Leila Gant ('13) Wins Annual Poetry Slam

“The most significant part of the Poetry Slam for me wasn’t winning,” states Leila Gant ‘13. “What I thought to be most amazing was getting a chance to hear what people really had to say and what was on their minds through poetic spoken word pieces.” Over the past few weeks, the students in Lauri Conner’s 11^th grade honors English class have been learning to appreciate poetry while simultaneously working on their own, original pieces. The work ranges from rhyming poetry, to spoken word, to short prose describing anything the students chose to write about. Many wrote about personal experiences and feelings, while fictional writing was also allowed. Recently, as the class came to the end of their poetry unit, a Poetry Slam was held in the form of a competition. The winner of the slam would be exempted from the spring final, a vocabulary test consisting of over 500 words, from the beginning of the year. With a serious prize at stake, every student was required to perform at least once in the Vanderbilt Commons. The competition took place over five days, with four days of preliminary rounds and then the finals.

Each student went head to head with another classmate and performed one piece of their writing for a randomly selected panel of judges, including students from other grades and teachers. After a performance, the five judges scored the students’ pieces from one to ten, most of the scores falling between seven and nine. The highest and lowest scores were dropped, and the remaining numbers added up to create a final score for the student. After both contestants had performed and been scored, the student with the highest score advanced to the next round. These first rounds took place from April 17 to April 24.

Semi-final and final rounds took place on Wednesday, April 25. Only eight poets were left in the competition, and they continued to perform against each other until there were only two left. Leila Gant and Alexa Strabuk ‘13 read their last poems before the judges gave their scores and awarded the finals “exemption.” Leila was the last one standing at the end of the competition. Her winning poem is included below.

Leila writes, “Alexa Strabuk is the last person that I slammed against in the competition, and her last few poems truly moved me. I was numb when I won by .1 of a point … because all I was thinking about [was] how strong of a poet she is and [that] working with her would be incredible. All the nerves, shakiness, and hours behind my laptop writing poetry and reading it aloud to my dog [were] all worth it.”

Just A Waitress by Leila Gant ‘14

How deep into situations can our minds function? I’m talking about those sticky situations. Where the odds don’t come out in our favor And we’re butted out of a conversation because We don’t know the flavor of the kool-aid…

But just because you’re in your own world, deep in conversation, Don’t assume you know the world of others around you Because the waitress that’s serving you in the café that you’re in right now, Knows all the flavors of liquid conversations that exist

The little waitress that no one pays mind to. They just pay the bill and occasionally tip her at the end of their meal. The little waitress that no one pays mind to. She listens in that café and it’s not like she tries to eavesdrop, But isn’t she allowed to pay attention when she hears knowledge being dropped By the people that refuse to acknowledge anyone outside of their cozy booths.

The little waitress that wants to butt into the conversation Because she knows the flavor of the kool-aid You can tell from just looking at her. Her lips, as red as the cherry stem that she had just popped into her mouth And tied in a knot, reminds her of how promiscuous she used to be And reminds her of the conversations she used to have staring deep into The green apple eyes of her boyfriend, while he stared back into hazel eyes that Were fiery orange with rage when he had to bring up the conversation about their relations. It’s over. Stop don’t say another word, suddenly she doesn’t wanna hear any conversations ever again.

She’s just that little waitress that no one pays mind to, waiting to be a part of a different conversation in that little café, from the people in the little cozy booths, in their own little worlds.

Poetry Slam Photo Gallery

Et tu, Antonius?- A play by Alexander Barsher (’12)

Et tu, Antonius?

By Alexander Barsher

Synopsis:

In a town of about 20,000 in the rural part of any state, a water park is being built. The park will bring jobs and new residents to the town. The project is being funded by Jackson and Co., a large construction firm. A group of male construction workers have just gotten off work. It’s Friday night. They are looking for something to do.

Characters

ANTHONY: Outgoing, louder, impulsive.

TYLER: Quieter, smarter, has some sense.

MOM: Mother of Tyler.

JACOB KREIS: Friend of Anthony and Tyler, dropped out in 5^th grade.

MR. JACKSON: CEO of Jackson and Co., wealthy, mid 60’s.

ANNA JACKSON: 18-23 years old.

POLICE OFFICER 1: Early 50’s.

POLICE OFFICER 2: Mid 40’s.

BODY GUARD: Mid 30’s.

SECRETARY: Mid 20’s.

 Act I

Tyler and Anthony enter stage left. They stop at Anthony’s car (5 chairs in the middle of the stage).

ANTHONY: You got any deodorant?

TYLER: No, why?

ANTHONY: I stink, and I don’t want to go home and take a shower.

TYLER: You going to go out?

ANTHONY: Yea, I want to.

TYLER: What are you thinking about doing?

Anthony is rummaging through his bag. Anthony looks up.

ANTHONY: Huh?

TYLER: What are you doing tonight?

Anthony puts on a new but dirty shirt.

ANTHONY: I think me and a few other of the guys are going to the bar? You wanna come with us?

TYLER: Yea, but I got to stop home to see my mom and shower. We did work today.

ANTHONY: What time is it?

TYLER: Six.

ANTHONY: How long are you going to take?

TYLER: An hour and a half.

Tyler gathers his belongings and starts walking backwards towards stage left.

ANTHONY: Why so long?

Tyler is moving quicker.

TYLER:  I’m bussing, and the main highway is closed.

ANTHONY: You’re right. Anyways 8 at the bar?

TYLER:  Sounds good.

Tyler sees passengers getting onto the bus and yells, “Hold that bus.” He sprints off stage left.

Act II

Tyler enters stage left, into his and his Mom’s living room.

TYLER:  (Tyler shouts) Mom?

Mom enters stage right.

