
Having been involved in theatrical productions most of her life, from on-stage performances in middle school to now leading the PHS Tech Crew and Spectacle Theatre, Grace Waldman ’25 finds joy in being able to manage and coordinate the technical aspects of plays and musicals, and ultimately watching it all unfold into a stunning final production for the audience. Waldman began as a member of Tech Crew during freshman year, and is now the stage manager for Tech Crew and Spectacle Theatre. Motivated by the excitement of piecing together shows and building community, Waldman plans to study technical theater in college.



**What do you do as a member of Tech Crew?**  
I’m the stage manager for PHS Tech Crew and PHS Spectacle Theater. So that means that I oversee the theater program at PHS. I would say I’m the link between the actors and the crew: it’s my job to communicate what is going on in rehearsal and let the technical designers and all the crew that we have working know what’s going on so that we can have the set work for us.  




**Do you ever encounter any issues with coordinating the theatrical productions?**  
This year is my first year as stage manager, so I stage managed “Rumors,” the fall play, and “Groundhog Day,” the musical, and I’ll probably do the choir cabaret. “Rumors” was not a very tech heavy show at all, kind of park and bark if you will. Once we got to “Groundhog Day,” it’s so technically intense and there’s so much going on at every single moment in the show. It was a lot to process and figure out, “okay, this is how I have to approach this sort of thing and this is how I have to be able to communicate,” and how I have to manage [the time spent on] my work outside of school and my work with the show with my homework and everything else … while being an assistant stage manager is similar and you get a lot of the training … you kind of just have to go in and learn, “okay, this is the way that I have to do it.”



**Did you also do theater in middle school or when you were younger?**  
[In] elementary and middle school, I did a couple of productions that my school offered. I also went to a summer camp and every year they put on a musical, so I would do that, I was an actor. I didn’t get into the tech aspect of it till high school, but I definitely think that it suits me better. I’m not one for performing on the stage. I’ll leave that to them.



**What’s your favorite part of being the stage manager?**  
Especially for the musical … the auditions are so fun because [there are] some people [that] I don’t know. They’re just coming in as freshmen and it’s so exciting to see everybody be so happy and want to join this community because theater is a really big part of my life. I’ve done it forever, and my dad is an actor and so it’s just really in the family. I also really enjoy the end of the process. Once we actually get performing and see it all come together, tech week can be really stressful and it definitely was this year for “Groundhog Day,” but it’s always so beautiful seeing everything just come together.



**Do you plan to continue this in the future?**  
A lot of the schools that I’ve applied to and that I’m thinking about have some kind of programs or the theater scene in the area is really vibrant. So I definitely think about doing it in the future. I’m not sure if I would want to pursue it professionally, although I did apply to some BFA programs. But I’ll see where the wind takes me.


Student artist of the month: Grace Waldman ‘25

Ever since the age of five, Nikolai
Margulis ’25 has embraced music as a
defining part of his life. His passion for the
banjo has led him to hone his ability over
the years, as well as engage
in the musical community
by coordinating a program
with the International Bluegrass
Music Association, becoming a
signed artist of Prucha Banjos, and
winning awards for his playing
and compositions. Margulis is
considering taking a dual–degree
program between Harvard and Berkeley
that would allow him to continue studying
music while also exploring other paths
in life.

**What inspired you to start playing the
banjo?**

I grew up in Arkansas, and we had a
farmer’s market every Saturday, and there
was a guy there and [it seemed like] he lived
in the Gilded Age pretty much. He wore
corduroys and a button-down sweater vest
with a little pocket watch and I thought
he was the coolest guy and he played the
banjo. So I asked my mom if I could take
lessons. I took lessons with him for seven
years in Arkansas. He played a style called
classic banjo ... I didn’t get into [the style I
play now] though, until I moved to Jersey
and no one played [classic banjo]. I was
gonna give it up, and my mom sent me
to this banjo camp with adults, I was the
youngest one there ... they all played the
three-finger banjo, which is what most
banjo players play now, and I got converted
[to playing the three-finger banjo] there.

**What work have you done for the Bluegrass
Music Association?**

I put together this program at the
International Bluegrass Music Associations
... called the World of Bluegrass. It’s their
annual festival in North Carolina, and you
get all the stars down there [and it’s] where
they give out awards. I put together some
people who I knew would be up for it, like
some of these big winners like Vocalists of
the Year and stuff. And I asked them to kind
of form a new band that would go play one
set where people can request the songs. So
as the songs are playing, the audience pays
to request what the next [song is] gonna
be and the highest bid gets to choose it.
And so we raise money for their diversity
programs as the International Bluegrass
Music Association, and it’s also just fun
because I get to hear bands that I’ve always
wanted to hear that don’t exist, so it’s a
win-win.

