, which was projected to have protected around 4.5 million undocumented parents.

The introduction of DAPA received much more backlash than DACA.Some Americans believed that the undocumented parents who chose to immigrate to the US without documentation should not receive the same benefits as Dreamers protected

by DACA, who were not involved in

the decision to immigrate to the US. This controversial bill led to 26 states, spearheaded by Texas, to sue the Obama Administration in the trial United States vs.

Texas. They claimed it was an overstep of his power, and therefore the program was never enacted.

The 2016 Republican presidential race, led by current President Trump, was full of opinions regarding immigration in America. President Trump won over many voters with his promises to implement strict immigration policies. After almost eight months in office and no removal of DACA, many Republicans became upset and 15 states threatened to sue the Trump Administration for not fulfilling promises of strict immigration reform. This led President Trump to set an end date on the DACA program, giving Congress six months to pass an alternative plan or DACA would be terminated.

Over the course of the five years DACA has been in place, over 800,000 people have gained confidence to apply for the protection it offers. In exchange for DACA’s protection, recipients supply the government with their personal information including names, addresses and fingerprints; they also have access to all of the documents received by recipients including driver’s licenses, workplaces and social security numbers.

When applicants first began providing their personal information, there was a guarantee of protection. Now, with the uncertainty of the future of DACA, Dreamers are apprehensive about their information being used against them in an effort to deport undocumented people registered under DACA. Unless congress passes another bill before DACA’s expiration deadline is reached, no DACA permits will be renewed, subsequently revoking all drivers' licenses, work permits and social security numbers Dreamers currently hold.

The end of DACA could have catastrophic implications for the young adults who have received its protection.

Congress should be aware of these problems when deciding what policies to implement regarding the immigrants have lived in the US the majority of their lives and consider it their home.

of daca recipients:

60% opened their first bank account

65%

pursued new educational opportunities

“Sometimes you just kind of wander off and think, am I going to be sent back?”

65% bought their first car

69%

received better pay

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79%

from Mexico

3.7% from El Salvador

1.1%

from South Korea

.4% from India

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daca eligibility requirements: 1. under the age of 31 as of june 15, 2012 2. first arrived to the us prior to their 16th birthday.

3. resided continuously in the us from june 15th, 2012 to present 4. physically in the us on june 15th, 2012 5. came to the us without documentation before june 15th, 2012 or their status expires as of june 15th, 2012 6. in high school, have a high school diploma, or have been honorably discharged from the military or coast guard.

7. not convicted of a felony, 3 misdemeanors or any significant misdemeanors

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ric, a Paly senior who has chosen to stay anonymous for this story, is one of many students directly affected by DACA. Eric, the youngest of four and the only one of his siblings protected by DACA, spent most of his childhood with his mother. As a young child, he recalled his family being split up a lot of the time because his father and two brothers would move back and forth from Mexico to the U.S.. Having experienced this all at such a young age, he can “only remember so much from those first five years of my life,” Eric said.

The constant movement back and forth between the two countries stopped around the time Eric turned five, when he and his family moved to America.

Initially, they moved to Mountain View where Eric attended kindergarten through 5th grade at Monta Loma Elementary school and then moved onto Crittenden Middle School from 6th to 8th grade. The following summer, he moved to Palo Alto to attend Paly as an incoming freshman.

DACA allowed Eric to create a new life for himself, and it was something that his father told him to take advantage of.

“It was a constant reminder from my father, that I should take advantage of the education and resources provided by the country and area we live in,” Eric said.

Being a part of DACA has affected Eric’s life as he was given the promise of safety as long as he abided by the program’s regulations. He has also been able to obtain a work permit, allowing him to work for the past year at a restaurant. With the election of President Trump, Eric is aware of the controversial issues surrounding DACA, but thought it was best to keep “a positive mindset.”

Even though he’s a member of many communities, Eric continues to feel like an outsider, not knowing where to fit in.