MOM: Yes, honey?

TYLER: How are you?

MOM: I’m fine.

TYLER: What did you say you needed help with?

MOM: When did I say that?

TYLER: You called an hour ago saying you needed help with something.

MOM: Ohhh, right, right, I need you to fix the roof.

Tyler gives her a confused look.

TYLER: What?

MOM: The roof.

TYLER: Mom.

MOM: It’s been leaking for weeks.

TYLER: Mom.

MOM: I just don’t have the money to pay a repair man.

Mom leads Tyler to the other side of the living room.

MOM: I just don’t have the money. Oh, your father left me nothing.

Mom stumbles on a creaky floor board.

TYLER: Are you ok?!

MOM: While you’re at it you should fix the floor too.

Mom smiles and lifts up the defective floor board and takes out a wad of cash.

MOM: For helping me. (She smiles)

Tyler, stunned, laughs under his breath.

TYLER: C’mon mom I don’t need that. Let’s go fix this leak.

The two walk up a few more steps and move a couch. Mom shows Tyler the puddle, Tyler takes a look around and begins to chuckle.

MOM: What is so funny?

TYLER: Mom.

Mom looks around like she’s thinking really hard.

TYLER: MOM! (Annoyed, but laughing)

Looking down at the ground there is a puddle of water and there are a couple glasses on the floor.

TYLER: I think you just spilled some water.

MOM: What? No! There’s a leak, I swear.

Tyler picks up glasses, gets a nearby towel, and kneels to clean up the water.

TYLER: Mom.

MOM: Yes?

ANTHONY: I think this whole thing is a ploy to get me back over here.

MOM: What?

TYLER: I think this was just a ploy for you to get me over here.

MOM: Nonsense.

Mom looks away embarrassed.

TYLER: Ok, well, I have plans tonight.

Mom looks defeated.

MOM: Fine.

Tyler gives a quick kiss to his mom and walks stage left from where he entered. He pauses before he exits, and looks back at his mom.

TYLER: You know I love you.

MOM: I know, I know, I love you too, it’s just.

Mom looks at the ground and shuffles her feet. Tyler takes a few steps towards her.

MOM: It’s just hard to see you grow up, that’s all.

TYLER: When you have actual problems call me (Tyler says while chuckling and rolling his eyes).

MOM: Have fun tonight!

TYLER: I always do.

Tyler exits stage left. Mom hurries over and calls after him.

MOM: Make good choices tonight!

TYLER: (Tyler from of stage) Love you too mom.

Blackout, mom exits stage left.

Act V

Tyler wakes up at his mom’s house in the living room on the couch. He turns on the television.

TELEVISON: And in other news last night, Anna Jackson, daughter of construction tycoon Jack Jackson, owner of Jackson and Co was found unconscious on the side of the road. She is thought to have been raped and left for dead. Not until later did authorities find her at around 2 am and take her to the hospital.

Tyler looks incredulously at the TV and begins to get nervous. Mom enters from stage right with a tray.

MOM: Good morning, honey, how was last night? Fun?

TYLER: Yea…yea, it was good.

MOM: I made you breakfast.

Tyler stands up and looks nervously out the window.

TYLER: What?

MOM: I made you breakfast, honey. Is something wrong?

TYLER: Thanks. (Defensively) No, mom. I’m fine.

There is a brief pause. Mom looks out the window uncomfortably. She puts the tray on a coffee table in front of the couch.

MOM: Honey, are you sure you’re ok?

Tyler looks at his mom annoyed. Even more defensive than his first response.

TYLER: Mom, I’m fine!

Tyler looks away, annoyed, then back at the television.

Mom shakes her head and looks at the television.

MOM: Did you hear what happened to that poor girl?

TYLER: Yea, I did.

MOM: Awful, absolutely awful. How could someone rape her and then leave her on the side of the road like that? I just can’t believe someone could do that. Can you Tyler? Can you believe that?!

TYLER: Yea, it’s horrible.

Mom shakes her head, and exits stage right. A few seconds later the phone rings. Tyler picks it up from the coffee table. It’s Anthony.

TYLER: Hey……yea……yea……yea, I saw it…….it said she got-…….I know……do you think…..yea Jackson and Co……..yea Mr. Jackson……his daughter!……Thank god………..yea, if she was dead we would ……yea…….  I think it’s better you stay home today………I’ll call you later……yea, I’ll see you Monday.

Blackout, End Scene

Act VI

It’s Monday morning and the workers are preparing for work. This can be portrayed by them standing in line punching their work tickets. Anthony, Tyler, and Jacob are in line together.

JACOB: Hey, did you guys see the weekend?

Tyler and Anthony look at each other, and then look at Jacob.

TYLER: What?

JACOB: What did I say?

ANTHONY: You said “you guys see the weekend.”

JACOB: Man, I’m so nervous. Y’all don’t even know.

A brief second pause, the three look at the ground remembering Friday’s happenings.

TYLER: So, y’all see the news this weekend?

JACOB: Man, I just said that!

ANTHONY: (Anthony talking under his breath) Guys, we gotta calm down!

They are now at the front of the line and about to check their work tickets. They put on their helmets, walk out the work place, and await instruction. They sit down center stage.

ANTHONY: I’ve been thinking. (A brief pause) Maybe it’s better we tell Mr. Jackson we know who it is, but we want something in return.

Tyler and Jacob look at each other.

JACOB: Man, I don’t know, I think I’d be better to stay away from this.

Jacob and Anthony look at Tyler.

ANTHONY: What do you think Ty?

Tyler mulls over both ideas in his head.

TYLER: I kinda like Anthony’s idea.

JACOB:  What?! It’s his fault we’re in this situation in the first place.

ANTHONY: Well suit yourself. Ty and I will go after work.