**What was your journey in becoming a
sponsored artist for Prucha Banjos?**

I met the banjo maker Jaroslav Prucha a
few years back in North Carolina. I’d grown
up seeing heroes of mine like Russ Carson
and Alison Brown playing his instruments
and had always dreamt of playing one
myself. Jaroslav and I got along great, and
in a few months he approached me about
making a custom instrument. We spent a
few months designing a banjo specifically
for my playing, and last fall I officially
signed on as the youngest endorsing artist
of Prucha Banjos. It’s a real beauty of a
banjo, and I am [grateful] and proud to
play it everyday.

**How is playing the banjo different from
other instruments?**

When I started playing an instrument,
I didn’t think about playing anything else.
But the more that [I played, the more I
realized] that the banjo, the way it’s played,
is very based on its limitations. It doesn’t
have much sustain, you have to just throw
a bunch of notes out to give the impression
of any chord, and you don’t get a lot of bass
notes. And so I try to find ways to work
around that, but now I often find myself
having a little envy of pianos or guitars.
But I’m happy to play the banjo.

**What was your most memorable
performance?**

[Tony Trishka is] a real hero of mine. He
invited me to come play [at his birthday
party] and everyone was there: Steve
Martin was there, [Ed] Helms ... from “The
Office” [was there, as well as] Béla Flack,
who’s one of my favorite banjo players ...
it was really cool there just to see all these
banjo players come together and celebrate.

**What is your process when composing
music?**

When I sit down and take the banjo out
of the cage, I just play stuff for ten minutes.
I’d improvise and try and play things that
I haven’t heard before and often an idea
will come out of that that makes me feel
something. And it’s like emotional problem
solving [because] you throw your fingers
down, they end up in some place that’s new
... The goal is to resolve it in a way that’s
pleasing in some way, or it makes you feel
something that you’d like to feel.

Student artist of the month: Nikolai Margulis ’25

From reading Shakespeare and watching plays to playing the lead role in high
school productions, Peter Niforatos ’25 has developed a passion for acting through
years of dedication and hard work. His love began acting in middle school when
he and his sister frequently put on productions at home. This led Niforatos to
pursue theater throughout high school, most recently playing Phil Connors, the
lead role in “Groundhog Day.” With every musical production, he continues
to gain valuable experiences and develop a better understanding of acting,
which he intends to pursue at New York University.

**What was your favorite moment and role in high school acting?**

The most fun I’ve had is between two [different plays]. I really enjoyed
playing Lenny in “Rumors” because he’s a very high energetic character and
... I ended with this massive monologue, and he was such an intense character
to play. [In contrast], I think the exact opposite when I played Nick Carraway
back in “The Great Gatsby.” I remember that was such a meticulous character
and one that I really had to focus on every single detail. [Lenny] was the exact
opposite experience and it was fun to play and really [interesting] to figure
out how I was going to do that.

**What’s the biggest challenge you’ve faced as an actor?**

The most challenging one is “Groundhog Day” because I’ve always been
more of an actor than a singer and dancer ... “Groundhog Day” in particular
is a show about a change in a person. A lot of the characters change from the
beginning [to the end], and that’s one of the most important things. I think
to have somebody completely go from a depressed and pessimistic character
and change to somebody who is more positive and an optimistic person is
really hard to nail, especially because in a lot of shows you change with other
characters. But in “Groundhog Day,” because everybody is repeating the
exact same day, except for Phil, it’s really important to find that change
within yourself, instead of from outside forces.

**What lessons have you learn about acting?**

The biggest thing I’ve learned is to think of less specific elements. I used to always
think about how every single word could mean a specific thing ... and while
that can be useful, I think what I really learned to do is to [bring the right
amount] of energy into a scene based on how I feel. So every single time I
do things now, it’s always different. I think letting yourself be that vulnerable
and convince yourself that you’re the character in that moment, that I think
is really what acting is.

