Issue 07 2019

Contributors Editors-in-Chief Sara Michael Isabelle Kenagy Amy Carlyle Copy Editor Leah Parsons Sports Editor Alyssa Huynh Assistant Graphics Editors Carly Phoon Liv Ralph Faculty Advisor Ms. Laine Remignanti Staff Writers Kendall Forte Lucie Edwards Harper White Sophie Pilarski Alex Cotton Kyle Berlage Sariah Hossain Alexandra Midler Contact The Bishop’s School 7607 La Jolla Boulevard La Jolla, CA 92037 Website www.thebishopstower.com Email thetower@bishops.com Socials IG: @thebishopstower TW: @thebishopstower FB: TBS The Tower

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Colophon The Tower is printed by Streeter Printing Company in Mira Mesa, CA. For this issue’s layout, the Staff used Adobe InDesign, Adobe CC (CS9), and Photoshop CC (CS9) to arrange photographs and graphics. We printed and distributed 500 copies of Issue 07 to the Bishop’s community.

Typefaces included Eskapade on our cover, Cochin Italic for our headlines and covers, and Minion Pro for our body text. Issue 07 and previous issues of The Tower are available digitally on issuu.com/thebishopstower.

Philosophy The Tower is a high school student-run publication at The Bishop’s School in La Jolla, CA. Writers and editors work together to enhance the Bishop’s community and stimulate meaningful conversation through the collection and distribution of news and other information. The Tower aims to educate The Bishop’s community about issues that pertain to the experience of young adults. Sections of The Tower include Academic, Sports, Arts, Culture, Local, Beyond, Opinion, and The Bell.

Policy All materials featured in The Tower are student-done and/or from the Bishop’s community. All articles reflect The Tower’s philosophy and goal to deliver relevant content to the Bishop’s community. The Tower works with the administration by communicating about sensitive topics to ensure the safety of Bishop’s students and to confirm all topics are approached in an appropriate manner. The Tower does not engage in prior review of its issues, and maintains the right to publish anonymous quotes when the privacy of the individual is a concern.

The Bell — Mission Statement Nestled inside the Bishop Johnson Tower is a bell. Though tucked away from view and hardly ever rung, everyone knows it is there. The bell has become a prize to find — students have attempted to reach the top of the tower for decades. Needless to say, the bell is a much sought-after icon on the Bishop’s campus. The Tower has its very own bell; though not mysterious and more easily accessible, it aims to stir the same excitement as the physical bell. Home to lighter news and satire alike—such as Top Ten, Bachelor/Bachelorette, and Who Wore it Better—the Bell intends to serve as a relief from the depth of the magazine and bring joy to the Bishop’s community.

Issue 07 • April 2019 • The Tower

EDITOR LETTER

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s I’m writing this editor letter, I find myself revisiting the phrase, “let the music move you,” which Amy Carlyle (‘20) uses as the title of her article. Music has the amazing ability to move us emotionally, and it has the power to validate our human experiences. As my friends can attest, I have a Spotify playlist tailored for every emotion. When it’s one of those days when everything seems to be going wrong — when I hit every red light, where my umbrella reverses itself in the wind, where pens scatter to the floor — there’s nothing that I relate to more than the song “Fix You” by Coldplay.

Maybe it’s the melancholy lyrics or Chris Martin’s soulful voice, but something about the song brings me a sense of security. It makes me feel like even though I’m alone in my room, staring at the ceiling, there’s still somebody commiserating with me somewhere across the world.

Music doesn’t only reflect and validate the emotional experiences we grapple with personally, but, as Amy explains in her piece, it can also mirror current events and social issues that we face as global citizens. Impactful music (and media in general) addresses pressing social issues. Good music makes the timely feel timeless.

As flowers start blooming and the days start getting longer, I challenge you to reflect on why music matters to you. What would life be like without music? I know my life would feel much more isolated and lonely.

Sara Michael (‘19)

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CONT ENT S 6 SPORTS

The Senior Stars on JV Girls’ Lacrosse Sara Michael

8 ARTS

Bishop’s production of Les Miserables Alex Cotton

12 CULTURE

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“High” School Teenage Marijuana Usage and Effects Olivia Ralph

Reduce, Reuse, Recycle, Rethink Sustainability on Campus Lucie Edwards

An Unacademic Epidemic How Senioritis Affects the Class of 2019 Kendall Forte

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18 COVER STORIES

Let the Music Move You Why Art and Politics Don’t have to be Mutually Exclusive Amy Carlyle

Source: Unknown Is Anonymity Ethical in Journalism?

Carly Phoon

Netflix and Learn Television as a Political Platform Alyssa Huynh

24 BEYOND

The Prison Problem The Arguments Against Juvenile Incarceration Sara Michael

25 THE BELL

The Tower Staff ’s April Song Picks

Top Ten

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Q

SPORTS

THE SENIOR STARS ON JV GIRLS’ LACROSSE Sara Michael

Seniors Sofia Rubio, Ashley Jay, Maile Gaarder Feingold, Priscilla Hsieh, and Hannah Robbins , who lead Girls’ Junior Varsity Lacrosse Team, work incredibly hard on and off the field. While balancing extracurriculars that include writing and editing for the Daily Urinal, performing with Bishop’s Singers, leading the Bishop’s Krav Maga Club, surfing, and teaching gymnastics at the local YMCA. Although these girls’ have a multitude of different interests outside of sports, they are united through this team.

What enticed you to choose to play JV Girls’ Lacrosse?

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What is Mrs. Chrystal like as a coach?