JACOB: There is no way I’m going.

ANTHONY: Fine.

Tyler shrugs his shoulders.

TYLER: It’s your choice.

Jacob, obviously irritated that his idea wasn’t used stomps off and exits stage left.

ANTHONY: Let’s go talk to him now. He’s probably around here somewhere.

Tyler shrugs.

TYLER: Yea, let’s get it over with.

Blackout, end scene.

Act VII

The scene starts as Anthony and Tyler are led in from stage left by a secretary. They sit in two large expensive looking chairs.

SECRETARY: Mr. Jackson will be in shortly.

As the secretary exits stage left, Anthony and Tyler look at each other.

ANTHONY: She is so hot.

Ensuing conversation is under their breaths.

TYLER: Dude! We haven’t thought about this at all! Who are we even gonna say it was?!

ANTHONY: Tyler.

TYLER: Yes.

ANTHONY: Calm down and let me handle this.

TYLER: How am I supposed to let you handle this when you have given it zero thought? You’re checking out his goddamn secretary and you’re a fucking idiot to begin with!

Anthony looks at Tyler distraught.

ANTHONY: Just calm down and let me handle it.

Mr. Jackson enters stage right flanked by a police officer, a secretary, and a body guard.

MR. JACKSON: My People tell me you have news about my daughter, but make it quick. I have a flight to catch in half an hour.

Anthony stands up to shake Mr. Jackson’s hand, body guard walks over and forcibly places Anthony back into his chair.

MR. JACKSON: You have five minutes.

ANTHONY: Well, Mr. Jackson, we know who raped and nearly killed your daughter.

Tyler looks at Anthony surprised, knowing no rape occurred.

MR. JACKSON: You have four minutes! Or the whole water park operation goes to Burnsville and this place goes back to being a ghost town!

ANTHONY: It was Jacob Kreis.

The Police Officer rushes out stage right. Tyler, stunned stares at Anthony, who has a smug look on his face. Mr. Jackson has a satisfied look on his face.

MR. JACKSON: Well, thank you for your time, escort yourselves out.

Mr. Jackson, body guard, and secretary exit stage right. Anthony and Tyler are left in the room.

TYLER: How…how…how could you!?

ANTHONY: What?

TYLER: You turned Jacob in! He’s going to go to jail! Maybe even for life!

ANTHONY: It was either you or him.

Anthony gets up and exits stage left. Tyler is left on stage alone stunned and infuriated.

Blackout

THE END

Playlist of the Week - Jeremy Alben '13

Playlist of the Week Playlist of the Issue is a 5-10 song playlist of songs that you, the Seattle Academy student, are listening to. Each issue a new student’s playlist will be featured. If you’d like to be featured, send me, Alice Flood, an email (aliceflood@seattleacademy.org), and we’ll discuss from there. Playlist of the Week knows no limits as to the genres of music; we want to know what YOU like! I want this feature to help us all discover new music as well as learn what kind of stuff our friends are listening to. This issue features the playlist of Jeremy Alben ‘13.

Warning: Some songs may include explicit lyrics. Listen at your own discretion.

“Super Market” - Domo Genesis (Featuring Ace Creator)

The back and forth exchange takes place in a grocery store line. After Domo cuts in line Tyler shouts back and a comical, albeit explicit, conversation ensues. The almost faux battle rap style set to an old school sample makes for a fun track that’s pretty addicting if not only for the humor.

“Midnight City” - M83

This upbeat melodic dance track comes from one of my favorite albums in the last few years. With a haunting verse melting seamlessly into a bright chorus, this track transcends most dance music today and leaves the listener wanting to hear it again.

“Like Today” - Atmosphere

Atmosphere has had some pretty well known classics over the years, but this is one that has somehow flown under the radar. In their typical story rap style, Slug raps about his insights on the typical day. With a sunny beat and laidback style, this is one of my personal favorites.

“Hands on the Wheel” - Schoolboy Q (Featuring A$ap Rocky)

Part of Kendrick Lamar’s crew, Schoolboy Q’s track off of his new album is set to a soulful sample paired with his sharp verses. The floating sample in the back creates a haunting sound that is iconic of the rest of the album. Worth a listen.

“Flying Overseas” - Theophilus London (Featuring Devonté Hynes & Solange Knowles)

This chill track is reminiscent of late summer with its lofty chorus and slow funk beat. A nice reminder that vacations are on the horizon.

“Treetop Flyer” - Stephen Stills

Stephen Stills is one of the most underrated guitarists of all time. This song is a testament to his skill beyond Crosby, Stills, & Nash and is part of a fantastic compilation of early solo studio tracks. With a bluesy drive and classic vocals this is Stills at his best.

“Love Interruption” - Jack White

A newly solo Jack White sounds softer than the old White Stripes standard, but this new sound is just as intriguing. With driving acoustics and beautiful country female vocal support, Jack’s ode to love is satirical and sweet.

“My Fear #1” - Cloud Control

One of my favorite new bands with an unfortunate name. Cloud Control’s coral folksy sound is contrasted with beautiful electric guitar riffs and straightforward vocals. A nice bedtime track, and a great album worth a listen.

“Dreaming of Snakes” - Stephen Stills

Another Stills track, short and with almost a James Bond-esque intro.  A simple sad acoustic piece about dreams that display Stills’ sweeping acoustic work and iconic vocals.

“April Come She Will” - Simon & Garfunkel

Quite possibly my favorite song of all time. This is the best of Simon & Garfunkel. Filled with melancholy vocals and beautiful guitar melodies. Short but sweet, this is a song to put on repeat and let play for hours. Can also be seen on Parks & Recreation and a good end to any nighttime playlist.