**What advice would you give to someone who wants or plans to become a
lead role in a play, or someone who wants to go into acting in the future?**

The number one thing is dedication. You have to be ready to embrace it
all. It’s a big commitment and it’s similar to people who do sports and want
to be captain. I would say you have to be prepared to put a lot of your time
and effort into it. You have to be able to memorize your lines, your blocking,
and you really have to be able to commit yourself to not just practice when
you’re in school, but make sure you understand things when you’re out of
school ... but maybe if you love it, then I think it’s just gonna come naturally if
you keep doing it.

**What do you do if you ever feel nervous before a performance and how do
you overcome that feeling?**

I always feel nervous before a performance, but it has calmed over the years ...
the problem with those feelings are probably exacerbated, but I think you just have
to learn to embrace them. I think trying to make them go away really will mess
you up. I remember I used to try to push them out and not feel nervous anymore,
but then they would just show up anyway. The biggest thing with nervous energy
is the fact that there’s energy there. You need to use that energy and apply it to
everything, and then it quickly turns into excitement. But, once you start doing
everything and start feeling it and then all of sudden things start happening.

Peter Niforatos ’25 performs from the heart

Jenna Stucky ’25 grew up in a household full of musicians, so music has always been an important part of her life. She discovered her love for singing and performing at a very young age, and soon began singing in choral groups and even combining her singing skills with acting by performing in musicals. Now a senior at PHS, Stucky has immersed herself in the musical community by singing in PHS Choir and co-leading the a cappella group The Cat’s Meow.

**When did you first start singing and why?**

[I started] when I was pretty young because my family is very musical, so I’d often sing with my siblings and with my parents.

**How do you handle performance jitters?**

I think it’s something that gets easier over time. The more practice you get in front of an audience, the easier that it gets. Sometimes you just have to embrace the nerves and do something even if you’re a little nervous.

**What’s it like being in an acapella group?**

I have a lot of fun. My group, we’re really close with each
other, so oftentimes in our rehearsals we’ll be talking more
than we’re singing. But, it’s a really talented group of people
and I love singing with them and we have a lot of fun together.
I love doing performances, too, sometimes in the winter we’ll
get gigs, so that’s a fun experience, and also performing at the
choir concerts. Also, in Italy we actually got to perform as well.

**How was your tour experience in Italy with PHS Choir?**

It was so much fun and I wish that I could go back. The spaces
that we performed in were gorgeous and stunning, and the food
was amazing, and it was just such a fun experience.

**What kind of music do you listen to? Do you have a favorite
band or an artist?**

I listen to a wide range of music, but recently I’ve been listening
to a lot of SZA and some Role Model.

**What are some of your other hobbies?**

I’m very musical, so I like to learn instruments. Recently I’ve been
practicing a lot of guitar.

**If you were stranded on a desert island and could only take
one thing with you, what would it be?**

I would take my kazoo, because I think that would be really
entertaining for me and would help pass the time.

**What are you going to miss most about PHS?**

I’m going to miss the communities here, especially the singing
communities. We’re really close and I’ve got to do a lot with other
artists and musicians at PHS.

**Are you planning on pursuing music in the future?**

Not as a profession, but it’s definitely something that I want to
keep doing when I’m older.

**What’s the best advice you’ve ever been given?**

Don’t be afraid to try new things even if it might be a little
nerve-racking.

**What advice would you give to new singers and musicians?**

Don’t be afraid to put yourself out there and step out of your
comfort zone every now and then. Do things that push you and
help you grow.

Jenna Stucky ’25 finds community through singing

From an early age, music has always been a big part of his life. Surrounded by music from a young age, and especially inspired by his grandmother, Owen Barry '25 started drumming with chopsticks in restaurants to getting his own drum set. He’s been playing for a little over 10 years, having held drumsticks since the age of three. When he got his first drum set at five, Barry decided to start taking his musical passion more seriously. Owen currently plays in Studio Band, and is looking ahead to taking the next step into his musical career. 

**Who or what inspired you to start playing the drums?**

I’d say my grandma, definitely, was a huge inspiration because she was the musician in my family. She was a professional singer and started playing music for me when I was little. She was also the one to get me my first piano and drum set and became the one I looked to as I learned how to play. 

**What drew you to the drums?**

Although I play a little piano, I mostly stick to the drums as it’s what I enjoy most. I used to get chopsticks when I went to restaurants and would play them in the parks of New York City, where I grew up, before transitioning to drumsticks. I just enjoy the different sounds and beats I can make.

