Issuu

CONTENT 06

EDITORIAL

INSTAFAMOUS

03 08 AVENUES WAKES UP AND SMELLS THE POETRY

12 THE ARTIST: EMMY COHEN

18 AVENUES 28

STUDENTS: CREATIVE DOCENTS IN TITLE TRAINING HERE

I HAD ALWAYS WANTED A PET MONKEY

THE PRIVILEGE OF A HOMECOOKED MEAL

The purpose of The Highliner is to provide a forum of expression for student voices in the Avenues Upper School community.

THE HIDDEN TRUTH

24 THE CULTURAL SLUR

42 FIGURING OUT YOUR LIFE

Editor-in-Chief Isabella Simonetti

Managing Board Managing Editors Lucas Hornsby Wylie Makovsky Creative Director Sophie Potter Director of Art & Design Isabella Grana

Editors

43 28 CREATIVE DEAR TITLE DOM HERE

Jean Li Spencer News Danielle Paz News Oliver Gruber Opinions Lucas Folz Features Tyler Pasko Sports Henry Gold Humor Dominique da Silva Lifestyle Ioli Baltas Literature Lucy Reiss Literature Claire Laidlaw Arts & Entertainment

Contributors

Zachary Bilmen, Emmanuelle Cohen, Dylan Kelly, Emily Gold, Yvette Lopez, Luka Mrvic, Alexia Nizhny, Talia Sacaju, Yasemin Smallens, Alma von Graffenried

Marketing

Director of Communications Ally Witt

28 ARTS & LETTERS

THE

HIGHLINER

Business Manager Andrew Blum

44 37 HUMOR

Faculty

Daniel Mendel Avery Barnes

Published by The Highliner Staff -&-

Avenues: The World School 259 10th Avenue New York, NY 10001

EDITORIAL SEEKING INDEPENDENCE IN AN INDEPENDENT SCHOOL

n September 10th, 2012, 740 adventurous students scrambled into Avenues: The World School, a brand new, independent school located in the ever-evolving neighborhood of Chelsea, Manhattan. They fiddled with their new ID badges, tested out their iPads and MacBook Airs, and unwittingly shocked their fingers upon experimenting with the school’s state-of-the-art touch screen elevators. The array of screens that greeted everyone who entered, left students in awe as they made their way to their new classrooms. But after getting over these “First, First Day” jitters, students were ready to launch into their new roles as educational pioneers. Eight months later, an unfavorable article entitled “Is Avenues the Best Education Money Can Buy?”

Photo by Lucas Hornsby

appeared in The New York Times. This came as a surprise to us students who were finally beginning to settle in, as our fourth term at Avenues had just begun. After carefully picking apart the opinions of the piece, a mutual frustration began to surface. We found that the article neglected to include student perspectives by solely featuring administrators and parents. Since Avenues’s opening, the student body has more than doubled in size. Yet, we, the students, continue to be placed on the backburner when it comes to decision making. As the first students of Avenues, we are responsible for cultivating a school culture that we are proud to be a part of. Each year in the Upper School, we are encouraged by administration to play an active role in the school’s happenings. How-

ever, taking initiative has proven to be difficult. Despite the hard work of the Student Council, many decisions about our school environment are dictated by administrators. Sophie Potter, President of Student Council notes the difficulties of making change at Avenues: “it is more complicated than most would think to satisfy both the administration and student body at the same time.” Recently, “Meatless Mondays” were introduced by a few faculty members to promote awareness about environmental issues. Some of us were outraged that we were given no say in this decision, and very little space to express our ideas. So, a chain of emails--which received little attention--was sent out addressing our concerns. We are constantly reminded that we have the opportunity to

set the standard for our school. But the hard truth is that people outside of the student body are the ones who make the important decisions. Even if it is only once in a while, we should be consulted about changes that will affect us. But our lack of say in the community has undermined the validity of our roles. We are less and less the pioneers that we envisioned ourselves to be. The New York Times article addressed topics that are constantly being put into question about Avenues’s community: our administrators’ degrees, the selective admissions process, and the high tuition fees. But all of these issues are trivial to Avenues students, and the fact is

the things we care about, are the things that receive the least attention. Since the beginning, we have been denied the opportunity to respond to claims made about our school, and anything we have tried to improve has been met with resistance. In a sense, we have been caught between the standards set by our administrators and the criticisms of those from outside of our community. Finally, we have found our voice. Over the past few months, a dedicated group of Upper School students have devoted themselves to the painstaking task of starting a school publication from scratch. The Highliner is dedicated to once and

for all addressing the longstanding concerns of our student body. Our staff aims to offer student perspectives on pressing issues in our community, as well as those that have long been ignored. We are here to recognize the many positive things that go on at Avenues, as well as facilitate improvement throughout the school. The Highliner holds student opinion in the highest regard. As the first Avenues students, we play a unique role: we are responsible for being great leaders when we can be, and good followers when we should be. The Highliner is here to assist students to prove that we are the leaders we imagined ourselves to be.

note from student council As it is with any group attempting to make change in a new community, the Student Council has of course faced some difficulties accomplishing things. However, that is not to say that we are disappointed - in fact, we’re incredibly happy with the changes we have implemented so far, including the morning elevator policy, allowing phones before and after school, Haiku and homework guidelines, and several Upper School dances and spirit weeks. We’re excited to keep working hard this year to add to this list and make the Upper School even better!

AVENEWS FEATURES Avenues Wakes Up and Smells the Poetry

BY ZAC BILMEN

bit of a poetry awakening took place this fall at Avenues’s Upper School. It began, quite naturally, for many students in their English classes, as they read the work of poets like Elizabeth Bishop, Charles Simic, and Mary Oliver.

Photo by Emily Gold

and pleasure. Students listened to language like one listens to Mozart’s music; they listened to enjoy. They didn’t simply want to interpret. More importantly, they let the words dance their dance within their imaginations. Much like Ciardi suggested, poetry was being read as performance. “THE BREVITY OF POETRY ALLOWS THE NECESSARY Under the guidance of Mr. BREATHING ROOM FOR STUDENTS OVERWHELMED BY Jernigan, Mr. Mendel, and TODAY’S INSTANTANEOUS WORLD” Ms. Ramos, the tenth grade English curriculum flourOne assignment in Mr. Mendel’s ished. Students developed a playful joy for class was for students to bring in their fa- words while they learned the elements necvorite poems. Passionate performances of essary to improve their own poetry writing. poetry were followed by deep discussion. Writing poems made many students feel Using John Ciardi’s How Does a Poem Mean? like real poets themselves. This was just the beginning. In late Ocstudents learned to read poetry for meaning

tober, Mr. Mendel and Ms. Ramos took a small group of committed poets to Newark’s Downtown Arts District to attend the 2014 Dodge Poetry Festival. At the festival, which is the largest poetry event in North America, placed students in the immediate presence of brilliant contemporary poets. They were mesmerized by many outstanding performances, in awe with what they saw as magical and effortless control over words. Inspired by the poetry readings of Pulitzer Prize-winning poets, as well as poet laureates such as Billy Collins and Rita Dove, students went home feeling inspired to write. Many oneon-one poetry meetings in the Writing Center ensued, as students sought to polish their words and make their poems “pop” with life. This passion for poetry led many students to join Mr. Shy, of the Avenues Mastery Program, for a weeknight showing of an off-Broadway play about famous poet, Emily Dickinson. In “The Belle of Amherst,” Joely Richardson’s per-

formance as Dickinson, was educational and inspiring. Students learned about Dickinson’s love of craft, and taught them to consider quality over glory. They left the theatre eager to focus on their work and better understand their “inner selves.” Recently, at an Upper School Assembly, 9th, 10th, and 11th grade students read poems in front of their peers. Many others have submitted poems to the 2015 Scholastic Art & Writing Awards. Needless to say, the Upper School is in love with poetry. The brevity of poetry allows the necessary breathing room for students overwhelmed by today’s instantaneous world. Through poetry, an entire lifetime can be experienced in a single moment. Pulitzer Prize winning poet, James Tate, was right when he said, “Poetry is everywhere; it just needs editing.” Students at Avenues have followed his advice as they search for the perfect words to fit their lives.