The Elephant in the Room-- A play by Kendall Reingold ('12)

During the fall trimester each senior in James Watson’s play writing class composed a 20-50 page play. Beginning with The Elephant in the Room, a comedy written by Kendall Reingold, The Cardinal will be publishing a series of these plays. All of the plays written in the senior elective were submitted to ACT Theater’s playwriting contest. Of the hundreds of plays that were entered in the competition, Kendall’s was among eight that were selected to be performed two weeks ago at the ACT Theater’s Young Playwrights Festival. According to Kendall, “Working with professional actors and a professional director was incredible! I learned so much about how plays become performances and it was absolutely amazing to see what I'd written come to life.” Not only did Kendall receive the opportunity to work with professional actors and directors to make her play ready for the stage, but she was paid for her work as well. A truly brilliant comedy, The Elephant in the Room was a hit at the festival and Kendall’s hard work has definitely paid off. Finally, we at The Carinal welcome creative work (plays, poems, short stories, photographs, visual pieces, videos, podcasts, etc…) from other students in the SAAS community; both class work and personal pieces.

xxx

The Elephant in the Room

By Kendall Reingold

Characters

KATIE GREENBERG: daughter of Linda and Mark, 17 years old

LINDA GREENBERG: mother of Katie, wife of Mark, late forties-early fifties, bohemian wardrobe

MARK GREENBERG: father of Katie, husband of Linda, late forties-early fifties, wears Birkenstocks

TYLER: boyfriend of Katie, 17 years old, may have a mild Southern accent

  Scene I

Setting:  The Greenberg family living room—a nice, but not flashy, semi-suburban home in Seattle in approximately 2011.  Include a front door, a dining table, and stairs that descend into the room.

Linda and Mark are reading on the couch, preferably intellectual, progressive books or newspapers.  Katie enters from the stairs, dressed for a date.

KATIE: Bye, mom!  Bye, dad!

MARK (looking up): Did you feed the chickens?

KATIE: Yeah, this morning.

LINDA: And did you collect the eggs?

KATIE (impatient): YES.  There were six.

LINDA: Oh, great!  I’ll make a frittata or something.  You picked all the radicchio, right?

KATIE: Yeah.

MARK: So where are you going, anyway?

KATIE: I already told you, I’m meeting Tyler for dinner.

LINDA:  It was on the calendar, Mark.

MARK: ­­­­Nobody tells me anything around here.  Well, when do you think you’ll be home?

KATIE: Um…maybe eleven?  Can I take the Prius?

MARK: Sure.  See you then!

LINDA: Oh, did you decide if you want to come to the ACLU auction with me on Wednesday?

KATIE (uncomfortable): I…can’t.  Lots of homework.

LINDA: That’s too bad.  Well, be safe on the roads!

KATIE (still a little antsy): Okay, bye.  (Exits through the door)

Lights go out.

Scene II

Katie enters through the door, happy.

MARK: Hi, Katie.

LINDA: How was dinner?

KATIE: It was good.

MARK: Where did you guys go?

KATIE: This Italian place downtown.

LINDA: So you and this guy…Tyler?

Katie nods

LINDA: … have been hanging out a lot.  When do we get to meet him?

KATIE: Um…eventually…

MARK: What’s with the hesitancy?

KATIE (snappily): Nothing!

LINDA: What’s wrong?

KATIE: Nothing, nothing; I just…he’s kind of…

MARK (half-joking): He’s not a Republican, is he?  (Chuckles a little; silence ensues.)  Oh my god.  He is NOT!

KATIE: It’s no big deal…

LINDA: Honey, you can’t be serious.

KATIE: I mean, uh, his…um…family…

MARK: A Republican?

KATIE: Dad, mom…

LINDA: My daughter’s new boyfriend is a Republican!  (Slightly hysterical) HE MIGHT AS WELL BE GLENN BECK JUNIOR!

KATIE: Mom, you’re freaking out.

MARK: Linda, don’t yell.  Katie, what did I ever do to make you want to do this?

KATIE: I knew you’d be like this.

LINDA: Mark, Mark, MARK, our daughter is out of her mind!

KATIE: You’re out of your mind!  Just give him a chance.  He’s a nice guy.

LINDA: Well…I suppose we could have him over for dinner.  Tomorrow.  Yes, tomorrow (smiles).  That way we can…get to know each other (winks at Mark).

Lights go out.

Scene III

Now, the living room is decorated with “Obama 2012” and “Pro-Choice Washington” materials, etc.  The table is set for four people.

Katie is waiting nervously on the couch.  The doorbell rings.

KATIE: I’ll get it!

She opens the door.  Tyler enters

TYLER: Hey.

KATIE: Hi.  So…here we are.  Thanks again for doing this.  I hope my parents aren’t too crazy.

TYLER: Oh, I’m sure it’ll be fine.

KATIE (grimly): I guess we’ll see…

Linda and Mark (carrying a drink) enter from offstage.

LINDA: Oh, you must be Tyler!  We’ve heard so much about you (glances pointedly at Katie).

TYLER: It’s nice to meet you, Mr. and Mrs. Greenberg. (Shakes their hands)

LINDA: Call me Linda.

MARK: And I’m Mark.

LINDA: Why don’t you come and sit down?  Dinner won’t be ready for another few minutes.  (She leads the kids to a couch with a prominent view of the “Obama 2012” poster.  Mark follows and sits down with her, opposite the kids.)

MARK: So, Tyler.  Tell us about yourself.

TYLER: Well, I just moved up to Seattle last year, and—

LINDA: Oh, from where?  Mark’s from San Francisco, but I’ve lived here all my life.

TYLER: I’m from the South.