**What has been the most challenging song you’ve had to play and how did you overcome it?**

Right now I’m working on this Charles Mingus song — he was a famous bass player — and what makes it so difficult is the need to lock in with all the other musicians of my section. Since I play the drums I have to focus on what the bass player is doing, which has been hard because there are so many fluctuations in the piece’s tempo, but it’s sounding pretty good.

**What’s it like being a drummer in Studio Band?**

I’ve really enjoyed it. It was my goal since middle school and I was able to get in as a freshman. I enjoy the environment which has allowed me to meet new people and make long-lasting relationships that have stuck around even as people have headed to college. I think being able to make music with people is pretty cool.

**What’s your favorite thing about the band program at PHS? Can you share your favorite memory?**

PHS is obviously one of the best band programs in the country and the opportunities we get are amazing. I’d say being able to record an album and tour in London was definitely one of my favorite memories. Last year we won states in the National Jazz Festival, and sharing that with all the seniors that graduated was also really special.

**Where do you see yourself going with music after high school?**

I’ve gotten into a couple music schools and am debating which to choose. After that, I kinda just want to perform and maybe teach, but really focus on trying to tour and get into it professionally. That’s the dream.

**Do you have any tips for aspiring drummers?**

I’d say listen as much as you can and play as much as you can. The advice I always got was take any gig or any opportunity to play that you can. It doesn’t really matter whether it pays or not. You can learn a lot from listening to other people and trying to mimic what they are doing.

Owen Barry ’25 connects his past and future through music

For Elliot Block ’25, music has always been an integral part of his life. His passion for classical music began at an early age, sparked by his love for both the viola and the piano.
Now, as the first chair violist of the PHS Orchestra as well as co-president of its cabinet,
Block continues to explore his passion in chamber groups and on stage.

**When did you start playing the viola and why did you choose it?**

I started viola when I was seven years old, [but] I didn’t choose it. My mom chose it
for me and I didn’t like it at first, but when I was 10 or 11 years old, I started playing in
chamber groups at summer camps, and I realized I really liked that.
That got me into it a little more.

**Who would you consider your inspirations?**

I also play piano, [which] is my [preferred] instrument. Some
of my inspirations are the top performers for piano, like Martha
Argerich, Rubinstein, [and] Horowitz. But there are a ton of great
performers and musicians.

**Why are these artists your inspirations?**

I think it’s primarily their playing style. All the musicians that
I find inspiring are able to approach their instrument in different
ways, but always successfully put their feeling into the music, and
also bring feeling out of the music. I really admire that, and I always
try to do that whenever I’m playing in practice and performance.

**What do you like about classical music?**

There are a ton of things I like about classical music. It’s what I
listen to most. The range of emotions that classical music can feature is really vast, and
there’s always a piece that fits the mood I’m in.

**What do you consider the most challenging aspect of classical music?**

I think the most challenging aspect is the combination of technique and sensitivity
to feeling. It’s sometimes easy to focus on one or the other, but both are necessary to be
really great, and that can be tough.

**How do you handle pressure from auditions or
performances?**

I used to be really bad at that, and I kind of still am really
bad at that, but I make sure that there’s no tension in my body,
and I really practice clearing my head before playing, so that
I can replicate it in front of an audience. It never really is easy,
but I think clearing the tension is the most important thing.

**What is your favorite memory from PHS orchestra?**

Going on the European tour last spring was really fun and [I
bonded] with the orchestra. Through that, I made a lot of new
friends ... It’s made this year a lot more fun too.

**Are you planning on pursuing music in higher education
or as a career?**

Definitely. I want to study piano and classical music in college.
Ideally, it would also make a career. But I know that music will
be with me for my entire life, either way.

Photo: Katherine Chen
Elliot Block ’25 plays the viola in a practice room.

Elliot Block ’25 finds his voice with the viola

From colored pencils to acrylics, Cynthia Zhou ’25 creates art using various mediums.
Since seventh grade, she has learned to translate her personality into her art style. Besides
drawing as a hobby and gifting paintings, Zhou is a member of the art studio Keke Studio,
and co-president of the Numina Gallery. Over the course of her artistic journey, Zhou’s
former art teacher and younger sister have become her inspirations.

**What made you interested in creating art?**

I was always self-taught when I was younger. I really liked to doodle in class [and] I
think that’s really my biggest thing. I liked comics a lot, so I read a lot of Webtoons and
stuff like that growing up. I think the main reason why I
started learning was because originally I wanted to draw
web comics ... Later on, I realized that, honestly, [art is] just
really calming, and a [way for me to] express myself.