Ashley: Ashley: “Mrs. Chrystal is a very energetic and sup“I chose to play JV lacrosse because I wanted portive coach. She gives us freedom to find to just have fun and play a sport for my senior our own rhythm in the game and find our year. A group of us seniors decided to play JV role on the team. She is always making us go together to just enjoy hanging out with each 110% in drills and encourages us to make a other and play an exciting sport with no inmistake in practice so that in the game we tense commitment. JV lacrosse also generates are strong competitors. She is really into such camaraderie between all the players and having players help each other so that we can is a way to be part of an exuberant team and learn from one another. Her strengths as a simply compete.” coach are being encouraging, positive during critique, and [she creates] a very supportive Can you tell me a bit about the team dyteam who know the fundamentals of the namics? game.”

Sofia: “Everyone on the team gets along really well, and I appreciate that none of us have high performance expectations so whenever someone misses a ball or the goalie doesn’t block a shot, everyone is pretty unbothered and just keeps encouraging people to do their best.

We’re a pretty positive team overall.”

Ashley: “It’s a mix from all the grades which I really like because I get to play with people of all ages also it balances out the team more.

There’s no one grade that dominates the team.”

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Sofia: “She’s a great coach who also does not have impossible expectations for us. She’s one of those coaches that’s happy with our work as long as we are having fun.”

What is your favorite memory from this season?

Priscilla: “I think my favorite memory from this season is the Westview game we had this past Friday [the 15th of March]. We were down 5-2 after the first half, but we made a comeback during the second half, and we ended with a 7-5 win.

Issue 07 • April 2019 • The Tower

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(From left to right) Team captains Ashley Jay (‘19) and Priscilla Hsieh (‘19) have led Junior Girls’ Varsity Lacrosse through a great season.

It was just super exciting, and I was very proud of everyone on the team.”

Ashley: “My favorite memory from the season is when we played Bonita Vista and someone on the team legit scored in the first 20 seconds. It brought up the spirits of our team, and we ended up winning our for the first time by 13 points.”

Sofia: “My favorite memory from the season was when we showed up to Country Day energized and ready to play, and they hit us with that, ‘we forgot to tell you that we don’t

have a JV so ahead and play our varsity.’ But even so, we kept our spirits up.”

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ARTS

Bishop’s Production of Les Misérables Alex Cotton

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es Misérables has largely been considered the biggest production Bishop’s has ever put on.

It did not disappoint. The incredible vocals, catchy songs, and emotional ballads filled the theater.

The intricate barricade, ornate costumes, and incredibly choreographed dance numbers brought the stage to life.

The show begins with escaped convict Jean Valjean, who saves a dying woman, Fantine, from a grim fate on the streets and raises her daughter, Cosette. Because Valjean evaded his probation, police inspector Javert hunts him down ceaselessly. Cosette and a young revolutionary named Marius fall in love, as a peasant girl named Éponine struggles with her unrequited love for Marius. All of this happens in the midst of the June Rebellion of 1832, a bloody uprising of revolutionary Parisians.

In the prologue, Javert, played by Jonathan Zau (‘19), dives into the first of many duets with Jean Valjean, played by Jacob Lincoln (‘19). The duo’s frequent conversational songs carry the plot forward and provide contrast between the characters. Jacob lightheartedly spoke about his struggle of singing so much throughout the show, “It’s killing my voice, but we make it work.”

The first half of Act One focuses on the grim life of Fantine played by Zion Dyson (‘19). Fantine gets fired from her job at the factory, and she finds herself in a prostitution ring to support her daughter.

“I have to get my hair pulled,” said Zion describing a scene in which she fights with some fellow workers. “[Ensemble member Elizabeth Szymanski (‘19)] puts her hands on top of my head. I have to grab them and hold them on my head with all of my force.” After, the ensemble performs an elaborate group singing number called, “Lovely Ladies.” The female cast members are dressed in colorful and frilly outfits as they sing about enticing sailors.

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It would be impossible to write about Les Mis without mentioning the directorial genius that is “Master of the House.” This song introduces the comic relief: Madame and Monsieur Thénardier played by Sabrina Webster (‘21) and Brett Garron (‘21). They are the scummy innkeepers who sing hilarious musical numbers. At one point in the song, ensemble member Delilah Delgado (‘21) does a flip off of one of the tables! She recalled, “It was really fun for me as our objective was to appear drunk or sleazy (or both!), so there was a lot of freedom with the dancing as opposed to a focus on technique, and a lot of acting motivation.” The somewhat sloppy and mismatched gestures come together into beautiful harmonization.

This manifests itself in the cast’s synchronized posing and their rhythmic stomping and clapping.

Act Two opens with the technical feat that is the barricade, protecting the revolutionaries and holding back opposing forces. Brought on to the stage triumpStage manager Priscilla Hsieh (‘19) “Getting the barricades on and off the stage was a big challenge because they are super heavy and there’s a lot of different pieces that move on them. For example, some of the chairs can be removed. We had to spend a lot of time figuring out how to execute the barricade transition in a timely manner and make it look professional and succinct.”

The first to die on the barricade is Eponine, played by Olivia Weise (‘21). She runs on stage and falls to the ground, covered in blood. Eponine and Marius, played by Alex Kuncz (‘21), sing a moving duet called “Little Fall of Rain” as she dies in his arms.

Olivia sings while laying down; this is a testament to her vocal capabilities.

The climax of the play is the second attack on the barricade. The whole ensemble gathers on the barricade and fires blanks out of rifles to add a realistic effect. The smoke machine adds to the drama. Ev-

Issue 07 • April 2019 • The Tower

ARTS eryone dies. The scene goes black. The barricades roll offstage and the female ensemble returns to the stage, dressed in black, mourning the death of the young soldiers.

However, the show returns to a hopeful place with the wedding of Marius and Cosette, when all the ensemble members arrive in ballgowns and suits.