SAD LITTLE CONDOS and looking down from the plane window, everything was tiny and for a moment I thought I was looking upon dollhouses and turquoise toy pools, glistening and hopeful, and I smiled the same quiet kind of smile I smiled when I thought about how maybe I could pretend that we were still together even though we weren’t, and once we’d pulled into the terminal, it was very clear that the grey of the concrete, and the grey in their faces, and the grey in your absence, was all very real. — Lucy Reiss

“I had always wanted a pet monkey” A SPECIAL “TAIL” FROM THE HEAD OF UPPER SCHOOL BY LUCAS FOLZ

hen Mr. Dunnan began velvet package, so it wasn’t too hot. And his first job as a teacher, the little monkey was sitting there, holdlife was exciting both in ing on to this little hand warmer; so cute, and out of the classroom. you can’t imagine.” Mr. Dunnan loved teaching students, but Since Mr. Dunnan taught math and he also had yet to fulfill a unique child- science at a boy’s boarding school, Ouhood dream: caring for his very own pet istiti received lots of attention: “For two monkey. years, I had this great pet that all of the After graduating from college, Mr. students loved, and I loved… He loved to Dunnan quickly realized he was finally sit on the shoulders of anybody, but parindependent and told himself:“Self, you ticularly, a woman with long hair; because don’t have to ask your parents. You can he would stroke the hair. He became a fado whatever you want!” So, he purchased vorite in that little school with those stuOustiti, a six-month-old squirrel mon- dents and adults.” key. As Mr. Dunnan recalls, Ouistiti had Ouistiti (French for “marmoset mon- quite an impact on his classroom envikey”) not only symbolized Mr. Dunnan’s inde- “IN THOSE DAYS, YOU COULD BUY pendence, he was a clear MONKEYS” statement of determination, self-reliance, and responsibility. ronment: “It was a great illustration of the The preparation and anticipation that closeness of the behavior of monkeys and preceded Oustiti’s arrival was similar to the behavior of humans and we all got a waiting for a new family member to ar- lot of laughs out of it. Laughter is good.” rive. Mr. Dunnan remembers, “In those He continues, “Now it happens that in days, you could buy monkeys. So I sent this boarding school, our small apartment away to a breeder in Florida, and the was a gathering place where the faculty monkey arrived in a shipping cage, with came, just before dinner. They would be a hunter’s hand warmer… it’s like a big sitting there, talking and so forth, some of cigarette lighter that was wrapped in a them smoking.” 10

It should be noted that at the time, smoking was far more common than nowadays. According to The CDC, only 18.1% of the adult population in the U.S. smoked in 2012, compared to 42.5% of U.S. adults in 1965. Needless to say, Mr. Dunnan’s monkey was ahead of his time. Mr. Dunnan fondly recalls Ouistiti’s unique response to cigarette smoking: “Ouistiti hated cigarette smoke. So everyone is chatting and smoking, and he’d reach back and everyone would dive off their chair to get out of range. The feces would come flying - SPLAT onto the wall!”

ome of Mr. Dunnan’s fondest memories of Ouistiti occurred during their many road trips together:“at that time I had a VW, it’s when they first came out. In those days, there was a little glove compartment by the passenger’s side. We’d open the glove compartment and then there was a handle in front of it. So we would drive down the highway with Ouistiti standing on the glove compartment door, holding on to it and looking - he loved driving everywhere!” Mr. Dunnan’s monkey almost caused numerous accidents when cars would pass by and see a monkey staring at them! He recounted that when they passed other cars, people would stare open-mouthed for several moments; “they were

Photo by Lucas Folz

practically driving off the road!” “Moral of the story is: when you get out of college, when you’re living on your own, you can do some of these things that you can’t do now. And, within reason, I recommend doing them.” Mr. Dunnan’s life-changing

experience did not only include taking a risk to follow his dreams, but resulted in life-long lessons and many fond memories. He saw an opportunity to learn and took advantage of it. “I always thought monkeys were great pets, and he was.”

The Artist: Emmy Cohen BY JEAN LI SPENCER

“I

’m just drawn to art,” Emmy says to me, surrounded by trays of watercolors, scraps of paper, and numerous rolls of duct tape as she and I sit side-by-side in one of Avenues’ many art classrooms. Emmy’s tapping her leather boots thoughtfully, squinting slightly at the piece of paper in front of her as though pondering what to do next. As I watch, she rips off another piece of duct tape and adds to the intricate pattern she’s been working on, criss-crossing pieces of tape in an eye-catching manner. Emmy’s latest work is an

exploration in color and form, she’s experimenting with tape because she is testing different mediums and artistic processes. Emmy continues taping as she talks to me. “It’s like, I never even thought about art. You could say art chose me.” I smile and ask her to elaborate: “Well my earliest memory of wanting to be an artist is from when I was little,” she says. “My mother bought a beautiful painting and hung it in our house.” Intrigued, I ask her to continue. She goes on to describe how this painting was done in thick, rough strokes, like a Monet, and being fascinated by it, she would

always run her hands over the paint ridges when she passed by, until one day she actually tried chipping off the paint with her fingernails. “I was horrified when I actually removed some of the paint,” Emmy says with a laugh. “So I asked my mother for painting lessons in order to fix it.” That’s how Emmy’s interest in art started. Gradually, her love of painting expanded into other fields of expression, such as photography. As well as being an avid painter, Emmy spends much of her time walking through New York City and taking photographs. What once started as a way to fix some-

Photo by Sophie Potter

“I’M JUST DRAWN TO ART”

thing has now become a hobby. Emmy, who moved here recently from Paris, France, says the experience of making art is a bit different here in New York than back home in Paris: instead of visiting the Louvre, Emmy now visits the MoMA and the Metropolitan Museum of Art. She takes photographs of the Hudson River instead of the Seine. She speaks English here instead of French. However, this culture change is not necessarily a bad thing. “I see it as an adventure,” she says. The two of us sit there for a while longer. I listen to the sound

of tape ripping every few seconds and examine a few of Emmy’s other works, which she has graciously brought to show me. Among them, I see pictures taken of people on the street: a man walking four dogs, which are all barking and moving in different directions as their shadows fly across the pavement; a women sitting peacefully on a park bench, her head tilted towards the sun. I shake my head, amazed at the stories Emmy’s work tells and the magnificent way they are captured. “So, what’s next?” I ask. Emmy grins, “Who knows. I guess wherever the wind takes me.” 13

Photo by Lucas Hornsby

Instafamous! HOW INSTAGRAM HAS MADE IT POSSIBLE FOR ANYONE TO PUBLISH THEIR PHOTOGRAPHY BY LUCAS HORNSBY

Soft, golden rays illuminate a rugged brick facade. A perfectly still puddle has formed in a depression in the cobblestone street after hours of rain. This quiet Brooklyn street is reflected on the water. Two and a half years ago, I came across beautiful scenes like this everyday but had no motivation or platform to share these snapshots of the city. That was when I discovered Instagram, a place where I could share with the world what my eyes encounter everyday. In March 2010, recent Stanford graduates Kevin Systrom and Mike Krieger received $500,000 of seed funding from Baseline Ventures and Andreessen Horowitz to jumpstart a promising photosharing app. Four years later, the social network has expanded its user base to more than 300 million people, with roughly 60 million photos shared each day. At Avenues, students are active on multiple social media platforms, and Instagram seems to be the favorite of many. Tenth-grader Sophie Potter explains that Instagram tops her list because it serves as a “nice creative outlet,” where she finds a “community [that] is really supportive and inspirational.” Sophie 14