**What is your artistic process?**

I think it depends for the most part. I have a bank of ideas
[that I think] about. Usually, I [use] the best idea and then
pick a color scheme [for the piece]. I’m into really random
colors mixed together to create really vibrant pieces ... My
idea, and then the colors that I want to incorporate ... are
the [two] things that I always decide before drawing and
then I usually sketch it out. Right now, I’m doing a lot of
acrylic. I start with the base colors [and] the face first. I get
very excited to do certain parts, so I skip around, and focus
on one specific part, really in detail, [then I] skip over to the
next part. I don’t do the full thing all at once.

**Have you ever felt like quitting art because of challenges that you faced?**

Yeah, I think in eighth grade, I went through a really hard time with my life during
COVID. I would rip up my drawings and stuff like that because I just would take my anger
out on art. I really wanted to just stop [doing] art, because I didn’t feel like myself. Because
art was such a big part of myself, I thought that was the issue, and I just wanted to quit.

**What made you continue art?**

My sister was especially [helpful]. She taped all my drawings back up together, which
was really thoughtful. And I think I eventually just got over it. I came to the realization
that I really love drawing and I can’t stop.

**What were some goals that you had when you
started and how have they changed over the
course of your journey?**

I think my original goal was ... to do something
big, like draw a Webtoon or enter a competition and
win something massive. But I think because I wanted
that, I had to follow this very structured art type. But
honestly, I think throughout the years, I realized that
I don’t want to draw this very standard type of art. I’ve
been exploring with a ton of different crazy ideas that
I get from my head. I really love writing with art too.
I think originally I did not want to write at all with
my art, but now I just like to tie those two together.
But I don’t really have a huge goal. [I] just like to do
[art] for fun.

Cynthia Zhou ’25 finds strength through art

 Sebastian Bongiovi ’25 has always been surrounded by music. He fell in love with
the trumpet in second grade, and grew up with several accomplished musicians in his
family, including his father, Joseph Bongiovi, who is the longstanding band director
at PHS, and his mother, who is a vocalist. His passion for music and it’s presence in
his family’s story has played an outsized role in Bongiovi’s life, such as his decision to
follow in the footsteps of his father and sister to apply to the Berklee College of Music
where he hopes to study composition. Now a senior at PHS and about to embark on
his next musical adventure, Sebastian plays trumpet for the highly selective Studio
Band, sings for PHS Choir, and is a vocalist in the a cappella group Around 8. He acts
in numerous school plays and composes music for video games and web series. Most
recently, he composed a song called “Be Sorry” for Studio Band’s Abbey Road Studios
album “Run It Twice.”

**What made you choose the trumpet?**

 That’s actually a funny story. In second grade, I had
to choose an instrument, and I had my heart set on
trombone, but I was a really tiny kid, and my dad
was aware of that, so he told me to take trumpet
and change from there, and I just never [ended up
changing] to trombone.

**When did you start acting and what do you love
most about it?**

 The first time I started legitimately acting was in fifth
grade. The thing I love most about it is being able to
portray different personalities that I wouldn’t really
act like in real life. Unlike other aspects of art that I
do, I don’t really take it as seriously, which is better
for me, because it makes it more lighthearted and fun.

**How does acting, singing, and playing an instrument
all connect for you artistically?**

 I feel much more attuned to playing than anything
else, but I need to give credit where credit is due.
Singing is like the bridge between acting and playing
for me. It’s the only medium where you use both.

**Can you talk about the experience of recording at Abbey Road Studios and what
that meant to you?**

It was absolutely ludicrous in the moment, and it still is now. The overall experience
was extremely validating. Being able to play in that room was a very grueling process,
like when you’re physically there and you’re working, it’s a lot more stressful than you
realize. We had to record ten hours straight for three days. Specifically recording my
song, in the heat of the moment it was absolutely insane, especially with Randy Brecker,
who was the guest artist we had there. He is someone whose music I’ve been listening
to for a very long time, so having an artist who is a part of your daily life being in front
of you and then also playing your music that you wrote and asking you questions about
your song was baffling a bit. It was an amazing experience.

**What is your process when composing music?**

 For me, usually what happens is I’ll be messing around
with the piano, and I’ll come up with a random chord
progression, and it’ll be a lot of me experimenting.
Going into my room, being like, “Okay, let’s make
something out of this,” and spending however many
hours just fiddling.