The Thénardiers arrive, dressed in flamboyant costumes with ridiculous makeup. Sabrina even sported a fluffy pink wig. In doing Sabrina’s makeup, Jess Li (‘20) “went for the most horrendous, old-French makeup look possible, and it turned out amazing. Her face is white, her eyebrows are straightup black, and her lips are painted in a heart. It’s a piece of art.” Throughout the scene, Sabrina stuffs plates and silverware into her dress. She remembered how “the silverware works out differently every night. It usually gets stuck, but it will come out at a certain point which is really exciting to engage in.

The show ends on an emotional note that brought many audience members to tears. Slowly, all cast members whose characters died return to the stage until the entire cast stands onstage, facing forward, singing in unison.

With the magnitude of the set, the extravagance of the costumes, and the sheer acting and singing talent of the cast, Les Mis was an experience that will go down in Bishop’s history.

“ABC Cafe” (from left to right) Joseph Aguilar (‘22), Marcus Buu-Hoan (‘24), Gabe Worstell (‘20), Nathan Huynh (‘19), Sean Kim (‘21), Alex Kuncz (‘21)

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Left: “Building the Barricades.”

Left: “Lovely Ladies.”

To get into character, many cast members met with Co-Directors Dr. Christine Micu and Donna Cory to discuss the characters’ back stories and personality traits.

Center: Fantine played by Zion Dyson (‘19).

Right: “The Wedding.” Many of the costumes were ordered from Maine State Musical Theater and were shipped all the way from the East coast. All the ensemble girls had a full ballgown with a top and skirt as well as a large hoop skirt underneath. Center: Monsieur Thénardier played by Brett Garon (‘21) and Madame Thénardier played by Sabrina Webster (‘21).

Les Misérables Left: ”One Day More.” Backstage, Co-Director Dr. Christine Micu conducted a live orchestra.

Her conductions were projected on a screen at the back of the theater so that cast members could follow along. From left to right: Brett Garon (‘21), Sabrina Webster (‘21), Cat Paul (‘19), Jacob Lincoln (‘19), Gabe Worstell (‘20), Jonathan Zau (‘19).

Right: “Master of the House.”

All of the cast members had many quick changes. For example, Dylan Cardinal had 10 quick changes. Center: Monsieur Thénardier played by Brett Garon (‘21) and Madame Thénardier played by Sabrina Webster (‘21).

CULTURE “HIGH” SCHOOL Olivia Ralph

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n light of the recent legalization of marijuana for people over the age of 21, there is a societal call to question why students use it and the possible side effects. To provide information to Bishop’s seniors and juniors, School Counselor Ms. Megan Broderick (‘98) brought in Dr. Tasha Wade, a postdoctoral fellow at the University of California, San Diego, to elaborate on marijuana’s potential effects on the brain.

At the assembly for eleventh and twelfth graders, Dr. Wade described many studies to which she contributed.

One study analyzed marijuana’s effect on teenagers by following subjects who used marijuana three times a week for over a 20 year period starting when they were teens. The results showed a six-point decline in the subjects’ IQs. Dr. Wade remarked, “The effects of marijuana are similar to those of lead poisoning.”

One of the research flaws Dr. Wade shared is that many of the studies on marijuana’s effect on the brain were conducted in 2007 and 2010; but

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the marijuana used today differs chemically from the substances monitored in the studies. Dr. Wade explained, “Today, there are so many different strains, potencies, and methods in which marijuana can be consumed. So, we really don’t know the potential long term effects for today’s young marijuana users.”

To prevent these possible health effects, Dr. Wade advised the upperclassmen to not use marijuana until their brains are fully developed around the age of thirty. She encouraged those who may have already experimented with marijuana by sharing “that adolescents who had, and then lost access to, marijuana increase their chances of passing a test in college.”

Who are these young marijuana users? Dr. Wade explained that about one-third of all high school seniors smoke weed and that the number is rising because “high schoolers just don’t think it’s bad.” A Tower survey sent out to Bishop’s upper school students revealed that 34.11% of respondents have

Issue 07 • April 2019 • The Tower

“I really like doing math when I am high...”

-Anonymous

used marijuana, indicating that it has become present amongst teenage culture.

Students also expressed a unique affinity towards marijuana due to its supposed benefits. An upperclassman shared: “I really like doing math when I am high because it’s just like a puzzle. It changes the way I think about math. It’s no longer a homework assignment, but a puzzle that I am trying to figure out.” Dr. Wade acknowledged this notion with a rhetorical question to students: “If a doctor told a patient that they needed to be high to perform surgery, would you be okay with that?” Her point indicated that weed doesn’t enhance performance, but it does create a euphoric experience which can make an activity more enjoyable.

In her presentation, Dr. Wade elaborated on the lack of regulation of marijuana, and how the constant evolution of the drug makes it challenging to monitor its effects on the human brain. She closed her presentation by saying, “Marijuana may not be bad in the grand scheme of things, but what it is, is a difference in cognitive functions with regular use, suggesting that there might be a connection between weed and [mental] weakness.”

However, students still question the severity of the consequences. An anonymous senior shares that, “I thought that what she was saying was super interesting, but none of the information presented seems urgent enough for me to stop smoking.”

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CULTURE

REDUCE, REUSE, RECYCLE, RETHINK Lucie Edwards

W Sustainability is “living on this planet in a way that doesn’t leave it worse than we found it.”

— Dr. Pamela Reynolds, science teacher

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hat does it mean to be a 21st-century citizen? Many people associate a 21st-century citizen with zero-waste lifestyles and 400-square-foot tiny houses. In reality, 21st-century citizenship refers to living a more sustainable life, no matter how extreme.