Eric understands there are preconceived notions about different cultures and stereotypes people may have, but claims that people are going to believe whatever

they want. His positive mindset allows him to proudly show off his Mexican heritage, and he notes that the political climate is just another obstacle that he will overcome.

With this pride comes confusion as he believes that being both Mexican and American means that he isn’t truly one or the other. “I don’t think I’d feel like I’d fully fit in if I went back to Mexico. I’ve been here for the majority of my life.” he said.

Being Mexican already classifies Eric as being a minority, but adding his citizenship status on top leads him to believe that he is “a minority within the minority group,” Eric said.

A smaller community that Eric is part of is at Paly. Even though he feels somewhat isolated, Eric mentions how supportive the Paly administration has been, and when the recent incidents with DACA occurred many of his teachers reached out to him.

Some politicians and citizens believe that immigrants should not have the same opportunities as U.S. citizens because of their undocumented status. Eric opposes this by stating that immigrants come to the U.S. to better the lives for themselves and families, not to impose any harm on anyone or anything.

The protection he received from DACA has allowed him to immerse himself in academics and not solely focus on his citizenship status. However, that assurance was all taken away with the election of Trump, due to his standing on illegal immigrants, as well as both the Senate and House majority now being Republican, who are generally associated with hardliners on immigration policies. Although Eric is doing his best to keep an open and positive mindset, it’s human nature to think about the daunting possibility.

“Sometimes you just kind of wander off and think, am I going to be sent back?" Eric said. Eric will not let these setbacks get in his way of what he hopes to accomplish in the future, and he is currently applying to colleges with hopes to continue to further his academic career.

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tweet, tweet.

A look into the role played by social media in the world of politics.

TEXT AND DESIGN BY CHARLOTTE AMSBAUGH AND BENJAMIN RAPPERPORT ILLUSTRATION BY DAVID FOSTER RETWEETS

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LIKES

29,510

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s social media has evolved, our world, lifestyle and political climate have evolved with it.

With the emergence of Twitter and other social media platforms, public perception of politics has changed forever. Social media is here to stay and it will continue to dictate our elections, foreign affairs and every political issue we encounter.

The majority of our nation’s presidential elections up until the 2000’s campaigns were conducted almost entirely through public speeches and various propaganda. When voters elected their candidates, their opinions were based on who the candidate was in real life, rather than their online presence. The candidates mannerisms and personality actually showed through, and voters used this to decide whether or not they want the candidate in office.

As the United States entered the 2008 election, more and more campaigning was done through social media platforms such as Facebook and Twitter. Candidates utilized these platforms to reach a breadth of people, publicizing their statements and campaign updates. Although the publicity of politics began changing, speeches and debates maintained their impact.

Thus, the digital campaign was invented.

In the 2016 election, the political discourse switched chiefly to social media. Most well known for his tweets, President Donald Trump became famous for his aggressive and unfiltered online commentary and contention.

Without hesitation, he attacked opposing candidates on social media, calling them names and throwing insults, with no regard to their political affiliation. As ruthless as he may have seemed, the publicity he gained very well could have been a contributor to his election.

Social media doesn’t only influence politics in the United States. Recent international discussions have been brought to light through social media, including North Korea’s declaration of war, prompted by President Trump’s tweet that reads: “Just heard Foreign Minister of North Korea speak at U.N. If he echoes thoughts of Little Rocket Man, they won’t be around much longer!”

This tweet, in response to North Korea proclaiming that they have nuclear weapons, shook both the political world and North Korea. The prospect that a country would declare war over the internet would have been absurd years ago, but today it did not surprise many. The extent that politics has been dictated by social media is far beyond what anyone expected.

Social advocacy has also taken advantage of both the versatility and accessibility of multimedia platforms.

Movements like “Black Lives Matter,” the Dakota Access Pipeline protests and the Women’s March have roots in social media. Platforms allow activists to share their opinions in order to find like minded people.