**Are you planning on pursuing a career in music, and
if you are, what type?**

 Definitely. My goal is to apply to three to four different
schools for some form of either composition or a
contemporary writing and production major, the latter
of which is offered at Berklee College of Music, which
is my top college of choice and the only college I’ve
applied early admission to.

**What advice would you give to new musicians or
artists?**

 Give yourself time. More often than not, I’ll be working
on a song and I get stuck and have no idea where to go,
so I just go to bed, and then I wake up the next morning
and I have an idea. Being able to give yourself space and
time is invaluable to creating music.

Sebastian Bongiovi ’25 passionately pursues a musical life

For Eva Zizak ’25, music is like a second language. Growing up in a highly musical family — Zizak’s father is a guitarist — she found joy in singing from an early age, often having jam out sessions with her dad. This passion has led to her involvement in numerous vocal groups at PHS. Her love for singing ensures it will remain a central part of her life long after graduation.

**How have you been involved with music at PHS?**

A lot, a little too much. Sometimes my mom is picking me up after 11 o’clock from school, and she’s like, “So I think you sing too much,” and I’m like, “Yep, probably.” Sometimes I get a little sick of it, but in the end, it’s what I like doing. I do choir; freshman year, I did Chorale, then Cantus, then PHS Choir since last year. I’ve been in Cloud Nine, an a capella group, since my sophomore year — this year, I’m music director — and I did Studio Vocals last year. This summer, I went on tour with PJO, the Philadelphia Jazz Orchestra as a vocalist, so I went to Italy.

**How has being involved with so many different activities helped you develop as a singer?**

Well, I think practice makes perfect, or almost perfect, for sure, because I think I’ve definitely improved in the last few years. Just last night, I was looking at videos from the beginning of our tour this summer, and videos at the end of the tour, and I was cringing at my first videos, because I was like, “Oh my god, I was so bad.” The teachers here are so talented and so good at pushing you. This was my first year working with Mr. Bongiovi in Studio Vocals and in PJO, and even though he’s not a vocalist, he still did a great job ... I also think, being in groups of new people that [I’m] not friends [with] gives me a chance to be around other people, and I meet so many people. In [Cloud Nine], I have 12 built-in friends, and [in] Studio Vocals, I got to know a bunch of people. So I feel like I just got to find my crowd and just improve as a singer.

**What are your duties as music director for Cloud Nine?**

There are a few things. It is a student group because we don’t have an adult leading us, [so] there needs to be one person to [decide] if there’s a decision that needs to be made. I pick the music; I arrange the music too. I really like the idea of everybody in the group arranging music; I know that’s not something that all groups do. We have a couple people working on arrangements now. I’m arranging the music for the first concert. Organizing our meetings, and deciding what we do in each practice is the biggest [responsibility I have as music director].

**What do you like about singing jazz specifically?**

I think I’ve always kind of liked singing more jazzy songs, and I never really realized that until I was like “Oh I’m gonna audition for Studio Vocals,” and then I was doing it and [realized] this is my favorite kind of music to sing. I think jazz is the easiest and the hardest [music to sing], because anything kind of goes. You just have fun, and that’ll make you sound so much better, but I also think you have to adjust your voice a little bit, think about the lyrics more, [and] think about the song you’re singing. What I like about [jazz] is that I sort of found my place with my voice because I just found that it fit my voice really well.

**Why do you sing?**

I think a lot of it stems from my upbringing. This is a conversation I’ve actually been having with my dad a lot because I’m doing college applications now, so I have a bunch of questions to answer; colleges want to know what I’m about. So me and my dad were talking about it, and he [asked], “Do you know why we sing? What’s the point of it?” I [said], “To make people happy, to entertain.” That’s the point of singing. Obviously I [sing] for myself because I think it’s fun, but I think part of the reason why I think it’s so fun is because I love people that enjoy music; I think it’s really cool to watch people having a good time.

Eva Zizak '25 explores her voice through multiple genres

*The Tower has retracted a previous version of this article that appeared in the issue published on May 1, 2024, headlined “Ishaan Banerjee ’24 prepares to turn a passion for jazz into a career,” and republished a new version. The previous writer fabricated Banerjee’s responses, and The Tower has communicated our sincerest apologies.*

When I met Ishaan Banerjee ’24 for this interview, I found him fixated on one of the practice room pianos, his saxophone in the corner of the room — undoubtedly part of a rehearsal I had just intruded on. Ever since the third grade, Banerjee has been dedicated to jazz and his instrument, the saxophone. He sees band as a team effort, where supporting each other is key to success — Banerjee has twice switched the type of saxophone he plays to cater to the band’s needs. His devotion to jazz has certainly paid off, having given him back a plethora of life experiences. Through his time in high school, he’s toured with the PHS Studio Band and Philadelphia Jazz Orchestra, traveling to Disney, Italy, Monaco, France, and Abbey Road Studios in England. This coming fall, Banerjee is off to Manhattan, where he will study jazz at NYU.