This idea calls for a slight change in mindset rather than a drastic lifestyle alternation. According to science teacher Dr. Pamela Reynolds, sustainability is “living on this planet in a way that doesn’t leave it worse than we found it.” Here at Bishop’s, we have taken various steps to be more sustainable, but are we doing enough?

On January 1, the California legislature implemented the “plastic straw ban,” which only allows full-service restaurants to give customers single-use plastic straws upon request. This ban was a reaction to the #savetheturtles movement (a popular Instagram and Twitter hashtag that shows support for using less plastic – specifically straws that end up in our oceans). Many stores in La Jolla, including Warwicks, have begun carrying steel straws and straw brushes in support of the ban.

When asked if she thought Bishop’s efforts to be more sustainable were sufficient, Dr. Reyn-

Issue 07 • April 2019 • The Tower

olds replied, “sufficient [is] the wrong word— we can always do more.”

This is not to say that Bishop’s hasn’t taken steps to embrace their 21st-century citizenship. One large step our campus has taken has been the installation of solar paneling on every building on campus. During the month of February, the solar panels installed on the athletic center buildings offset their energy 39% by solar, a “good” score according to our Tesla Solar Account. This means that out of the 14,995.0 kilowatts consumed, 5,740.0 of these kilowatts were produced by the solar panels.

One part of sustainability at Bishop’s that often goes overlooked is the Student Enrichment Trips. An important part of global travel is the cost to our planet, mainly measured through CO2. Before departing on an international trip, Dr. Reynolds and other faculty members attending calculate the total cost of CO2, from the airplane ride over to each meal along the journey. While on the trip, students have the opportunity to replenish this CO2. In the past, students have done a number of sustainable activities from planting trees to cleaning up trash.

CULTURE

Even so, one roadblock in raising more school-wide awareness that the administration hit was the lack of recognition in our community. This prompted the addition of a “Sustainability” group on Whipple Hill in early 2016, where each grade has its own focus: starting in sixth grade with “Life Cycle Analysis and your Garbage,” and ending in twelfth grade with “Food, Glorious Food!” More recently, science department faculty hosted a “movie night” as part of their Sustainability Interest Group— providing popcorn to go along with the film Wasted, a documentary about reasons humans produce such large amounts of food waste and possible ways to solve this issue.

Science teacher Mr. Benjamin Duehr hopes that “with some guidance, students will begin to care more about sustainability.”

And some do. Drew Yashar (‘19) founded the Green Campus Initiative (GCI), a club that not only takes care of the compost bins but also encourages other students to get involved in sustainability. GCI member Kirra McColl (‘20) encourages other students to start taking small steps towards sustainable lifestyles, saying, “it’s really not that difficult.”

Some middle schoolers have also taken initiative through the Green Scheme Club. This group has taken over the garden outside of the Science Center and is in the process of engineering a more effective fog-harvesting device, with the ultimate goal of aiding San Diego’s drought. Going into the 2019-20 school year, GCI and other middle schoolers will begin to collect food waste for composting.

As far as the average Bishop’s student, the most common sustainable practice is bringing a Hydro Flask to school. Middle school science teacher Ms. Laura Cummings expressed her thoughts about this, saying that if we recycle one piece of plastic and say “I did my recycling for today,” then we are in the wrong mindset. Living responsibly is not about a box we get to check off at the end of each day. It’s about adjusting to our environment, constantly seeing ways we can improve, and taking the time to care.

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CULTURE AN UNACADEMIC EPIDEMIC Kendall Forte

o r e d z e e s v ire t a h o do “I

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econd-semester seniors: tired, lazy, and ready for a break. But how much of a break can a senior take? As the second semester unravels, college applications have been submitted and the chapel bells of senioritis start ringing.

The definition of senioritis can vary from student to student, but overall, senioritis is the lack of motivation to continue with the level of effort they have contributed over the past three years. Senioritis paints a burnt out student, with an extensive lack of caring, and a pool of UV’s and tardy warnings clogging their emails.

On the bright side, according to college counselor Mr. Ben Lah, senioritis is curable. “Senioritis is perceived as seniors not wanting to do anything. I suspect that they get to that point because they are not sure what they actually care about.

Many seniors do certain activities only for college, and once college apps have passed, maybe they question the things they did in the first place. So, this time of year should be an opportunity to try and figure out what you actually do care about.”

Mr. Lah continued to express the senior’s responsibility, “There should still be an obligation to work as hard as you did up to this point. Seniors are the only people

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here that anticipate transition, so it’s somewhat understandable that senioritis is a byproduct of this, but it doesn’t make it excusable.”

Connor Griesan (‘19), who was voted “Worst Case of Senioritis” for the 2019 yearbook, expressed how senioritis has personally affected him. He said, “I have zero desire to ‘do school’, and it’s so hard to successfully complete homework assignments when I know I have already applied to colleges.” Caroline Alleyne (‘19) agreed on the challenges of senioritis: “Senioritis is at a level I would never have expected last year. Because after three years of zero sleep and constant work, I am finally relieved that I can let loose, but I never know how much to let loose.” Marcus Wooley (‘19), another affected senior, stated, “I definitely have senioritis. I can barely do homework, even when I barely have any. I have an 800-word essay due tomorrow, and I haven’t even figured out what I’m going to write about.”

Lulu Buckley (‘19) questioned if senioritis affects seniors, who are already into college, differently compared to the students awaiting their decision. She said, “I have always been told [through past graduated seniors] that my break is second-semester senior year. All

Issue 07 • April 2019 • The Tower

of high school is the grind up to second-semester senior year, the time to celebrate the many years of late nights and study seshes at this school. But for the students who are already into college, how in the world are they still working?”