The hashtag #BlackLivesMatter has been used in over six million instagram posts, and countless tweets, which indicates the vast following of the movement. This movement is almost entirely fueled by its presence on social media and its power is generated by people all over the country discussing injustice over the internet.

Beginning in early 2016 when the Dakota Access Pipeline in Standing Rock, North Dakota, was being protested, Facebook users from around the nation ‘checked in’ at the protest site using Facebook. The intention was to divert the cops from identifying protesters because the check in function could no longer aid the authorities to accurately identify the protesters who were actually at Standing Rock. Although small, this virtual act of solidarity aided in catching the attention of international media and news outlets.

The Women’s March benefitted from social media outlets as protesters and activists were able to communicate and promote the movement. Theresa Shook, the woman credited with the idea of a Women’s March, began her promotion for the walk by creating a Facebook event page, gaining a over 10,000 responses by the next morning.

Photojournalism and videography also have a presence in America’s political climate. During the recent riots and protests in Charlottesville in August of 2017, a video of a car being driven into a crowd of counter-protesters shot by Brennan Gilmore went viral, attracting more attention to the unrest in Charlottesville and fostering support for the counter-protestors as well as the victims of the crash. The popularity of the video shed a light on Heather Heyer, the young woman who died in the riots.

In recent years, social media has transformed the the world’s political climate and it continues to do so. Through the opening of these new channels of communication, governmental procedures, political activism and international relations have forever been transformed, and continue to change regularly. Social media is constantly evolving and as long as the trend continues, politics will be continue alter in unimaginable ways.

“The prospect that a country would declare war over the internet would have been absurd years ago, but today it did not surprise many.”

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n e k o r B ituals r TWO PLEDGES, TWO EXPERIENCES TEXT AND DESIGN BY LEON LAU AND BENJAMIN RAPPERPORT • ART BY LEON LAU

“I was locked in a room and listened to the 1996 presidential debate in the dark on full blast.”

Ryan, college student

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pitch black room. New pledges shoved to the edges of the space, elbow to elbow. Suddenly, out of the darkness, a crackling sound comes out and the boys whip their necks, fearful of what will ensue.

A recording blasts: “Welcome to the first of the 1996 Presidential debates between President Bill Clinton, the Democratic nominee, and Senator Bob Dole, the Republican nominee.” It’s the 1996 presidential election on max volume vibrating through the screen.

Traditions of initiation are common among college fraternities, but when so called “playful” bonding pushes the boundaries of young students, hazing becomes a part of the culture.

Ryan, whose real name has been changed to keep his identity private had an intitiation experience with quirky and unharmful traditions. “I was locked in a room and listened to the 1996 presidential debate in the dark, which was on full blast volume, which was pretty wack,” Ryan said.

He pledged to a frat that did not promote the overconsumption of alcohol, which made his initiation a unique and wholesome experience. The lack of abuse and pressure in this fraternity completely changed his view of college and Greek culture on campus.

“In terms of not drinking, that definitely

brought us together in an interesting way because it forced us not to do something that college students tend to do on a regular basis,” Ryan said. His safe and respectful initiation brought his entire class of new pledges together and sent them into their four years of college with a sense of excitement for this new community.

This form of hazing in Ryan’s frat where alcohol is not encouraged is different than many other frats at other colleges or around his campus.

New members understood that they had to earn their place in the fraternity by undergoing the same initiation as all brothers did, but were not forced into uncomfortable situations solely for the amusement of upperclassmen.

When he was finally introduced to the brotherhood, the real benefits of being in a fraternity became evident.

“Social life is definitely dictated by greek life in [college], and in that aspect it really has given me the ability to branch out socially,” Ryan said.

His involvement in Greek life allowed Ryan to maintain a social life, with parties at least twice a week and a group of friends closer than he had ever experienced.

Outside of the fraternity, his relationships with friends still held fast. “[The brotherhood] led to connections to some of my best friends for the rest of my life,” Ryan said.

He now has a group of friends he knows he will reunite with in the future, and be able share the memories of all the insane moments from their college experiences.