adds that her feed consists of portraits as well as “interesting pictures [taken] in and around the city and in events I’ve been to.” “I like to post pictures that represent my interests,” says eleventh-grade student Mima Khazanov, “artistically, socially, and athletically.” Most high school students use Instagram as a place to share bits of their “day to day life,” as junior Ella Weinstein says she does. While a large portion of the content shared on Instagram is posted by private accounts whose primary intentions are to share videos and photos with a few close friends, a group of artistically-oriented public users is on the rise: those who manage to squeeze in sunrise and sunset shoots or on-thego snaps between their personal obligations and 9-5 jobs. With some direction from the ever-creative Community Team at Instagram , the photo- and video-sharing platform has grown organically as these self-proclaimed “mobile photographers” have initiated a culture that has no obvious precedent. Moreover, a common thread exists among such Instagrammers

whose public accounts have a focus on “artistic” photography — landscapes, food, portraits. They attend “InstaMeets,” and they forge true friendships with fellow Instagrammers across the globe. After creating my account and grasping the basics of Instagram, I tried to emulate the styles of mobile photographers who caught my attention as I explored the app in search of my own artistic voice. Soon enough, I was invited to my first “Instameet,” a sunset get-together at Rockefeller Center’s Top of the Rock. After that, to my surprise, I found myself yearning to meet more people and to explore new neighborhoods. A small percentage of these public photography accounts has managed to earn thousands of followers, with many of them garnering several thousands of likes and hundreds of comments per photo. A certain mystery lies in how so many Instagrammers have been able to rise to the seemingly elusive status contained within the ambiguous realm of “Internet Fame.” Instagram has developed its own system to bring exposure to accounts its team discovers and finds worthy of an additional few thousand sets of eyes. Through a selection process virtually unknown to those outside Instagram’s colorful headquarters in East Palo Alto, accounts discovered by the Community Team at Instagram are showcased for a two-week period on the “Suggested User List,” a “dynamic list that highlights some of the top photographers on Instagram.” Although some Instagrammers are able to grow their follow-

ing to several thousands without being featured on the Suggested Users List, most popular Instagrammers, with the exception of celebrities outside the app, have been on the list at least once, some even twice if their creativity and efforts to foster a sense of community are deemed worthy of more exposure. I spent hours exchanging ideas with the app’s vibrant community, and I continued to attend InstaMeets and other events around New York, making lifelong friends and finding one of my passions in the process. In March, I was fortunate to be featured on the Suggested User List, which allowed me to share my work with thousands more. The rapid rise in popularity of photo-centered social media platforms such as Instagram has been acknowledged by brands in all fields, which have started to offer monetary compensation or products and services to influencers in exchange for Instagram posts promoting the company. Furthermore, the nature of this shift in marketing has allowed a lot of power to the artists producing photos and videos for their clients. Although companies usually set a few guidelines, Instagrammers are normally granted almost full creative direction over sponsored posts. Instagram superstar Jason Peterson (@jasonmpeterson), known for his exclusively “iPhone only” and black and white feed, for instance, received a week-long trip to Iceland and a generous $15,000 from Dom Perignon, according to “Your Instagram Picture, Worth a Thousand Ads,” by Katherine Ros-

SOPHIE POTTER (@SPPOTTER)

man of the New York Times. The only requirement: to share at least four photos promoting the Champagne company with his more than 300,000 followers. Tamara Peterson (@_tamarapeterson; no relation to Jason), a New York Instagrammer whose eclectic feed has attracted 100,000 followers so far, revealed 15

in an interview with NPR Marketplace that she earns between $500 and $1000 per gig. Tamara has done projects for companies big and small, and currently works with Niche and Mobile Media Lab, startups that facilitate connections between social media creators and brands interested in advertising on social media. What is perhaps most unique about this new form of photo-sharing and marketing are the possibilities it affords to people such as Tamara, who explains that Instagram just happens to be a fun and lucrative hobby that supplements her primary income. Instagram has democratized photography, providing every individual with a mobile phone and an open mind with the necessary tools become a “mobile photographer.” The app has also allowed businesses to reach a larger audience and to promote their products in more creative ways. I have received offers to work with companies such as State Bags, a Benefit Corporation that hand-delivers a backpack to a student in need for each bag they sell, and UrbanStems, an on-demand flower delivery startup. Enterprises are not the only ones that have acknowledged the

TAMARA PETERSON (@_TAMARAPETERSON)

power of Instagram. In the New York Times article “Sharing Cultural Jewels via Instagram,” Leslie Kaufman reports on another unexpected byproduct of the phenomenon that is Instagram. She explains that a number of cultural institutions, from libraries and museums to Grand Central Terminal, have

begun to partner up with popular cyber shutterbugs to “find their voices on Instagram and attract a coveted younger demographic.” One photographer in particular, David Krugman (@dave.krugman), dearly cherished by Instagrammers worldwide, is to thank for the development of these JASON PETERSON (@JASONMPETERSON)

partnerships. Just over a year and a half ago, Taylor Newby, the Metropolitan Museum’s online community manager, scheduled a meeting with Mr. Krugman to map out a plan to establish the museum’s Instagram presence and increase attendance. Newby invited Dave and a few other his friends to a private tour of the museum with the condition that they tag their photos with #EmptyMet. Since then, the Metropolitan Museum has organized several tours, and Morgan Holzer of the New York City Public Library has also led many groups through the grandiose halls of the marble Beaux-Arts flagship branch, at times when the building is closed to visitors. This exchange offers mutual benefit to the participating Instagram photographers and the institutions that host them. Under the leadership of the “bushybearded Mr. Krugman,” what started with an experiment with the Metropolitan Museum of Art has already grown to include the Guggenheim, the Intrepid Sea, Air & Space Museum, and the Museum of Fine Arts in Boston. Not only have these programs given Instagram photographers beautiful, iconic spaces to photograph without any concern for photobombers and impatient frequenters, but they have also brought exposure to these institutions’ social media channels and, as a result, increased attendance. Instagram is different from other popular social media platforms for many reasons. Its ts uniqueness and continued success lies in its foundation on a solid sense of community, which the

app’s top influencers swear by with pride. Also, “famous” Instagrammers are more relatable and approachable than big names in the real world as well as popular users in other social networks, as most Instagrammers enjoy posting on the app as a mere hobby and otherwise lead regular lives devoid of celebrity. Moreover, these very public profiles have removed the stigma and fear that exist in linking up with strangers in person after meeting through social media. In addition, the app’s roots in an art form that most of us partake in everyday, be it for pleasure or necessity, have encouraged real-life connections to be made between mobile photographers worldwide. To illustrate, what might start with sporadic exchanges of emoji comments between a Milanese student interested in food photography and a California-based barista with an affinity for fog and sunsets could soon evolve to photo collaborations, or “collabs.” A “collab” consists of the two Instagrammers exchanging unedited pictures, then editing the other’s photo in their own style and posting it, mutually diversifying their feeds and promoting the other Instagrammer. What often follows is a friendship that finally moves outside the app. This could translate into the barista crashing at the student’s place in Italy, spending the day taking photos together and the night discussing the Polaroid-iconed app’s fascinating and often incomprehensible analytics. Instagram has become Generation Y’s most social, most human, and arguably most creative network, and it’s here to stay.