The expectations of senioritis of those classes being easier and less demanding after being accepted into college misdirects students.

Graham Cartwright (‘19), who committed to the Massachusetts Institute of Technology for baseball, stated, “After I got into college, I thought I was done, but I keep hearing stuff from college counselors that we can get [acceptances] rescinded, so do we ever have a break?”

Even after students are admitted into a college, this confusion affects students to what extent to which a student can let up. Layla Khazeni (‘19) got into the University of Chicago for their Early Decision Two, a school binding agreement program. She related to Graham, stating, “After getting into my ED-2 school, I feel accomplished as if all my work has been for something.

It’s just hard to continue the mindset of working for a goal when you have already reached the end line.”

When the majority of the senior class seemed to be at a loss for motivation: Are all seniors affected?

” . . . l o o sc h

Vance Allen (‘19) beats all odds and had dived into second-semester senior year with the same, if not more, motivation. Vance explained what allows him to stay motivated and invested in all his classes: “I really like my classes this year, so it keeps me interested, so I’m not just bored with the school work. There’s not a ton of work, so I’m not as overwhelmed compared to last year, and I don’t want to let it slip too far. It is still good to keep it up because it’s not that hard.”

Senioritis is seen as a weak-

- Connor Griesan (‘19), the senior superlative winner of ‘Worst Case of Senioritis’ ness derived from the misconception of accomplishment just because of the near countdown of graduation and it often overwhelms students with a sense of urgency to leave for college and unto their next adventure. With a clear understanding of the dangers of senioritis, Senior Advisor and senior math teacher Mr. Dana Pierce, states, “Students reprioritize. Most Bishop’s kids are trying to get As, but after students put the time in subjects and activities they are more interested in stuff their passionate about

and slack off in subjects they’re not as interested in. The seniors that are loud and obnoxious give senioritis a bad name. Sometimes it’s really hard to control that.”

Seniors are constantly struggling with the annual ‘epidemic’ that, so far, has no proven cure.

Although there are a few survivors, chances are, you will be affected.

Senioritis-infected seniors Anthony Wood, Joey Putrus, and Vance Allen, often indulge in distracting activities. Senioritis symptoms include excessive Netflix watching, sleeping, and Super Smash Bros.

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OPINION LET THE MUSIC MOVE YOU

T

he video opens in an empty warehouse. A single red chair stands in the middle, a brown guitar resting atop it. Seconds later, and a person is shot dead execution-style. Welcome to America, or Childish Gambino’s perception of it.

One of the greatest releases of 2018, “This is America” by Childish Gambino received numerous accolades, such as the prestigious 2019 Grammy Award for Record of the Year. However, this win was highly contested.

To start, “This is America” is not a song without message. It features two competing melodies, repeating phrases, and charged lyrics. However, the song’s music video is perhaps the most impactful; with symbolism and subtle (and some not-so-subtle) cues, it discusses gun violence, educational inequity, lethal use of force by police, and institutionalized racism. Gambino said to E!, “I just wanted to make, you know, a good song. Something people could play on Fourth of July.”

Maybe it’s not the most celebratory bop, but it certainly got people talking.

“Even though we think of popular culture as a space where we escape, he’s forcing us to understand that there’s actually nowhere to run,” said Guthrie Ramsey, a professor of music history at the University of Pennsylvania, to Time. The problems plaguing the United States surround us while we sing and dance, as Gambino showed.

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Amy Carlyle

Upon seeing the video for the first time, one thought echoed louder than all others in my mind: that was a lot of guns. And it’s true — throughout the duration of the video, there are eleven gun deaths and even more shots of the weapons themselves. This is one of the more obvious themes throughout the video, though there are numerous others, both apparent and not. Director Justin Simien, creator of the film and Netflix series Dear White People, posted via Twitter what he called a “love letter” to “This is America.” “[Gambino] forced me to confront the effects of consumerism on the lives of people of color . . . haunting me with the choice to either participate and brave the scars of consumerist culture in order to make art, or risk being bound to the basement as a consequence for having the audacity to stay myself.

Now I feel compelled to stare deeply into the dog and pony show of black popular culture through black culture with ‘This Is America,’” he wrote.

Gambino’s video also features several children throughout, clad in school uniforms. Rolling Stone noted this significance: “The children dance unfazed all the while, each time bearing a different type of witness to what’s happening.

A child is the one to handle Glover’s weapon after each shooting, and it’s children who sit in the rafters above, recording the bedlam with their phones. Our normalization of racist violence has come at the cost Issue 07 • April 2019 • The Tower

of not only black lives, but black innocence.”

Overall, the song and video deliver a powerful wake-up call to the United States, illuminating its flaws in scathing light and evoking a call for change. But is a song like this Record of the Year material?

Some say yes —Simien in his aforementioned love letter wrote, “How can those of us granted a moment in the proverbial spotlight just use it to entertain ourselves to death? It’s a challenge and a series of questions. Like art should be.” If the Grammy’s is intended to honor the most stellar musical creations, it should also account for a political use of platform, which is exactly what Gambino did.

Others disagree, arguing that the Grammy’s should not as extensively recognize music that is “woke” and instead prioritize the catchiness and trendiness of a song — something “This is America” lacks because it’s not exactly fit for carpool-karaoke.

Grant Stinchfield, an NRA television show host, said on his show as reported on by Newsweek, “In my humble opinion, the song isn’t that good. My son forces me to listen to Top 40 stations, and I can recite far too many of those songs word per word, but I’ve never heard of ‘This is America.’ This means the Grammy folks liked it but the people didn’t — if the people loved it, the radio stations would have played it every ten seconds. Trust me, I know.”