**What first got you into jazz? Or just band in general?**

I was playing piano when I was four years old, and then I got really bored of it. Once I started playing the saxophone in third grade, I had a couple private teachers that got me into jazz. They introduced me to the music, and since I love listening to the music, I figured it’d be great to start playing.

**Do you ever struggle with confidence on stage, and if so, what do you do to deal with it?**

A lot of times in competition, it’s easy to get super nervous and lose confidence, but it’s really nice to have a lot of people around me, just like building me up before a performance and making sure that they know or that I know I can sell it really well.

**What would you say is your favorite memory in band or Philadelphia Jazz Orchestra?**

Going on tour with everyone is super fun. PJO, it's 13 nights of just constant playing and being in a different city all the time. Getting to play in front of a bunch of different diverse groups of people is really cool. And for Studio Band as well, playing in front of really big crowds and seeing crowd reactions is always super fun.

**How was changing from alto saxophone to barry and back to alto? Why did you change?**

I first started playing alto in third grade, and then changed to barry sax in seventh grade because we didn’t have a barry sax player, and I figured I could help out. It was pretty funny, because the instrument was bigger than me at that time. And then I continued throughout high school because they needed a barry sax player in Studio Band. And then this year, because we didn’t have a lead alto saxophone, Mr. Bongiovi thought it’d be a good idea just for me to switch back, and it’s been super helpful, because I think I’m gonna keep playing alto sax in college.

**What are your plans going forward, in relation to jazz?**

I’ll be studying jazz at NYU in the fall, and I don’t know if I’m planning on making it a career yet, but studying jazz was always something I wanted to do so I could get better at my instrument. And yeah, we’ll see where it goes from there.

**Do you think the role of jazz in the has changed over time, and how do you see it’s role in music today?**

You hear a lot of times like the jazz [is] dead thing, but I think that if you look a little deeper, there’s a lot of people that maybe aren’t necessarily doing traditional jazz, but are taking concepts from jazz and incorporating it into popular music.

Ishaan Banerjee ’24 remains resolute in his passion for jazz

As co-president of the PHS teachers’ union, advisor to the Science Olympiad club, former Hebrew and chemistry teacher, and current special education teacher, Renee Szporn’s résumé spans 40 years and multiple careers. However, education has remained a constant throughout.

“I love learning, and I want to share my love of learning with others,” said Szporn. “I remember from a very young age lining up my dolls and playing school. I always wanted to be a teacher.”

Szporn, at her parents’ request, majored in Chemistry, though she struggled to find jobs after graduation. After brief stints as a chemistry teacher and a Hebrew teacher, Szporn decided to pursue special education.

“At the time that I was looking for work, there weren’t a lot of science [education] jobs. Teachers were treated with a lot more respect — they had a lot more autonomy in their classroom — and [they] weren’t leaving education, so there were no openings,” said Szporn. “All my friends were telling me, ‘Well, if you get certification in special education, you’ll get a job,’ and that’s what happened.”

In New Jersey, special education teachers must receive certification, accommodate students’ Individualized Educational Plans (IEPs), and adapt to students’ varying needs.  
“I’m very glad, but it’s tough. I’ll give an example: here’s Hamlet. I have four different editions. I have kids who need [a larger copy] because of dyslexia. They’ll need a larger print, and then they can rearrange and cut out the letters. Then I have students that have major comprehension problems, so then I’ll have [a translated copy] ... and then I have kids that really can’t read. And then we do stick figures,” said Szporn. 

For Szporn, one of the most rewarding parts of her job is seeing the impact of her efforts. Her special education students have gone on to work on Wall Street, publish books, and attend Harvard Medical School as postdoctoral students.

“I’m making a difference with special education. I’m really helping the kids. I’m glad I made the switch, but it was difficult. I think a lot of people don’t respect special education teachers. I think a lot of people think that we’re less than when we are more than,” said Szporn.

Evan Kang ’25, a student in Szporn’s English IV In-Class Resource Program (ICRP) class, is one student impacted by Szporn. A self-described “introvert,” Kang emphasized how Szporn’s combination of humor and passion has helped him open up.