LUCAS HORNSBY (@LUCAS_WHITAKER)

Avenues Students: Docents in Training? BY CLAIRE LAIDLAW

t 6:00 PM on Monday October 27th, men and women sharply dressed in monochrome colors filtered into the Black Box Theatre, eager to dive into the modern art scene. The Avenues crowd, comprised of an artistic group of students, huddled in a protective unit in the right corner of the theatre. Since the first meeting on October 27, 2014, the Whitney Museum of American Arts has hosted its Docent Training Program at Avenues. A small group of Avenues students has also participated in learning and becoming well-versed in art history. Ms. Howard believes that “students will leave the program with a profound understanding of early century art, set them up for an in depth understanding of galleries and contemporary art. I love the fact [that they] are being exposed to lectures because it’s so different and exercises a different part of the brain than standard Avenues classes.” The style of this program differs from the Avenues curriculum in that all meetings are lecture-based. The style of learning through lectures is unique for Upper School students, who are accustomed to the Harkness method, an approach that encourages student-led discussion and inquiry. While the Harkness method is fast-paced, these lectures tend to be just as engaging. Avenues Upper School students were encouraged to sign up for this program despite the unappealing prospect of staying at school late, one student commented, “The commitment is too big for my schedule, with all my work this year I find myself too overwhelmed.” A select few of 10th and 11th graders were excited by the prospect of taking an art history course. Although Avenues’ History classes are rigorous courses that offer students a wide breadth of knowledge on various topics, art and entertainment are rarely included in classroom-curriculum. The docent training program has served as a platform for students to expand on their knowledge and 18

historical understandings outside of the classroom. Lucas, a sophomore, believes that The Whitney lectures have helped him “understand the connection between art and history, [and] how historical events like World War II can create an art movement. ” The History department also expressed much enthusiasm for this class. Ms. Trotter said “I wish I didn’t have so many meetings because I’d definitely sign myself up.” From the very start of the program, students scrambled to write down all of the information being thrown their way. Stephanie a 10th grader involved in the program found that “I love lectures, even though they’re very different from what we are used to at Avenues. I like to take a lot of notes. I find that that’s very helpful to understanding the lecture. Even recording the lecture helps.” The first lecturer, Sasha Nicholas, a curator for the Whitney currently, explained to students why the American art world in the early 1900s desperately needed an institution like the Whitney. Her logic propelled students into the struggle of artists who wanted to individualize their work by painting controversial subjects such as the less glamorous life of the lower class at the turn of the 19th century. Yase, a junior, in the programs, finds that, “Prior to the Whitney Elective, I was oblivious to how powerful the relationship is between art and its historical context. I’ve also learned this relationship is reciprocal; history influences art, and art influences history. The perpetual interconnection between the two has shaped the course of history, and without the Whitney Elective I would’ve been completely unaware of its effect.” The great thing about this course is it exposes Avenues students to college-style lectures, and introduces them to other types of learners. Approximately 80% of the class is made up of non-Avenues students, allowing students to hear from multiple perspectives. The docent training program started in the fall and will continue into the spring term.

Photo by Sophie Potter

The Privilege of a Home-Cooked Meal BY YASEMIN SMALLENS

unday night, I raided my pantry, Let’s take my childhood friend Chef Bomercilessly pulling cans of yardee for instance. For those who haven’t condensed milk, albacore tuna, and had the pleasure in indulging in the BoyarChef Boyardee off of the shelf and dee’s cooking, he usually into my bag. The next morning I grabbed packages his food in cans. For instance one my bag of food and jumped onto the 1 of his most popular dishes is beef ravioli. train. My shoulders nearly collapsed be- There are a lot of ingredients in this dish, neath the weight. specifically: tomatoes (tomato puree, waIt’s hard to imagine people making a ter), water, enriched wheat flour (wheat family dinner from these cans of processed flour, malted barley Flour, niacin, iron, foods. I have always had the privilege of an thiamine mononitrate [vitamin B1], ribo“organic” home cooked meal. This typically flavin [vitamin B2] and folic acid), beef, consists of roasted local turkey, fresh root crackermeal (bleached wheat Flour, niavegetables, and an apple pie made from cin, iron, thiamine mononitrate (vitamin the Granny Smiths’ my family handpicked earlier in the “THE LACK OF “FAMILY BONDING TIME” IS NOT THE month. ONLY THING WRONG WITH THIS REALITY. THE Gathering the ingredients ENVIRONMENTAL IMPACT OF THESE FOODS and putting them together is IS EVEN WORSE.” as much a part of my family experience as the dinner is itself. Envision- B1), riboflavin (vitamin B2), folic acid), ing a home cooked dinner spent hovering high fructose corn syrup, soybean oil, salt, over a simmering pot of Chef Boyardee textured vegetable protein (soy flour, soy seems, well, not like home. Yet so many protein concentrate, caramel color), carAmericans who are not as fortunate as I rots, onions, modified corn starch, caraam, rely on highly processed foods for their mel coloring, citric acid, enzyme modified nightly super. The lack of “family bonding cheese (cheddar cheese [pasteurized milk, time” is not the only thing wrong with this cultures, salt, enzymes],cream, water, salt, reality. The environmental impact of these sodium phosphate, xanthan gum,carotenal foods is even worse. [color]), flavorings.

I’m not going to make an argument about the “nutritional value” of highly processed foods like this, because honestly any food is better than no food. What I will focus on though is the long-term environmental impacts of eating such a diet. Let’s start with “tomatoes (tomato Puree, water)”, which seems innocent enough. Well, first, it’s not organically or locally grown, but that’s not really a surprise. Where exactly are these tomatoes grown? Well Chef Boyardee doesn’t disclose this information explicitly, but we can assume they’re from the state of California, as it is the leading producer of tomatoes in the world. California produces 96% of America tomatoes and the California tomato industry make an annual revenue of 888 million dollars. There are hundreds of issues with corporate farming including workers’ rights, the proximate animals and wildlife endangered, and nutritional depletion of the food, but I’m going to look at one issue: climate change. The carbon offset for transporting one truck full of tomatoes from California to Milton, Pennsylvania (where Chef Boyardee is produced) in one trip is approximately 3 metric tons of carbon. While tomatoes appear harmless, the consumption of processed tomatoes have a large environmental impact. An even larger carbon impact can be seen in the production of factory beef. Cow products, namely beef and milk, are essential for Mr. Boyadee beef ravioloi. Live-

stock, especially cattle, are some of the largest producers of greenhouse gasses in the world, accounting for a 18% of total man-made emissions. According to The Guardian “[cows] produce more greenhouse gas the cars, plane and all other forms of transport put together”. There are multiple factors for their large greenhouse offset; the energy spent producing feed, the vegetation cleared for grazing, the industrial butchering process of meat, and the methane released from cow manure. Similar to tomatoes, beef and dairy products must be transported across the country, often originating from Texas, Nebraska or Kansas. Beef and enzyme modified cheese (cheddar cheese [pasteurized milk, cultures, salt, enzymes] needed for Boyardee’s beef ravioli leave an immense imprint on the natural world. Although it may seem that gathering all the ingredients is an odyssey in itself, there is yet another elaborate and highly environmental hazardous process, the canning and distribution of processed beef ravioli. Procuring, shaping, and stuffing aluminum cans is extremely energy demanding; it takes 2.07 kilowatt hours of electricity for one can to be processed (or about 2kg of carbon per can). The labels on these cans detriment our atmosphere and the paper used for labeling depletes natural forests, halting the photosynthesis process. Once the cans are put together, they are distributed across the country, and once again thousands upon thousands of

tons of carbon are released into the atmosphere. Environmental issues often appear abstract; the effects of carbon offsets are often hard to identify within in our own current and future daily lives. Food drives provide an interesting, if not paradoxical, look into the impact of our current fossil fuel expenditure. WFP (World Food Programme) projects there to be a 10-20% increase in world hunger by 2050 due to climate change. Rising temperatures will devastate crops, increase early mortality rates of livestock, and lead food prices to record highs. The corporate farm industry is responsible for much of our current climate crisis (estimated to account for over 26% of carbon emissions). Still, these farming practices also allow for cheap and accessible sustenance; the kinds of food that can be donated to the 16% of America’s who struggle to find their next meal. As I donated my last can of Chef Boyardee I found myself asking a question with no rational answer: do we continue corporate farming practices and provide food for those currently hungry, or do we halt this energy demanding process and decrease the amount of world hunger in the future? The solution can not be found in the either of these options; only in the grey areas can we find harmony. As citizens of the planet we must address our current hunger crisis without creating a future one. Yet the question still remains; should I donate the Chef Boyardee or not?