COVER STORY

The advent of streaming services, mobile devices, and portable earbuds further allow music to integrate with modern culture.

Beyond “This is America,” other artists also use their platforms and music to raise awareness of issues important to them. One such example is Ariana Grande in the music video for her single “thank u, next.” In it, Grande channels four different movies — one of which being Legally Blonde — and is seen holding an immigration and refugee policy law textbook. Though she

has not confirmed whether or not this book was intended to send the message, publications such as Elle noticed her move and thought it deliberate, citing a previous interview with Grande: “Not everyone is going to agree with you, but that doesn’t mean I’m just going to shut up and sing my songs. I’m also going to be a human being who cares about other human beings; to be an ally and use my privilege to help educate people.” Like Gambino but on a much smaller scale, Grande slipped in a symbol to add extra, subtle power to her song.

Another similar example to “This is America” is Logic’s 2017 song “1-800-274-8255” featuring Alessia Cara and Khalid.

Like “This is America,” “1-800274-8255” earned a performance slot at both the 2017 MTV Music Awards and the 2018 Grammy Awards, and talks about some of the most pressing issues in America today. The song dives deep into mental health and explores the thought process of a person considering suicide. According to Billboard, Logic called it the most important song he’d ever written.

Logic explained the impact of his single to Genius: “When I jumped on a tour bus that started in Los Angeles, California, and I ended up in New York City and did a fan tour where I went to fans’ houses and shared meals with them, hung out with them, played them my album before it came out. They’ve said things like, ‘Your music has Issue 07 • April 2019 • The Tower

saved my life. You’ve saved my life.’ . . . In my mind, I was like, ‘Man I wasn’t even trying to save nobody’s life.’ And then it hit me, the power that I have as an artist with a voice.

I wasn’t even trying to save your life.

Now what can happen if I actually did?”

Still, despite the song’s significance, it was not one of its release year’s most popular hits. There is a distinction between songs that are hits and songs that are statements — but the latter should not receive any less recognition because that is what discourages artists from using the power they have. To deny a musician their voice is to deny a power outlet an electrical cord — it is robbed potential.

Huffington Post contributor and rock-and-roll musician Barrett Martin called music one of the most impactful tools for progress in a nation. He said, “by its very nature, a form of musical resistance against entrenched power structures, and it’s also one of the greatest musical forms if it’s done with real intention … Personal experiences have shaped my worldview on humanity and our natural state of balance with the Earth. It has also shown me the power of music as a force for social justice and change.” Something so influential should be allowed to take on messages needing influence — and should be equally respected by awards programs.

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OPINION NETFLIX AND LEARN Alyssa Huynh

W

hen we think of television, we think of our favorite dramas, comedies, or cartoons. Within those we think of our favorite characters, jokes, or plots; but, do politics usually come to mind?

In recent years, smaller productions have been addressing and expressing their political opinions, especially those regarding social justice issues, through their shows.

For example, the CW’s Supergirl, NBC’s Brooklyn Nine-Nine, and ABC’s Grey’s Anatomy have all integrated issues about race into their plotlines and based them on modern day events. TV shows have a peculiar platform and influence that allows them to visually depict or reshape social issues into something more relatable to audiences.

Big shows like Grey’s Anatomy are making use of their influence by addressing social issues previously considered taboo. Grey’s has been running for 15 seasons and has attracted a large fan base. Shonda Rhimes, the creator and a producer of Grey’s, is well-known for using her platforms (Grey’s and Scandal) to share her opinions on political issues.

In the first season, Dr. Izzy Stevens (Katherine Heigl) treats an illegal asian immigrant against hospital rules. The patient did not have health insurance and was not a legal citizen, so she did not have access to healthcare. When confronted with a moral conflict, Dr. Stevens chose the compassionate route.

The popularity of the show allows its influence to be more widespread and makes the issues Grey’s addresses more persuasive to viewers who look up to these characters.

Even though Dr. Stevens broke the rules, she showed that the rules are not necessarily moral and that some rules are meant to be broken or challenged.

Viewer Shaylee Xie (‘20) says, “From what I’ve seen of Grey’s Anatomy, it highlights real social issues within and outside of health care and I think these are some of the most accurate aspects of the show. I think it’s less politically driven than simply portraying what we see frequently happening in the real world affecting health care.”

In cases of racial profiling, the perpetrators are often rightfully criticized in the media but the victims’ perspectives are often ignored. Brooklyn Nine-Nine addressed racial profiling in “Moo-Moo” when Sargeant Terry Jeffords (Terry Crews) is arrested for suspicious behavior in his own wealthy

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neighborhood. Even after Jeffords tries to explain that he was doing nothing wrong and that it was his own neighborhood,

A defining trademark of Brooklyn Nine-Nine is their anti-racist, anti-sexist comedy and their allusions to contemporary political issues; their political statements retain the gravity of the issues without losing their comedic roots. he is taken back to a precinct. Eventually, he is let go and the arresting officer apologizes for arresting a lieutenant, but not for baselessly arresting him for being black. Rather than focusing on the wrong done by Officer Maldock (Desmond Harrington), the episode focuses around Terry’s decisions on how to respond to being profiled, the minority perspective not often reported on. It dives into his frustrations about being seen as just a criminal due to his skin color and not as a person of color.

Addressing political statements in TV is necessary but difficult to do without losing the entertainment aspect of the show. A defining trademark of Brooklyn Nine-Nine is their anti-racist, anti-sexist comedy and their allusions to contemporary political issues; their political statements retain the gravity of the issues without losing their comedic roots.