Hazing, however, is backed by a long history of distaste. Hazing isn’t just youthful irresponsibility, much of it fosters hostile environments, rather than the intended kinship in brotherhood.

One of the most extreme cases was set at an Ivy league school involving a student on the water polo team. In the interest of the student’s privacy, his name has been changed to James.

After just 24 hours of being at the fraternity, James instantly sensed the culture of his

new home.

“The first night I was there we went to a team bonding party at one of the frats and it got intense pretty quick,” James said. “I had to finish 40 [ounces] of malt liquor and wasn’t allowed to leave until I did.”

The team pressured the newcomers to drink extreme amounts of alcohol and made it clear that this was a necessary in order to be a part of the team.

Some embraced it and became close with the rest of the team that night, but James and others did not respond well to the culture of excessive drinking. “It made something which I was excited for [playing water polo] a stressful and dangerous job,” James said.

Initiation lasted for a few weeks for the freshmen, running multiple nights a week for a two-month period during which new athletes were forced to drink unhealthy quantities of alcohol. It soon became clear to James that this was not just about being a freshman; excessive drinking was a crucial part of being on the team.

“I realized that even when I wasn’t being forced to drink I was still under extreme pressure to drink,” James said.

“Anyone who didn’t keep up was alienated that night and the next day at practice.”

Upon realizing that this was not the college experience he wanted, James left the Ivy and transferred to a smaller liberal arts school in Minnesota. “[Hazing] changed my entire experience of college,” said James.

“I was excited to go to such a good school and water polo team, but it was too much,” James said. “I now realize that it was definitely the right choice for me [to leave] and I grew to love my new school.”

The aggressive pressure he experienced was not initiation, it is what made him want to leave. Not only did he get driven out of opportunity, but his perceptions of college Greek life was stained forever.

College can be full of drinking and social pressure, but when it puts the students in dangerous and outrageous situations, it becomes hazing. Initiation is a fun and welcoming way to form a community, but hazing is an entirely different beast that doesn’t belong on college campuses.

“I had to finish a 40 [ounce] of malt liquor and wasn’t allowed to leave until I did.”

James, former Ivy student CULTURE | 43

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he unbelievably long soap opera, with over 3,000 episodes aired, has been directed by 15 individuals since August of 2004. It is set in a small, French port deemed “Le Mistral,” based off of the Marseilles neighborhood of Panier. Crime, romance and social status are the epicenter of this drama.

High class families, Chaumette and Frémont, meet lower class families, Marci and Torres, in continuous criminal intrigue, as the local police station and its officers drive the plot. Love

french

and status keep the viewers engaged in other subplots throughout the series.

If you want to start watching now, but do not want to put aside time for a 3,000 episode premise, an enormous fan base has you covered with blog posts that summarize every episode and will be sure to keep you updated on all of the new drama. With a cast list almost too extensive to follow, the French have been dedicated to this series for years as new episodes continue to air.

Immerse yourself in a pinnacle of French media and language with Plus Belle la Vie.

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XERCISING THE LINGUISTIC SKILLS YOU ARE LEARNING IN SCHOOL CAN BE DIFFICULT AND DAUNTING, ESPECIALLY WHEN IT ONLY SEEMS TO ADD TO YOUR WORKLOAD. AS A

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tl

e

spanish

eff

as Chicas del Cable, loosely translated to its American name Cable Girls, is an eight episode television series on Netflix España. It follows four different women as they navigate the realms of love, work and acceptance in1920s Madrid.

In the 20s in Spain, the newest technology is the telephone. With the earliest developments of the telephone came the operators, las operadoras, the women behind the lines, connecting you with whomever you wished to speak to. Cable Girls is about the lives of four women: a lesbian, an estranged wife, an introverted romantic and the main character con artist, Alba Romero. After she is falsely accused of murder, Alba is forced to go into business with a dirty cop. Her only way out of his blackmail is to steal the newest technology from the National Telephone Company, the largest telephone operation at the time. Upon stealing another woman’s identity, Alba takes on a new name and presents herself as Lidia Aguilar. Her job seems to run smoothly at the start, until she meets her boss, an old friend, who can see right through her facade.