Drawing by Alma von Graffenried

THE HIDDEN TRUTH BY OLIVER GRUBER

You do not have to be an avid follower of the news to have heard about the small suburb in St. Louis called Ferguson. If you turned on a TV at any point in the school year so far, you likely saw the Ferguson headlines on every cable news channel. On August 9th, 2014 in Ferguson, a white officer fatally shot a 18 year old black teenager. What followed these events was 24/7 coverage of the protests and riots that erupted as a response to the Ferguson happenings. Quite similar to 2012’s Trayvon Martin case, the grand jury made the controversial decision not to convict, which led to mass protests and riots. The heavy coverage of this story is rightly vindicated. The incident reveals the flaws in police enforcement and officer conduct, and the protests accentuate the racial tensions in our nation. This coverage should surely incite some change, and it most likely will. However, one is still left wondering if this story deserved to be the most covered news story of 2014. To answer this question, we must observe the role of the media in our society. It is the job of the news to cover recent and important events. In a democratic society, it is also the news’ responsibility to inform the voter. Televised news in America is,

without question, skewed. Cable news anchors tend to prioritize stories that produce higher ratings rather than societal change. Better ratings lead to advertisers paying more to the network for airtime, and thus higher profits. We can look to the excessive coverage of the missing Malaysian Airlines flight of March, 2014. News networks like CNN recognized that public attention was buzzing on the topic, and in turn provided aroundthe-clock coverage of this missing jet to boost their ratings. The story of the missing Malaysian Airlines jet was not a change-provoking story, rather it was simply a curious case. The time spent on-air covering this story was used to feed those viewers who were intrigued with “what if ”s and possible attacks or malfunctions instead of covering events that were significantly affecting society. However, Ferguson does highlight an issue in which change may occur. So if there is anything troubling about our coverage of Ferguson, it isn’t that. The truth is, we need more reporting on the economic injustices that plague this country. After all, ultra-rich Americans influence society to a much larger extent than any other demographic. But news stories revolving around how the

mega-rich influence society rarely make front-page headlines or get airtime on cable news networks. It is worth pointing out that those who own cable news networks are members of the 1%, but that’s a story for a different time. Sadly, while the Ferguson protests were taking place, many significant stories went uncovered: stories about huge, wealthy corporations taking advantage of our political system by using their donations and lobbyists to buy politicians that will push their agendas. But the irony is that these stories go hand-in-hand with what’s happened in Ferguson. Economic injustice breeds racial injustice, and vice-versa. As critical thinkers, it is our responsibility to question stories covered by the news. While taking in stories from any news source, we should have a filter at the forefront of our minds. Without cation, we are unable to see multiple perspectives that would allow us to absorb information that is not misrepresentative of what is actually happening in society. We must take it upon ourselves to question and filter everything that is being presented to us by the news. So, a story climbs to the top of the airwaves, ask yourself: what’s missing?

the cultural slur OP-ED

BY LUKA MRVIC

“SOMEBODY WILL ALWAYS BE SOMEONE ELSE’S HIPSTER”

Photo by Lucas Hornsby

“Hipster” is one of my least favorite terms for many reasons. As someone who is not often offended by negative comments, “hipster” is one of few words that can legitimately upset me. The word “hipster” is often used too liberally. It is casually thrown around when the person saying the word has nothing else constructive to add to the conversation. It attempts to delegitimize its target’s preferences, whether it’s putting down one’s taste in music, film, clothing, or even overall lifestyle. Assigning a label to somebody 24

because of what they’re into and enjoy implies that the person doing the insulting is unable to understand and appreciate the insulted person’s choices or opinions. Try thinking of this in terms of music: I, for one, am not a fan of undeniably talented artists such as Childish Gambino or Lana Del Rey. But it’d be ignorant of me to discredit their fans, simply because I don’t understand their appeal. Musical taste has so much to do with a listener’s personality and background, whether it be his

or her life experiences, age, race, or gender. If you put a one-sizefits-all label on people’s preferences, it only proves that you are too narrow minded to consider all of the unique traits that make them individuals. “Hipster” is ultimately ironic because the term is not only relative to a “hipster’s” interests, but also to the interests of the person using the term. Along with identifying the target’s interests, even more so, it establishes the perpetrator’s narrow minded preferences. This means that somebody will always be someone else’s hipster.

UNTITLED The music pours out The crackling makes the music better, it takes it to a new place We live in a world where there’s no time But here I don’t worry about time I just dance and sway, or lie and think Music provokes me Listening to it in this way brings me to a different time A time where I wasn’t in the process of ruining my life No angst, no worry, until the piece will end And then: there’s silence, until all comes rolling in When life starts again Here I am, wishing I could go away — Yvette Lopez

Photo by Lucas Hornsby

ARTS & LETTERS POINTERS FOR PROPER PROSE #1: SOMETIMES THE THESAURUS IS NOT YOUR FRIEND BY IOLI BALTAS

Photo by Sophie Potter

or many centuries, the literary apparatus known as the thesaurus has been used to find every possible synonym and antonym in the human language. The thesaurus has always had many purposes. Whether it is used for writing poetry or novels, the thesaurus has helped writers everywhere avoid their repetitive patterns. In spite of the idea that this literary gadget is extremely helpful in certain ways, it can also do much harm to a person’s meaning when they write with a constant hunger to sound more literate. It has come to my attention that many students have aligned themselves to the side of the tempting siren that is the thesaurus. They have come to believe that there is an easier side to writing, and that the thesaurus is their yellow brick road. However, these students have not come to understand that what is hidden in this bottled genie are often words of utter uselessness. I am not, however, suggesting we discriminate against the thesaurus entirely, as every sin comes with a benefit. I am simply warning you to walk

with caution when using this literary instrument. When using the thesaurus, one must treat it as a genie’s bottle in that they are only permitted a limited number of wishes. It cannot be said how many times a thesaurus has been used improperly and led to linguistic imprecision, resulting in the crushed dream that is a bad grade. Please do not attempt to use the age-old excuse of “I’ll start tomorrow.” Think of the thesaurus as a chocolate cake, and its words as your calories. If possible, it should really just be cut from your diet, or used sparingly. Like using Sparknotes for Siddhartha, the thesaurus is a shortcut whose price you may pay is the silence in the classroom with the awkward new teacher. The thesaurus is not your friend, but rather your enemy with benefits. A friend who would turn on you in an instant for a good chuckle. Don’t be friends with your enemy. Find someone who will care about you, like the dictionary.

a dynamic portrait of a city BY LUCY REISS

ou do not have to be an avid follower of Anatole Broyard’s memoir, Kafka was the Rage, is in many ways the 1940s New York version of Ernest Hemingway’s A Moveable Feast. Though not set in Paris, the work chronicles different parts of Broyard’s life, mostly those pertaining to his experiences in different parts of New York City (Brooklyn and the West Village feature prominently in the memoir). With a nostalgic prose reminiscent of Hemingway’s, Broyard recounts his profound and thought-provoking encounters with women and friends, as he charts the lessons he learned along the way. The themes in Kafka was the Rage are also quite similar to those found in A Moveable Feast. They include youth, love, sex, friendship, and the arts. Most importantly, the work is about change: “It was as if we were sharing a common youth with the country itself. We were made anxious by all the changes, yet we were helping to define them” (1). Notably, the memoir is particularly curious and open-minded in its exploration of the arts: “The

two great changes that interested me the most were the movements toward sexual freedom and toward abstraction in art and literature, even in life itself ” (1). The book is beautiful and stylistically lovely, but not too subtle or complex as to confuse the reader; it is decidedly accessible. This is not to say that Kafka was the Rage does not have an intended audience. Those interested in writers will be particularly keen on the work, as well as those looking to learn more about the history of New York City and its relationship with the arts. What stands out most about Broyard’s writing is not just the effectiveness and beauty of his prose, but the eccentricity of the story he tells and his gift for recalling all the little odd details of his encounters with the people he meets. These details — exact words uttered during romantic encounters, vivid descriptions of rundown bedrooms on Bleecker street — are what make his novel come to life. Broyard’s main character is relatable but interesting, certainly not your average American man but not as eccentric as the people he