MARK (choking on his drink): The South?  (Clears his throat) You don’t say.  Let me guess, (hopeful, but worried) um…Olympia?  (Pause) Portland?  (Pause, then, nervously,) Los Angeles?

TYLER: Actually, I’m from Mississippi.  Jackson, to be exact.

MARK (strained): Katie, you didn’t mention that!  How…quaint…

LINDA: Isn’t that cute!  A real-live Mississippian!  That’s how you people call yourselves, right?

TYLER: Yes, ma’am.

LINDA: Aw, look at you, with your backwa—I mean, old-fashioned manners and everything!  Just like the characters in To Kill a Mockingbird (chuckles).  But please, call me Linda.

KATIE (embarrassed): Uh…is that the oven timer I hear beeping?

LINDA: Oh, calm down, Katie!  (Pause) I do have to get dinner out, though.  Everybody, sit down at the table.  (She exits offstage)

Mark, Katie, and Tyler sit down at the table.  Linda re-enters with dinner: squash stuffed with a mysterious grain and vegetables.

LINDA: Here we are!  It’s a new recipe from Namaste Magazine—acorn squash stuffed with quinoa and chard.  I wasn’t sure if you were a vegetarian, so I decided to be safe.  Katie’s last boyfriend was a vegan, you know.

MARK: You mean Jake?  Great guy.

LINDA: And so handsome!  Such a shame he had to leave for Yale.

KATIE (almost interrupting, makes an “ahem” sound, then, a little too loudly,): Please pass the water!

A short awkward silence ensues

TYLER (serving himself some squash): Thank you for dinner, ma’am.  Sorry—Linda.

Linda smiles and watches as he takes a bite, almost giggling when he struggles to swallow.

MARK: So, Mississippi.  Go Tar Heels, right?

TYLER: Well…actually that’s North Carolina.  Ole Miss is home to the Rebels.

MARK: Oh, Rebels, huh?  Still got that spirit of 1860 down there, don’t ya?  (Laughs)

KATIE: DAD!

TYLER (to Katie): It’s okay, (obviously lying—) I…get that all the time…

KATIE (to Tyler, quietly): I am so sorry about all this.

TYLER: Don’t worry about it.

Silence

KATIE: So…how was your day, Mom?

LINDA: I got fifty eight more signatures for the petition!  You know, Katie, you really should come to these things with me.

KATIE (very uncomfortable): Maybe…sometime…you know it’s not really my thing…

TYLER: What sort of petition are you working on?

LINDA: Oh, it’s to get state funding to provide daily organic cooking classes at all public schools, K through twelve.  We’ve got such a great group of people working on it.  You know, who can’t stand by and let big food corporations ruin the planet.

MARK: You’re involved in politics, aren’t you, Tyler?

TYLER (warily): Yes…

LINDA: Oh, that’s lovely!  What do you do?

TYLER: I’ve been volunteering…for the Jack Sheffield campaign.

LINDA (stiffening): As in…the incumbent…?

TYLER: Yes, him.

LINDA (tensely): Really…well that is just…perfect.

Uncomfortable silence, as people finish the food

KATIE: Wow, look at the time!  Tyler, don’t we have to head out soon if we want to make it to the movie?

TYLER: Uh…yeah, looks like we do.  (Looks questioningly at Katie) I guess we should get going.  Thank you so much for dinner, Mr. and Mrs. Greenberg.

MARK: You’re welcome.  You two have fun; drive safe.  And have Katie home by eleven.

TYLER: Absolutely.  Goodnight!

KATIE: Goodnight.

Tyler and Katie exit through the front door.

LINDA: Unbelievable.  Jack Sheffield?

MARK: Honey, what did you expect?  He is a…Republican…

LINDA: But it’s worse!  He’s not just some undecided child—he is an active enabler of the right-wing agenda!

MARK: Well…isn’t that actually better in some ways?

LINDA: Like what?  Give me one good reason.

MARK: I mean, at least the kid stands up for what he believes in?  He’s genuinely committed to his cause.  Even though his cause is despicable…I guess we should at least give him some credit.  What I’m saying is, even though he’s a…Republican…at least he knows how to follow through.

LINDA: Whose side are you on, huh?

MARK: Nobody’s.  I’m just trying to make the best of this mess, that’s all.

Pause.

LINDA: (Sighs) I guess you’ve got a point.  But what did we ever do to deserve this?

MARK: Oh, it’ll be over before you know it.  (Putting his arm around Linda, comforting her) You know how these teenage relationships are—fizzled out with within a few months.  We’ll have our daughter back any day now.  Good as new.

Lights go out.

Scene IV

Katie and Tyler enter the empty living room; it is dark outside.

KATIE: That was fun.  I hope my parents don’t ask me about the “movie” (laughs).

TYLER: I can’t believe you told them we were going to a movie.

KATIE: I told you that was what I was going to say.

TYLER (more serious): Why didn’t you tell them?

Pause

KATIE: I just couldn’t do it.

TYLER: Well, you’ll have to sometime…

KATIE: I know, but not yet.

TYLER: You don’t need to be scared; they’re your parents.

KATIE: Exactly!  You met them!  You know they won’t be able to handle it!

TYLER: It might be hard at first, but they’ll come around.

KATIE: I don’t know…

TYLER: Look, I get it.  I know how hard it is in this city—don’t think I haven’t struggled with people like your parents—but at some point you can’t hide who you are anymore.  Sooner or later you’re going to need to tell them.

KATIE: I guess…I mean, I do want them to know, but I can’t yet.  I mean, they’d try to accept it but I just don’t think they could.  I guess…I’m afraid to find out.

TYLER: I get that.  It’s okay.  No need to rush.

KATIE: Thank you…for everything.

TYLER: Anytime.  I know you’ll tell them when you’re ready.