Although the show takes place in the 20s, the language remains contemporary and easy to follow with or without subtitles.

The plot takes twists and turns that will make you want to binge every episode.

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m m i

: n o i e rs

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japanese

f you’re looking for a good tear jerker but could use some cleaning up on your Japanese, get out some tissues and turn on 1 Liter of Tears. The Japanese TV series first aired on October 11 of 2005, and followed a once a week airing schedule, officially finishing on December 20th the same year. It ran for one season following the true events of the life of Aya Kito, a young Japanese girl born in 1962 who journaled her entire struggle through life with spinocerebellar ataxia.

Spinocerebellar ataxia is a degenerative genetic disease that causes slow changes

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WAY OF APPLYING THE VERB TENSES AND VOCABULARY LOOSELY SCATTERED IN YOUR BRAIN, WATCH AN INTERNATIONAL TV SHOW IN YOUR LANGUAGE OF STUDY TO INCREASE YOUR FLUENCY.

inter

nat

ion

of the cerebellum, affecting ability of basic movement and coordination. Diagnosed at the age of 15, Aya Kito was just a normal girl living with her parents and three siblings in Toyohashi, Japan. After her diagnosis, and as her condition worsened, Aya’s ability to complete everyday tasks became much more difficult. She kept herself busy by keeping a journal of her life and symptoms which was published following her death at the age of 25. The show follows the writings of Aya’s personal journal, her first days of high school and her close knit relationship with her father.

mandarin

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ith an impressive repertoire of 47 episodes since airing in June of 2017, The television series Rush to Dead Summer is trending in Chinese culture. It has already gained lots of attention from the media since the release date, so viewers will find that each episode draws you in immediately.

Based off the writings of popular romance novelist Guo Jingming, the new and popular drama follows tumultuous friendship dynamics spanning over ten years. The main characters’ lives converge in secondary school, where young and beautiful Li Xia meets the illustrious Xiao Si and Lu Zhi Ang. Their characters grow and diverge post graduation as their talents propel them into the future.

Two other pillar characters, Qi Qi and Yu Jian, follow a parallel path, coming of age with the other young adults. Singing and artistic skills primarily drive the careers of the characters, and even provide them with experiences overseas. Imprisonment, love, departure and betrayal put their long lasting friendships on the line as they begin to accept the idea that their lives have grown apart. A classic coming of age drama, Rush to Dead Summer is a fresh pick for Chinese television that will aid you in solidifying your Mandarin fluency.

on

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Silence TEXT BY ANONYMOUS • DESIGN BY ALLY SCHEVE • ILLUSTRATION BY DAVID FOSTER I hate the silence of waiting My mind fumbling over the cold phone that sits on my desk Untouched, unused, understood as our only connection I’m the first passenger on this train The first to step on, saying, “Let’s go!”

A wide-eyed grinning toddler playing with toy cars Truly believing they’ll move like the real ones Your voice, muffled, steps on after me Forgetting, purposefully, maybe, your luggage of thoughts Packed to the brink, yet refusing To explode in my face I wouldn’t really mind, though We sit back to back, looking, not seeing Hearing, not listening “Being” as the other “is” As we “are” Alone The silence lives for minutes It crawls into my ears, relentlessly scraping out the earwax Using it to cover itself back up, refusing to It drowns out all light, possibility falls into its abyss It’s a silence I don’t want to believe in For, I think Only when I believe in it, like fairytales, it will be true I turn around to a faded off-white gray of a ghost Hovering beside the provocative window Why should I try to preserve you What good are you to me now?

I think to myself in a voice you’ll never hear Yet you won’t go Why must it be up to me To let you Now tell me, What kind of love houses opaque drowning ghosts One train stop away from disappearing in the silent wind

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