On the politics in Brooklynn Nine-Nine, Ashley Sottasanti (‘22) says: “Well I think that it’s very hard, especially for tv shows and pop culture, to stay completely neutral, especially right now because everything has become so divid-

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COVER STORY

In the Brooklyn Nine-Nine episode “Moo Moo,” Sargeant Jeffords (Terry Crews) is baselessly arrested in his neighborhood, thus sparking a discussion of racial profiling. ed. The issue of racial profiling by police officers is really an issue; so I think that it’s actually a good thing that they are taking a stand on it and showing that they believe it’s wrong, and because it is such a popular show, it could help influence other people’s points of views and help them see the issues with them too.”

Sometimes, shows have taken on a stronger and bolder stand against more debatable issues. Since the pilot episode, Supergirl has been making political statements about a wide range of topics: feminism, gun control, the current government, and more recently immigration and xenophobia. The latest season has been centered around xenophobia against immigrant aliens. In a rally against intergalactic immigration, signs were depicted saying, “Make America Human Again” and “Humans First,” which alludes to President Donald Trump’s MAGA campaign.

The position of the political statement is made clear by the main character, Supergirl (Melissa Benoist), when she condemns the xenophobic sentiments. Supergirl’s criticism of the injustice in xenophobic immigration policies and attitudes is an especially important issue in today’s political and social climate. The show is reshaping reality into a plotline that highlights the morals in politics to make it more relatable to its audience.

Vocalizing political opinions is a form of activism, and activism is how societies progress, but how can we progress if there isn’t representation in one of the most influential media platforms? The growing trend of shows making political comments— with differing levels of transparency— is a crucial use of their platforms. Shows like Grey’s Anatomy,

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OPINION SOURCE: UNKNOWN Carly Phoon

I

n late 2018, The New York Times stated, “The Times is taking the rare step of publishing an anonymous Op-Ed essay. We have done so at the request of the author, a senior official in the Trump administration whose identity is known to us and whose job would be jeopardized by its disclosure.” The op-ed that followed became a hotbed of controversy: “I Am Part of the Resistance Inside the Trump Administration.”

Is anonymity ethical in journalism?

The New York Times was bombarded with questions from almost 23,000 readers. Was hiding the author’s identity truly justified? How could the publication’s motives be trusted? What did the Times mean by the anonymous article being a “rare step”?

Responding to the last question, The New York Times listed the rare occasions when they published pieces without fully identifying the author: An asylum seeker remained unnamed because her family in El Salvador faced threats of gang violence, a Syrian refugee in Greece withheld her surname because her family was still stuck in the midst of the Syrian Civil War, and a writer in Raqqa used a pen name to avoid being a target of the Islamic State.

Those three cited occasions were appropriate times to conceal the author’s identity. The senior administration official’s situation simply wasn’t comparable.

A publication should only venture into anonymous territory when the threat is not merely theoretical; there is grave certainty that the threat would be carried out. Had the asylum seeker, the Syrian refugee, or the writer in Raqqa had their full name associated with their words, their families’ lives and their own life would be in imminent physical danger.

The New York Times Standards and Ethics states, “The use of unidentified sources is reserved for situations in which the newspaper could not otherwise print information it considers newsworthy and reliable.”

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COVER STORY But the senior administration official and any family they might have live in a country of free speech. If their name had been published, the likely consequence would be getting fired. A job on the line doesn’t have the same weight as a life on the line. American politics isn’t a topic that fits under the umbrella of anonymity.

Those factors were enough to make me question the motives of The New York Times. How easy would it have been the editorial board to write that article for political motivations, under the guise of an insurgent in the White House? If the threat to safety was real enough, readers would inherently understand the necessity of anonymity. The fact that the Times even had to publish a piece defending their reasoning proved that anonymity was not ethical in this situation.

Yet I understand the appeal of being an unidentifiable author. When Brett Kavanaugh’s Supreme Court nomination was in the air and Dr. Ford was testifying against him with allegations of sexual assault, an article came out in the Daily Urinal. “Internal Cacophony” questioned the typical instinct to instantly believe the prosecutor. And it was written by a faceless person.

That person thought no one would understand their point of view. They didn’t want to complicate their reputation for trivial, tongue-in-cheek articles. In addition, they liked the pretty side of anonymity: People would read the article, but if they disagreed, they wouldn’t be confronted.

Of course, that person realized the ugly side of anonymity after the article was published: Their words may have made people think, but they didn’t foster discussion. By remaining nameless, they got on

their soapbox, shut out the world, and chose not to participate in any dialogue the article might spark.

I identified myself as the writer of “Internal Cacophony” a few days later.

I learned the importance of that small line after the title that identifies the author. I learned to be proud of my name printed there, even preceding a sensitive article. I learned that the true opposite of anonymity is accountability.

It’s true that in the real world of journalism, sometimes no identifiable sources are willing to go

American politics isn’t a topic that fits under the umbrella of anonymity. on record, and the need for a story to be told can be greater than the need for unquestionable credibility.

Perhaps that was The New York Times’ thought process behind publishing “I Am Part of the Resistance Inside the Trump Administration.”

Nevertheless, in situations of controversy, ethical and anonymous generally cannot coexist– and that is why journalism can be such a dangerous world.

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BEYOND THE PRISON PROBLEM Sara Michael

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s humans, we are morally complex beings. We let offenses slip from our lips, ding cars and don’t leave notes, and occasionally treat others the way we don’t want to be treated. But we also have a moral compass that generally allows us to draw the line between helpful and harmful actions.

Even still, some situations are morally gray areas. We have to weigh the differences between explanation and excuse, praise and punishment.

These moral dilemmas become even more complicated and serious when talking about juvenile justice and accountability.

A topic that our nation’s justice system has been grappling with is whether or not we should hold a juvenile who commits a serious crime accountable to the same degree as an adult.