Pause

KATIE: Tyler…Am I a bad daughter?  You know, for…I feel like I’m betraying them.

TYLER: Absolutely not.  You can’t change who you are, and your parents know that.  It might take some getting used to, but you can’t let them get in the way of your feelings.

KATIE: If you say so.  Well, I better go inside.  Don’t want to miss curfew on top of all this.

TYLER: Goodnight.  (They hug)

Lights go out.

Scene V

Linda and Mark are sitting down, each busy with an individual activity.  Katie enters, barefoot, carrying a pair of shoes, which she begins to put on.

LINDA: Is Tyler coming over next weekend?

KATIE: No.  He’s busy.

LINDA: Oh, that’s too bad.  There’s this amazing new Silent Opera at Benaroya Hall, about the lives of Alice B. Toklas and Gertrude Stein.  I thought it would be fun for us all to go see it.

KATIE (embarrassed): Oh no…

MARK: Come on, it’d be great!  I’m sure he’d love to see what culture looks like.

KATIE: I’m sure he’s perfectly well cultured.  He lives in the same city as we do.

MARK: Well, he did spend his first sixteen years in the land of… (With contempt) NASCAR.

KATIE: Oh my god; leave him alone!  He can’t even go to the stupid Silent Opera, so there’s no point figuring out how it’ll “educate” him.

MARK: Alright, alright.

LINDA: So where are you going today?

KATIE: Out...with Tyler.

LINDA: What’s your plan?

KATIE: I…don’t know yet…I’ll be home by six.  Have you seen my blue jacket?

LINDA: You left it on the couch; right there (points to it).  Are you going to be outside much?

KATIE: Um…it’s possible.  I’m not sure.  Just…trying to be prepared, you know (smiles and picks up the jacket).

LINDA: Okay…

KATIE: Great.  See you then!  (She exits out the front door)

LINDA: I wish she’d tell me more.

MARK: As long as she’s staying out of trouble…

LINDA: You’re right.  She’s a good kid.  It’s just…first the Republican, and now she won’t tell us where she’s going with him?  I’m…a little worried.

MARK: She’s a teenager.  I just wish she wouldn’t take this new “rebellious” thing so far.

LINDA: I know.  This phase had better pass soon.

Lights go out.

Scene VI

Linda and Katie are arguing.  Mark is reading the Seattle Times.

LINDA: Katie, you know your father and I are just looking out for you.  We don’t want you getting mixed up with…bad influences.

KATIE: Are you serious right now?

LINDA: Of course I’m serious!  Look, you’re seventeen years old.  I know you want nothing more than to “assert your independence” by doing stuff just to piss off your parents.  Like, dating…him.

KATIE: That’s not what it is!

LINDA: (cutting her off) Look, Katie, you’re a smart, beautiful girl and we love you very much.  It just kills us as parents to see you throwing yourself into the world of government-hating, anti-welfare, gun-slinging evangelists.

KATIE: YOU’RE NOT GETTING THE POINT HERE.

LINDA: Yes, I am.  I don’t want you to lose sight of the way we brought you up; you know—

MARK (recoiling from his newspaper): HOLY CRAP!

LINDA: What?

MARK: What…is this?

LINDA: What is what?

MARK: Come over here…take a look at this article…

LINDA:  (reading): “Republicans Rally Downtown for Sheffield...” what’s the big deal, Mark?

KATIE:  (quietly): Uh oh…

MARK: Look…at the picture…Tell me who you think…

LINDA: OH MY GOD!  KATIE?!?!?

KATIE: I—

MARK: Is that really you?  Katie?  At the—

KATIE: I can explain.

LINDA (almost sarcastically): Oh, please do!  (Aside, more desperately) God, let there be some kind of explanation!

KATIE: Well…uh…you know…you raised me to think I was one kind of person, and I figured I was, my whole life, but…

LINDA: Yes!  Because that is a good kind of person to be!

KATIE: Yeah…but…

MARK: Are you saying that you think you might be…this…other kind of person?

KATIE: Yeah.  I wanted to tell—

MARK: Look, sometimes, after you’ve been raised to be one way…you start to wonder about the other way…so, sometimes…teenagers need to…experiment a little.  I get that.  You’re just trying to see what else is out there.

KATIE: No, I’ve seen what’s out there.  I’m sure.

LINDA: Katie, don’t be rash.  You’re young; your prefrontal cortex isn’t all there yet…you don’t really know what you want…

KATIE: Yes, I do.  About this, at least.

LINDA (strained): Oh god…

MARK: So you think…this is who you are?

KATIE: I do.  I wanted to tell you before, but I knew you’d have a hard time with it.  I was waiting for a better time.

LINDA: So…you really think you’re…

KATIE: Positive.  I am absolutely a Republican.

LINDA makes a small noise, like a gasp mixed with a squeak.

MARK: This is all Tyler’s fault, isn’t it?  I never should’ve let him influence you like that!

KATIE: No, Dad, Tyler didn’t make me this way.  It’s just who I am.  (She exits upstairs)

LINDA: Mark…oh my god…our own daughter?

MARK: I know.  Wow…

LINDA: Where did I go wrong?  How could this happen?

MARK: You didn’t do anything wrong.  You’ve been nothing but a great mom to her.  So I guess this means it was bound to happen.

LINDA: I guess.  It’s just…I never thought it would be our daughter.  Well, at least she hasn’t joined the NRA or anything.

MARK: And the day comes when we’re grateful our daughter doesn’t own a machine gun…

BOTH: laugh, and then go quiet.

LINDA: I really hope this isn’t permanent.

MARK: It can’t be.  I mean, this is Katie we’re talking about here.

LINDA: I know, but after what just happened, it’s hard to be sure what that means.