meets. He, like us, is experiencing all these amazing encounters with some of the most eclectic writers and artists the world has seen, and marveling as we are at their novelty and magic. “This book is always a narrative, a story that is intimate, personal, lived through, a young man excited and perplexed by life in New York City at one of the richest times in history.” Never does he lose sight of the power and uniqueness of the story he is telling. This power to relate to us is instrumental in creating a comfortable sense of belonging that the narrator quickly establishes after beginning the book. Broyard is careful to always leave space for us to imagine the scene he is setting. He is never presumptuous or overzealous in his description and gives a comfortable degree of separation. He also makes no pretensions about his thoughts on New York in the 40’s. It is clear that he is as much an outsider to the world he is entering, in the beginning of the book, as we are, and he guides us gently, giving us time to take in all the dazzling excitement of the people and places we encounter. 29

unexpected change ART REVIEW MIYA ANDO’S “KISETSU” (SEASONS) BY ISABELLA GRANA

s I walked into the Sundaram Tagore Gallery, the muted glow of stainless steel caught my eyes. I usually don’t enjoy being dragged alongside my mother as she drifts in and out of the galleries that line Chelsea’s side streets. But this glow intrigued me. I walked closer to the maroon and silver colored square on the wall. As I got closer, the location of the glow drifted, from the center to the top, and from the top to the left. As I moved, the glow shifted to adjust my location. It never settled in one position. I prided myself in being able to quickly locate and decipher the subject of the artwork. Yet, I couldn’t with this piece. It moved as I moved, ever changing and begging me to look more. Infuriated and intrigued, I walked to the description of the exhibition on the wall. Miya Ando, the artist, comes from a family of Bizen sword makers. She is the 16th generation of Japanese sword craftsmen and continued working on this ancient craft through the creation of art. She integrates her heritage into her paintings and sculptures through using light and reflective steel sur30

faces. “Absolutely incredible, just what we need!” I can hear the sheer bliss in my mother’s voice. At this moment I would typically roll my eyes and count the seconds until the well-dressed gallery employee darts to my mother and makes their best pitch at selling any of the pieces in the show. Instead, for once, I agreed. I was the one darting over to her and excitedly inspecting every square inch of the pieces on the wall. She was especially intrigued by a large rectangular piece. It was dark blue on the top, and the

color gradiently faded from top to the middle and then was graced by a band of brushed steel towards the bottom of the piece. I walked side to side, examining every inch. From every inch I examined, the light glowed in a different and more alluring way than the time before. I left the gallery unsure of what message her pieces tried to convey. I did, however, leave the space feeling tranquil. The simplicity of the pieces allowed me to understand everything I could about it and to truly enjoy the art without immediately searching for the meaning and

subject. In my past art education I was taught to find, decipher, and extrapolate on any and everything I knew about the piece. I have only taken one art class here at Avenues, and the message it was trying to send was far from what I had learned previously. Here I was taught to simply enjoy and immerse myself into the piece to the best of my ability and relish in the moment. In such a busy city, it is truly something extraordinary to stop and allow yourself to be a part of something bigger than yourself.

opened box REVIEWING THOM YORKE’S LATEST SOLO EFFORT, “TOMORROW’S MODERN BOXES”

BY DYLAN KELLY

s one has come to expect from Radiohead frontman, Thom Yorke, his most recent release, Tomorrow’s Modern Boxes, is a truly innovative work in more than one way. In a surprise announcement, Yorke released his latest album on BitTorrent, a file sharing site, for a mere six dollars (this was done in light of his distaste for traditional distribution). On this particular album, Yorke brings pronounced synths and light-footed beats, accompanied by reverb-heavy vocals, to mainstream audiences. (continued on p. 38) 31

How Does Nothing Mean Something? EXPLORING THE ORIGIN OF ZERO BY LUCAS FOLZ

ne of the most fundamental concepts behind mathematics, as well as life, is the number zero. Not only is zero considered to be the alpha number, it is also argued to be the omega of the numeral system as there is no beginning or end. From the driver of calculus to being a placeholder, zero has always been a mystery that has provoked the imagination of diverse minds since it was thought of many centuries ago. Yet the perplexing question that remains is: How can something be made from nothing? Today’s number system, argued to be Arabic, actually originated from India. For centuries people used a variety of symbols to mark quantities and perform the simplest arithmetic calculation with these numbers. Yet, it was the Indians who created our relatively new number system and began to understand the concept of the value zero. Around 650 AD, Brahmagupta was the first to complete arithmetic operations using zero. Using dots underneath numbers to indicate a zero, referred to as “sunya” (empty), he was able to compile standard rules for reaching zero through addition, subtraction and operations with zero. A bewildering problem that Brahmagupta encountered in his rules, was the division by zero, an obstacle that was later challenged by Isaac Newton and G.W. Leibniz. While the number zero is very significant in mathematics, it also has many symbolic meanings. The number resonates eternity, infinity, wholeness and a continuous flow. The spiritual meaning of the

Photo by Isabella Grana

number zero also deals with potentiality, as it is the beginning for all other numbers. Although zero is positive, it can also be seen as negative because it can be interpreted as a void. However, Pythagoras understood the number zero as the container of all things and the beginning for all other numbers. Nowadays, when somebody thinks about the numbers one hundred, seven hundred or even eight thousand, the image conceived in one’s mind is a number ending with a few zeroes. Yet the importance of the function zero by being a placeholder is unimaginable. Without a placeholder, large numbers consisting of zero ones, tens, etc.,, could not be denoted. Operations using the value zero have also become a major component of the fundamental concepts of mathematics. Addition, subtraction and multiplication are practiced throughout middle school, yet division using zero has caused the confusion of great minds. How many times does one go into zero? While the answer is indeterminate, this concept is considered the key to calculus. Fundamental mathematics using zero is considered to be the inspiration for calculus. For example, when someone drives a car, the speed will never be constant but changing, due to stoplights and traffic and speed restrictions that result in the car increasing and decreasing its velocity. However, if you did want to estimate the car’s speed at a particular instant,

you would measure the change in speed that occurs over a set period of time. Essentially, as you decrease the set period the speed becomes progressively more accurate. Similarly, the ratio of the change in speed to the change in time becomes equivalent to a number divided by zero, a complication that perplexed Brahmagupta. Newton and Leibniz solved this difficulty in the

1600’s by working with numbers as they approach zero. Consequently calculus was invented, which added new depth to modern day physics, engineering, economics and finance. The concept of the number zero is so familiar in current society that it might be considered irrelevant to daily life although it has allowed society to advance. However, similar to its symbolic meaning, zero may still denote a void.