Currently, the age at which a child is tried as an adult varies from state to state. In California, any person older than 14 can be tried as an adult.

It’s an odd phenomena that a child can be sent to prison even before they are legally allowed to buy a lottery ticket.

The American Civil Liberties Union (ACLU) published research in 2017 stating that in only 12 states, there are over 8,000 people who are serving a life sentence for a crime committed while under the age of 18.

Typically, a minor is tried as an adult if they’ve committed a serious and violent crime, such as murder or rape.

This notion of penal proportionality — that someone’s degree of punishment should be proportional to the severity of their crime — is a core element of our nation’s justice system.

In his New York Times article,

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titled, “Sentences Should Acknowledge Juveniles’ Maturity, and Immaturity,” Laurence Steinberg, a psychology professor at Temple University, argued that minors should not be tried as adults because their brains are not fully developed yet. There has been extensive research to show that the prefrontal cortex, or the part of the brain that responds to situations rationally and with

Youth who are placed in the adult system are 34 times more likely to reoffend than their counterparts in the juvenile system. good judgement, doesn’t fully develop until people are 25. Teens are much more likely to process information with the amygdala, the emotional part of the brain.

Steinberg said, “Because juveniles are more impetuous, short-sighted and susceptible to intimidation than adults, they are inherently less responsible for their acts, and are therefore less deserving of harsh punishment.

Research on brain development helps explain the biological underpinnings of this immaturity, but neuroscience isn’t necessary to make the basic argument that adolescents are less mature than adults in ways that mitigate their culpability.”

Sofia Rubio (‘19) agreed that children shouldn’t be tried as adults.

She said, “I’m a big advocate for rehabilitation for child criminals, and I believe that children who commit hei-

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nous crimes should spend time in mental institutions, not prisons.”

Another argument against minors being charged as adults is that in prison, teenagers and children often become victim to horrific attacks. The Prison Rape Elimiation Act of 2003 (PREA), an act that pushes for the elimination of sexual assault in federal and state correctional facilties, published statistics that said that juveniles were five times as likely to be sexually assaulted in prison than adults. There has been progress. In response to PREA, the Justice Department now prevent juveniles from being housed with adult inmates.

According to a statistic published by the Campaign for Youth Justice, nearly 200,000 youth enter the adult criminal-justice system, and most for non-violent crimes. These numbers are growing every year, signaling a nationwide epidemic of what some call “juvenile injustice.” Many of these children in prison come from backgrounds of hurt and devastation. According to research done by the National Institute of Justice, abuse or neglect in childhood increased the chances of juvenile arrest by 59 percent.

Whatever your perspective, it’s important to keep in mind that punishment and pain don’t always result in changed behavior and increased morality. According to a statistic published by the Campaign for Youth Justice, youth who are placed in the adult system are 34 times more likely to reoffend than their counterparts in the juvenile system. So although this issue is ever-growing, maybe instead of fighting fire with fire, we should respond with a lens of compassion.

The Bell

The Staff ’s April Song Picks Sara: “Hannah Hunt” - Vampire Weekend Leah: “Mary Jane’s Last Dance” - Tom Petty and the Heartbreakers Carly: “Confetti” - Tori Kelly Lucie: “World on Fire” - Louis the Child ft. Ashe Kyle: “I Like Me Better” - Lauv Isabelle: “9 to 5” - Dolly Parton Sophie: “Cotton Eyed Joe” - Red Nex Amy: “Location Unknown” - HONNE Alyssa: “Hurricane” - Bridgit Mendler Harper: “The King” - Conan Gray Liv: “Money” - Cardi B Kendall: “God’s Plan” - Drake Sariah: “Japanese Denim” - Daniel Caesar Alexandra: “Upside Down” - Jack Johnson Alex: “Safety Dance” - Men Without Hats Ms. Rem: “1950” - King Princess

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TE N P O T

1 2 3 4 5 26

Develop your Photoshop skills

Use reverse psychology and fail your classes

Don’t apply — make them come to you ;)

Become a celebrity on College Confidential

Discover a new species of bug

Alternative Ways to Get into College

6 7 8 9 10

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Buy the school

Adopt a fake identity as an Arab prince

Get Jeff Bezos to adopt you

Just start going… who cares if you actually got in

DIY your own college

The Bell

The Details and Editor Letter - Pages 2-3, Art by Sara Michael (‘19) SPORTS The Senior Stars on JV Girls’ Lacrosse - Page 7, PC: Sara Michael (‘19) ARTS Bishop’s Production of Les Misérables - Pages 8-11, Photos courtesy of Ms. Beth Garon CULTURE “High” School - Pages 12-13, Art by Olivia Ralph (‘19) and Carly Phoon (‘20) Reduce, Reuse, Recycle, Rethink - Page 15, Art by Lucie Edwards (‘21) An Unacademic Epidemic - Page 17, PC: Kendall Forte (‘19) COVER STORIES Let the Music Move You - Page 19, Art by Amy Carlyle (‘20) Netflix and Learn - Page 21, Art by Amy Carlyle (‘20) Source: Unknown - Page 22, Art by Carly Phoon (‘20)

Front and back cover thanks to Carly Phoon (‘20) and Sariah Hossain (‘22) Correction: In Issue 06, an article entitled, “Student S P A C E” incorrectly stated that in the library “litter is substituted for ear-splitting noise levels, which cause students to pop in headphones. This seemingly unimportant action, however, could cost you a trip to the dean’s office, or at least a firm reprimanding from the librarians.” It has come to our attention that simply putting in headphones will not cost students a trip to the dean’s office. If students are watching something on their device and it is for class, librarians ask students to use headphones to listen to it without disturbing other library users.

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