MARK: Come on, you said it yourself; her brain is far from being fully developed.  I actually just heard this interview on NPR about how teenage brains are actually like those of crazy people!

LINDA: Ha, that seems rather obvious now.

MARK: Well…what are we gonna do?

LINDA (sighing): I guess…I guess we’ll have to try to accept it.  If we don’t, she’ll probably just go off the deep end—maybe even, God forbid, join a— (shuddering at the word) church.

MARK: No!  We can’t let that happen.

LINDA: Exactly.

MARK: Hm.  (Pause) Well…you know what this means (begins to smile).

LINDA: What?

MARK (wryly): Our room and her room are now bipartisan chambers.

Linda and Mark begin to laugh nervously, as lights dim and go out.

FIN

Spread The Word To End The Word

For each civil-rights movement in all of history, there have been slurs used against groupsfighting for their liberty. In the 1930s and ‘40s, Jews were taunted with one word. For hundreds of years, African Americans have been called another word. And today, gay, lesbian, bisexual, transgender, and any other person who does not have the same gender identity or sexual preferences as “normal,” straight people, are called still another. Many of these terms began innocently, were bastardized, and then found their way into the common vocabulary. And as if it weren’t bad enough to call gays and Jews these words, these terms have also been ascribed to people who seem to show even the slightest stereotype of each of these groups. For example, if someone is tight with their money, someone might call them a “Jew.” Or if a boy or man crosses his legs, he is called “gay.” I think we all agree that it is not acceptable to use any of these terms in a derogatory sense.

And yet, there is one civil-rights movement and one slur that don’t get nearly as much attention or respect as they deserve; the mentally disabled community and their respective scientific term that has been corrupted: “retard,” and its adjective, “retarded.” I hear these words used casually at least once every day. The concept that we need to get into our heads is that these terms are no different from the other slurs that we know and hate so much. Not only are they offensive to the mentally disabled, but using them as a synonym for “stupid” is extremely hurtful to whomever is being called this name.

Please, stop using these words, and pass the message along to those who have not yet gotten it. Please, spread the word, to end the word.

For more information about the movement to end the usage of these derogatory slurs, please visit www.r-word.org

Book Review: A Northern Light

The novel A Northern Light, by Jennifer Donnelly, is based upon the true story of the murder of Grace Brown at Big Moose Lake in 1906. Donnelly makes the events of this eerie tale seem even more relatable with the addition of a character named Mattie Gokey, a high-spirited sixteen-year-old with great dreams, dreams that have very little chance of becoming reality. Needing money, Mattie takes a job at a hotel called the Glenmore where she meets a guest named Grace. Grace asks Mattie to dispose of a bunch of secret letters. When Grace’s body is found in the lake, Mattie learns that the letters are the key to solving the mystery surrounding the death of Grace Brown.

This story is narrated by Mattie, a character who has big plans for her life and who will let nothing stop her from achieving those goals. Her personality and ambition is admirable, and when faced with difficult decisions, Mattie is able to consult both her brain and her heart to find truth in whatever confronts her.

Donnelly creates a character in Mattie that becomes connected to this twisted tale and provides readers with the chance to find the truth in an unsolved murder. The mystery is still whispered about, and the ghost of Grace Brown is said to haunt Big Moose Lake to this day.

Illustrated by Hannah Fuller ('13)

Playlist of the Week–Jackson Lanning (’13)

Playlist of the Week Playlist of the Issue is a 5-10 song playlist of songs that you, the Seattle Academy students, are listening to. Each issue a new student’s playlist will be featured. If you’d like to be featured, send me, Alice Flood, an email (aliceflood@seattleacademy.org), and we’ll discuss from there. Playlist of the Issue knows no limits as to the genres of music; we want to know what YOU like! I want this feature to help us all discover new music as well as learn what kind of stuff our friends are listening to. This issue features the playlist of Jackson Lanning ‘13.

“Sexual Healing” - Marvin Gaye

Just a fun listen with high energy. “Sexual Healing” is a nice upbeat song.

http://www.youtube.com/watch?v=kfgLcehHKlw

“Me Again” - Dom Kennedy

I recently heard Dom Kennedy for the first time. A friend introduced him to me, and all of his stuff sounds good. Not in the mainstream and so isn’t like any of the pop songs you hear on the radio.

http://www.youtube.com/watch?v=u-mg4KCPJ4Q

“Hol’ Up” - Kendrick Lamar

Kendrick is a newish artist whom I just started listening to. This song is great for driving or just hanging out, upbeat but laid-back at the same time.

http://www.youtube.com/watch?v=SKJpeNZ1B3k

“Guess Who’s Back” - Domo Genesis

Domo is from OF (Odd Future), but his solo music contrasts with the work of Odd Future. Classic, standard, rap over a solid beat. “Guess Who’s Back” is a good listen.

http://www.youtube.com/watch?v=zlp5bNcBwI0

“Call From the Bank” - Nipsey Hussle

This is yet another feel good, driving song set to the music of MGMT. It also provides enough energy for a workout, and Nipsey with the MGMT sounds cool.

http://www.youtube.com/watch?v=re-qVSE3UaM

“Bass” - A$AP Rocky

A$AP Rocky is an emerging artist, definitely an up and comer. He has a unique sound.

http://www.youtube.com/watch?v=ZX6RnXebHmw

“#Cruiselife” - Curren$y

Typical Curren$y. He flows well with the beat of Kanye’s “Drive Slow.” Smooth, laid-back, everything Curren$y is.

http://www.youtube.com/watch?v=iIjJlO2YrjI

Winterball 2012

By Maggie Schecter ('13), Alexa Strabuk ('13), and Sophie Reingold ('14) There was an air of drama and mystique on January 28 as partygoers, hidden behind lavish masks, flocked to the annual Winter Ball. The masquerade theme was represented through all sorts of masks ranging from paper cut-outs to Spider man. Numerous limos pulled up in front of the Seattle Art Museum, something onlookers thought was rather strange.