IN THE MACHINE AND OUT I type I type I type The writing I see is now on my screen I go inside the Machine I type I type I type The figures I saw are now on display Now it is time for me to play I am putting together what I know and with that, it is a command I sew I am inside the Machine I see what It sees Now, what I see, it sees I type I type I type A back and forth relationship is what it is the hours and hours of sleep I miss The days and days that go by And only so little done that I could cry I cannot type anymore But something appears on my screen What I hope to accomplish is what I see My fingers twitch, and I continue at a faster degree More hours and hours I sit More days and days I try to finish it I drive on with an energy I cannot control I do not feel this is my work anymore This work is too good for me, no more! I type I type I type

I am no longer typing I see the work that is being done I feel it in my fingers, assisting me in my plight It tells me what keys to press, what code to write This goes deep into each night It speaks, I listen, It writes and I type These are no longer my own rights The Machine gives and I take This is not something I make, it is what the Machine creates This is not something I wish to flee This is now on a spiritual level I exit my trance and look upon my work Is it mine, or does it belong to the machine? This experience has been fulfilling But not as much as if it were just me No more shall I work no more shall I rework I typed and typed and typed I’ve submitted this code and will end this tripe To collapse on my bed and rest Too exhausted to dream, I drift away only to wake up again — Zac Bilmen

The Secret Life of Bees READING THE PAST BY LUCY REISS

think many people assume in 1964—as it always has been. May. These are three lovely women that book reviews should alKidd’s profound feeling and un- Lily meets a couple chapters into ways be written about recently derstanding of the subject is abun- the book. These women change her released books, perhaps not dantly clear through her writing, entire journey and the story we are because they lose their merit — old which is always sweet, relevant, and discovering. This really made me books are still read in classrooms wise. The protagonist of the novel think about the power of chance — but because they don’t hold per- is Lily, a 14 year old girl who lives encounters, and the way they can sonal relevance to the general pub- with her cruel and unforgiving fa- affect the way our lives turn out. lic anymore. Well, I disagree, and ther, T. Ray, her loving and protec- Again, this subtle power of words, especially in a school community tive maid Rosaleen, who acts as her names, and tiny details are what like that of Avenues, I think it is surrogate mother, and the painful weave together the story, and our definitely valuable to look towards yet confused memory of her moth- emotional connection to the charthe past as a means of seeing where er’s death. acters Kidd has created. We selwe are going and of viewing older As soon as book the opens, there dom think of details, I think, mayliterature as a critical way to put our is evidence of Kidd’s understand- be because we don’t ponder their lives into context. ing of writing, and the power of a true power: the metaphor of bees So fellow students, as you contin- metaphor, however subtly present- present at the beginning of each ue at Avenues, and eventually go to ed. The novel opens on Lily’s bed- chapter and in most of the imporcollege, I hope you’ll continue read- room, which has recently been in- tant moments of the story are a ing books from all periods, not just habited by bees. In the beginning, good example of this. Finally, we in class but on your own, are given a and think about how the “IT TAKES A SPECIAL KIND OF WRITERS bittersweet characters of these books TO SHINE A DEEPLY INSPIRATIONAL AND conclusion, relate to people in your THOUGHT-PROVOKING LIGHT ON A SUBJECT as Lily lives and to you. discovSO DARK AND DEPRESSING AS RACISM.” It takes a special ers what kind of writer to shine she’s been a deeply inspirational and thought- the bees provide a quiet backdrop yearning to find out her whole life, provoking light on a subject so dark to the book, until they become the but just as we feel that the the wise and depressing as racism. Sue Monk focus, in the second half. As Lily secrets Kidd and her characters Kidd does so exceptionally in her begins to discover herself, she finds have to offer have been imparted best-selling novel that is now a fea- who she is meant to be. The bees upon us, we hope, and suspect Lily ture film: “The Secret Life of Bees”. provide her and the reader with a does as well. A powerful, endearWritten in 2002, Kidd’s novel The clearer understanding of the horror ing, and sage piece of lovely prose, Secret Life of Bees is set in South and brutality of racism, what can The Secret Life of Bees is a book Carolina in 1964. It was a time of be done to reverse it. you’ll be picking up over and over atrocious injustice and violence toI felt that the true power of the to fall back into the wonderful wards African Americans, racism work came through when Lily met world of Lily, August, June, May, was rampant throughout the South the lovely sisters, August, June, and and the secret life of bees.

Photo by Lucas Hornsby

(from page 33) The opening track, “Brain in a Bottle,” pulses into existence. The album begins to center around the middle tracks, such as “The Mother Lode.” The initial doom of the song evolves into a progressive “ballad” that only Yorke could pull off, with a relatively high tempo and wavy synth. Empowered vocals take hits at the listener such as, “Your truth is out of their league,” as the song wanders into a mostly instrumental outro. With each album Yorke releases, he puts a new version of himself out for sale. Yorke is a member of a hallowed few artists who can transpose deep set emotions into the music that you will listen to. What other ways are there to explain his success? (Other than world-class lyricism and musical prowess) This album is no different, but like any other LP, it has kinks that it needs to work out. In this case, maybe he’s strayed too far from what made him famous in the first place, and there is the distinct possibility of many longtime fans feeling that they wasted their six dollars on a wannabe techno experiment, longing for the tangible, and confrontational rock ’n roll that they have come to know him by. However in a way the album actually is an experiment, Mod-

ern Boxes, as the title implies, is a shot at changing the music industry and the way artists are selling their work and making money. Yorke is famed for his untraditional methods regarding distribution, notably Radiohead’s “pay-what-you-want” release of “In Rainbows,” where consumers would enter a sum of money that they were willing to pay for the album on the band’s website, and that would be the price. To Yorke and other musical compatriots such as Patrick Carney of the Black Keys, the music industry today is a ship-doomed-to-sink, putting artists at a economical disadvantage compared to the giant labels making most of the money off of royalties. Releasing off of BitTorrent was an evident, “screw you,” to the system in place, and the alienated singer seems to have had a good response so far, having had a million copies already downloaded off the site. Musically, the album is solid, and the singer does not fail to disappoint. Unless you were looking for another OK Computer, of course. Yorke’s evolution continues to fascinate us (being the general simpleminded public) and his legacy continues to grow. As the singer laments, “I’m punched I just keep bouncing back, Come out fighting back.”

HARING WARHOL LICHTENSTEIN BANSKY BASQUIAT MR. BRAINWASH MURAKAMI

School tours are welcomed.

FRANCIS YOUNG SWOON FRANKENTHALER DINE KOONS WESSELMANN

words of wisdom

LIFESTYLE

After school one day, The Highliner randomly asked Upper School students for a few wise words .

“

y parents always talk about how they didn’t have phones or computers when they were younger. They don’t say our generation is less intelligent, but they do say we use our time differently. The amount of time I spend watching tv, or on the phone, or anything that involves technology, proves that I do rely on my devices. I think, we all need to focus more time on learning where our parents are coming from when it comes to technology. We should take their stories and apply them to our own lives—spend more time doing things that involve interacting with other people.”

–Ololade Williams—

“

don’t have many words of wisdom, but my mother and father are teachers, and they have a lot of clients. One of their clients, argued that we are a lost generation: we have wasted our time in technology. As a 15 year old, I feel that we need to prove ourselves—we need to not be the detrimental generation that some put us out to be.”

–Edgar Guzman— 40

“

on’t eat poisonous flowers. Don’t play rock paper scissors with Lucas in the 10th grade. Don’t eat Calla Lilies; those are potentially—apparently—fatal. Always carry a calendar. If you want to run for class president it’s always good to know the younger grades. The older ones, by the time you get to be president, they’re already gone. Make sure to always disconnect from wifi 6, because no one uses wifi 6!”

—Alexia Nizhny—

“

ou know, green tea is really nice. It’s good for everything. It’s also just relaxing. Just like hot drinks in general. Especially during winter time. Gotta keep that body temperature up. Don’t freeze. Scarves. These are just tips and advice. Also like, hoods are really good, because the wind will try to get you from the back, and like, if your hood’s up, you’re safe.”

—Dylan Kelly—

“

like education a lot. I am a pretty studious student, and I am happy about being a studious student—and I think that has a meaning. I think that education—learning stuff—makes me happy, and I think thats pretty synonymous with most people. I know why certain things happen, and knowing why certain things happen makes me happier. It’s a human thing: we fear the unknown, and the more we know, the less we have to fear.”

—Zac Bilmen—

“

f you feel like the teacher hates you, then that is, most of the time, because the teacher loves you too much.”

—Jun Ho Kim—

figuring out your life how to get your dreams, goals, and loose bobby-pins in line BY ALLY WITT

t is truly important to be organized. After all, organization is the key to success. Without management, it is nearly impossible to understand what you truly desire in life. One might say that at age sixteen, it’s impractical to really know what your passion might be. And yes, it is hard, but impossible? No.

step one: get organized step two: efficiency & focus Monthly trips to The Container Store are a must. Internships, classes, your social life, and the million other things can be a lot so use a planner. Whether it’s a physical notebook or an online application such as iCal, make sure to to keep your reminders and assignments in one place. “Having a clean and organized desk makes me more productive while doing my work,” states Sophie Potter ’16.