This year we were lucky enough to hold the event at the Seattle Art Museum, one of the most respected places in the Seattle area. Renowned for its stunning collections and cavernous gallery space, the SAM has housed all sorts of fundraisers and other social events.  In years past Winter Ball was held at places including the Space Needle and the Argosy Cruise passenger boat, but never the Seattle Art Museum.

So what made ASB choose SAM for Winter Ball 2012? As ASB Treasurer, Elliot Frank ‘13, stated in an interview, “SAM will be a fun, energetic location for Winter Ball.” The dance was held in the SAM lobby which exhibits the famous car display by artist Cai Guo-Qiang. “It's a really cool building and SAM is also conveniently located in the heart of downtown,” Elliot said.

In order for ASB to make this year memorable, they brainstormed ways to secure such a renowned location. Through parent connections, ASB was able to reserve the lobby of the SAM and negotiate lower prices.  Due to ASB’s hard work this year, ticket prices were much cheaper than years past.

The best, but most anxiety provoking, part of every dance is inviting a date. Students at SAAS tend to have extremely creative ways of asking other students to the dance. Methods include baking cupcakes or cakes with the words “Winter Ball” written across them in icing, singing a song with creative lyrics involving Winter Ball, asking with candy or flowers, or taking the traditional route by just asking someone. No matter how people choose to ask, it’s always a fun and important part of the dance.

This year’s Winter Ball also featured student DJ, Max Pfeiffer ’13.  “Max did a great job DJ-ing the first dance so we hired him again,” commented Elliot.  With the photo booth run by Nick Lew’s father, along with drinks, snacks, music and a stunning location, Winter Ball was more fun than ever!

Masquerade was officially over at eleven, but the evening continued for some who had parties at their homes after the dance was done. Examples of fun after parties include movie outings and late night dining. The post-Winter Ball parties carried the fun of the night into the late hours.

Perhaps the night was summed up best by eleventh grade student, Matthew Callaghan, “The lights of the cars in combination with the great music created an experience that truly outdid any previous Winter Balls. I had a great time.”

Photography by Sally Slade

Athlete Spotlight: Yaniv Shier ('13)

Swish; a sound heard frequently when junior Yaniv Shier shot the basketball this year. Yaniv made quite an impression on the Emerald City League this season, finishing 9 games as the leading point scorer for Seattle Academy. Recently, Yaniv recorded a career high 33 points against Cedar Park, leading the boys’ varsity to a narrow 58-52 victory. In addition, Yaniv was recognized as the 1A State Athlete of the Week for his outstanding play during the last week of January, and he was named first-team all Emerald City League at the end of the season. Off the court, Yaniv enjoys hiking, spending time with friends, and pasta. Congratulations, Yaniv!  

Photo Credit: Jordan Sloan ('14)

Edited By Jackson Lanning ('13)

Film Review: J. Edgar

In his film J. Edgar, Clint Eastwood creates a very rare creature, a biographical film that feels neither directionless nor polemical. All too often those who venture into this genre do so in order to vindicate or condemn the subject in question; however, Eastwood and the screenwriter Dustin Lance Black do neither, painting a complicated portrait of this sympathetic monster.The film starts in the 1960’s with Hoover dictating his memoirs. Later on it’s made clear that he isn’t exactly a reliable narrator. This frames the set of flashbacks that will tell the story of Hoover’s directorship of the FBI, effectively condensing fifty years without ever seeming forced or rushed. We watch him join the bureau as a young man and make it gradually larger, more efficient and more powerful, all the time hording people’s secrets in confidential files and working to destroy those whose politics don’t align with his. Homosexuals are one of the groups Hoover persecutes and bans from the FBI, but of course he himself is gay. One of the remarkable features of this film is the complex love story, blighted by repression, between the main character and his life partner, Clyde Tolson (the charming Arnie Hammer). Black and Eastwood show us the tensions (they only kiss after a sexually charged fist fight) and intricacies of a relationship between two men who care deeply for each other even though one of them is almost incapable of showing it. By juxtaposing Hoover’s personal and professional life we see how his self-loathing and desire to suppress a fundamental element of himself is channeled externally in his grand desire to stifle dissent and disagreement. Black, who also wrote the screenplay for Milk, artfully presents Hoover and Tolson, neither as stereotypes, nor symbols, nor anachronisms, but two real people in every sense of the term. The voiceover narration used is one of the many elements that this film owes stylistically and thematically to film noir. This is a film about crime, paranoia, suspicion, and repression. These themes find expression in the cinematography and the lighting, which casts J. Edgar in deep chiaroscuro shadows. Deliberately drained of color, the film is almost black and white with dark greens, browns, and blues. This combination makes for high contrast compositions that were the hallmark of films before color became an industry standard. At the heart of this film is of course, J. Edgar Hoover, played wonderfully by Leonardo DiCaprio. He is assisted by a strong supporting cast including Naomi Watts as his loyal secretary who guards his notorious files and Judy Dench as his overbearing mother with whom he has an unhealthy obsession. When I saw this film, I had yet to watch Mr. DiCaprio in a role that required him to act, let alone perform through pounds of makeup. DiCaprio has previously done a good deal of work on biographical films, most notably Martin Scorsese’s The Aviator, and is known for his desire to play interesting characters and his willingness to take risks which pays off in a film like this. He is riveting in his portrayal of this twisted man refusing to see that his methods betray the ideas that he claims to espouse, that he distorts the truth he is allegedly dedicated to finding, and that he would oppress others the way he himself is oppressed.