Getting your life figured out is truly a balance of how much you can get done in the least amount of time possible. Trust me, getting your work done is easy when you have a clean desk to get it done. Try adding different accessories such as scented candles, file cabinets, and fragrant flowers. These are great for de-stressing during

step three: utilization of resources The math lab, science lab, and writing center are here for a reason. Before using these centers, understanding every detail of my classes was a challenge. Now? Easy.

Teachers here at Avenues are sympathetic to our workload, so why not accept their help? Devote 30 minutes per subject once a week to spend time with teachers.

homework sessions. Also, utilize anti-distraction apps to get work done in a minimal amount of time. “I use the app Self-Control, so social media doesn’t distract me,” says Mima Khazanov ‘16. So download Self Control and light a rose-scented candle and you just might find yourself looking forward to your midterms.

step four: motivation Self-motivation, in its simplest form, is the force that drives us to to do things. It pushes us to achieve our goals, feel more fulfilled, and improve the overall quality of our work. Self-motivated people tend to be more organized and possess good time management skills. Understanding and developing motivation can help you take control of many other aspects of our education.

Even the motivated of us can feel unmotivated at times. With small baby steps, however, we can get started down the road to positive change. Yes, I know, it seems impossible at times. Try taking on one goal at a time. The most common mistake is takling too much at one time. Dedicate your entire focus to one goal.

Whatever you do, don’t give up. Think of the goal as a long journey, don’t collapse with every little bump in the road. Organization, efficiency & focus, utilization, and motivation are the keys to success. Incorporate these traits into your daily routine, and I promise, life will come knocking at your door.

Dear Dom, I’m the only one out of all my friends who has an early curfew. I think it’s so unfair but my parents disagree because they’re annoying and old. How do I get them to change their minds and let me come home later? Signed yours truly, Belated Bonnie Hey Belated Bonnie! Don’t worry, I promise you you’re not the only one facing this problem; I’ve been fighting with my mom about my curfew since 8th grade. After numerous arguments with her, we decided to take a more formal approach and meet with a therapist who helped us establish a curfew of 11:30 PM. I was pretty happy with this at the time, but my mom wasn’t and she then bumped it down to 9 PM! While I was out with friends, I would spend the majority of my time re-

plying to my mom’s texts. Which would just lead to more disagreements and bickering. Even though all that arguing was probably unhealthy, I’m glad I communicated how I felt to my mom. After all, communication is key. Just talk to your parents— I’m sure they’ll understand how you feel. They were a kid once too! For any disagreement a good way to approach your parents is to simply sit down with them. Be-

fore your talk, you should do the following: • Plan ahead and outline your argument. • Make sure you have evidence to present. During your talk you should: • Think before you speak, don’t interrupt them and really listen to what they say. • Respectfully tell them what you want and why...and if you want your parents to be reasonable you need to be as well.

Some important factors to consider in negotiating your curfew are: your age, where you live, what you’re doing, and how you’re getting home. Addressing these points will let your parents know you are being logical. They’ll be more inclined to alter your curfew if they believe it is reasonable to do so. If you can find a mediator for the that would be helpful. A mediator would ensure the conversation does not turmoil into a fight. Before I go out I al-

ways try to quickly discuss my plans for the night with my mom. When she knows who I’m with and where I’m heading, she’s more at ease and less restricting when it comes to my curfew. Being reasonable has allowed me to establish trust with my mom, and as a result she is now more flexible about me coming home late. Let me know how it goes! Namaste, Dom

Dear Dom, —a student advice column—

Hey Lonely boy,

Dear Dom, I’m a freshman boy and I’m struggling to meet new people and make friends. Any advice? Signed, Lonely boy

Of course I have advice for you! I find that it can be very hard to make new friends at a school that is so small, especially while having to face all the other challenges that occur when entering the Upper School. The best way to get to know people at your school is by taking an advantage of all the activities and events our school has to offer: school dances, volunteer projects (working with ACE, community days), sports nights and games, school plays, concerts, and even the end of the term art openings. All these events bring our community together, allowing you to interact with people you normally wouldn’t. I recommend joining a sports team—you’ll master a skill and bond with your teammates—but if you’re not athletic, partaking in a club that is somewhat social will help you meet people with similar interests. Some clubs that might be of interest to you are:

1st block Chess Club (play some chess and meet new opponents), Fashion Club (chat, sew, and design!), Women’s Coalition (join in on the discussion about gender inequality)

Quiz Bowl Team (work together to win the game!), Comedy Improv (have some laughs!),

2nd block Diaspora (discussions about racial inequality!), Debate club (heated convos!), Open Studio (make art and connect with others!)

Advisory and lunch are also two time blocks within the school day where you can interact with others socially—branch out and try sitting at a new table with a different group of people. If you’re still struggling, don’t put so much pressure on yourself—sometimes the greatest friends come without you even trying. I know for a fact you aren’t the only one who ever feels this way, and after trying out some of these suggestions you’re bound to meet someone! Namaste,

Dom

humor THE ONLY COMMITTEE THAT DOESN’T HAVE MR. WANG

BY HENRY GOLD

brand new traditionscommittee has been put together. Their goal is to establish some kind of tradition for the school. Mainly composed of juniors and sophomores, and one freshman who accidentally walked into to the wrong room, they are scheduled to meet every two weeks. Sitting in on their second meeting I noticed that Tunji (17’) was waiting patiently at the whiteboard with a marker in hand, however he didn’t get the chance to write anything. He only stood up when Gianna (17’) did and she shouted “I’VE GOT IT, I’VE GOT IT... oh wait, no, it’s gone.” Tunji explained his inactiveness. “See the thing is I’m supposed to write down any ideas we get on the board. But everyone either forgets what they were going to say, 44

or they just think that is a stupid idea. Stupid or not we really just need to get the ball rolling. If we have another meeting like that I might suggest that our new tradition should be that we don’t make any.” I can’t blame Tunji for being like that. If you happened to walk in on one of the committee meetings you’d think everyone was trying to do their best impression of the thinker. Melik (16’) elaborated on why this was a struggle after everyone had given up for the day and left: “Here’s the thing, Hen, everyone is trying to come up with something original and has some kind of context inside of our community, dude, it’s really hard, especially when you try to think about both.” He goes on to tell me about the approval process. I’ll do my best to

summarize it, but calling it elaborate is an understatement. Once, and hopefully, when the committee comes up with something, it needs to win a vote by two-thirds majority. Then it gets passed on to the heads of Upper School. If they like it, they’ll forget about it until they get a check-in email from the committee a week later. Then they’ll pass it along to the administration. If they vote for it with twothirds majority, then it goes to the custodial staff who can pass on to the leadership after a three-fourths majority. From there Skip Mattoon looks it over for grammar before giving it to all the ELC parents. When Melik gets to this part he has to catch his breath. He’s not even done yet with telling me half of the process. Instead he just falls to the floor sobbing. And you know what... so did I.

Comics by Alexia Nizhny

the first (and last) date of mr. vampire and ms. zombie BY JEAN LI SPENCER

Before the world ended and nobody fended for their own survival in pitch black night (when the world was forever bathed in light), it was widely known that dinner by candlelight for two would surely cure anyone’s blues. But gazing earnestly into your one good eye (the other missing because we died), is nothing but indifference or perhaps a touch of disdain: my hopes of impressing you wash far down the drain. It’s true that we both have our own flaws; it’s true that my hands have sharp claws. Your skin is indeed sagging and rotten, but underneath the exterior is surely a heart soft as cotton. Zombie do not smack your lips hungrily at me, can’t you see that this vampire feels for thee? Wait that’s my arm your teeth have fastened upon. Can it be my date wants me gone? Perhaps there is a misunderstanding here, your belly groans make me want to run fast and disappear.

Photo by Lucas Hornsby