“[Szporn] makes me laugh every day,” said Kang. “I applied to 26 colleges, and she’s like, ‘You’re crazy.’ I’m like, ‘I’m going to commit somewhere, but I haven’t done it yet.’ And ... she’s like — ‘You’re gonna be the one who makes me want to retire.’ We like to joke around.”

Szporn also serves as one of three co-presidents of the Princeton Regional Educators Association (PREA), a union that represents the interests of all of the  teachers in the Princeton Public School district, including salary, health benefits, working conditions, and teaching policies. Just as with special education, Szporn’s position as union president was not originally planned.

“[I was told] by my father to never volunteer ... but someone came up to me and said, ‘You used to be a debater [and] you speak very well. Would you like to be in the union?’” said Szporn. “And like a fool, I said yes, and I moved up in the ranks. I had no intention of ever being a union president and then I’m co-president.”

Although she has left a career in chemistry behind, Szporn has kept that part of her life alive by serving as the advisor for the PHS Science Olympiad team for the past 20 years.

“I’m with my nerds [at PHS Science Olympiad]. I don’t like to call them that, but I love them. The kids are so inventive and dedicated and driven and we have a good time, and I just adore them. I love it,” said Szporn. 

Throughout PHS, whether in her special education classrooms, at Science Olympiad meetings, or among her colleagues in PREA, Szporn has developed a reputation as a person who is all-in for the causes she believes in.

“[Szporn] is really smart — she cares a lot about her students. She demands a lot of them, but she also gives them the support that they need to reach those goals,” said Jennifer Bigioni, Educational Media Specialist and Szporn’s colleague in PREA. “[Szporn] is flamboyant, she’s funny, she’s a justice warrior — she’s a very dynamic person.”


Photo: Emily Kim

Szporn introduces a video about King Arthur and His Knights of the Round Table.

PHS Profile: Renee Szporn

### The Courtyard

In 2023, Princeton Mayor Mark Freda, Board of Education members, and PHS staff and students gathered in PHS courtyard to celebrate the completion of a multi-year revitalization effort, with new gardens and space for activities such as reading or yoga. However, the project never quite reached the level of engagement that was hoped for.  

Then, in 2024 former PHS Science Supervisor Dr. Joy Barnes-Johnson received a climate literacy grant to revitalize the courtyards. This year, physics teacher Dr. Insu Yi and several other faculty members and PHS students are using the grant to clean up the courtyard and restore the gardens and research activity.

“The greenhouse was used a little bit for the horticulture class, and the courtyard for research. But they weren’t in great shape, let’s put it that way,” said Yi. “I began getting involved in a team that was formed based on our district grant. [The] initiative was to turn the ... courtyards into spaces for everyone — meaning classes, community groups, even outside groups — but most of the time we spent on cleaning up.”

Yi was initially hesitant to include PHS students, though he eventually began recruiting through his research and physics classes. In the future, he hopes to also include ESL and special education classes.

“I’m really interested in turning something as simple as a garden into a science project. For example, we have solar panels, but the solar panel is placed in the wrong way, so it doesn’t get sun[light],” said Yi. “I calculated with students what angle we should [have] from the horizon to the solar panels inclination, which we calculated to be about 30 degrees.”

The project has now grown to include several organizations. This includes a Generation Green team led by Dr. Andrea Dinan, director of the IDEAS center and community service programs at PHS.  The team uses the courtyard as a way to teach elementary school students about sustainability, and the collaboration of the PHS facilities and custodial staff.

“From a logistical standpoint, if you want to transport 60 bags of soil to the courtyard, you have to navigate it through the school building to get into there. The spaces had kind of fallen into a little disrepair, so there was a lot of cleaning that happened,” said Jacqueline Katz, PHS’s current Science Supervisor. “We [worked] with facilities and custodians to help us move some of the trash.” 
Katz hopes that the courtyards can continue to be accessible to PHS students in the future, whether for research projects or educational initiatives.

“We have some students interested in fruit trees, so we’re going to try to bring fruit trees into the space. And we have a student interested in vertical gardening, so he’s going to build some vertical gardens up in the greenhouse,” said Katz. 

PHS students recently celebrated the work they’ve already accomplished at a recent sustainability symposium at Monmouth University.

“It was really exciting. We got a chance to have a conversation with Tammy Murphy, who’s the governor’s wife, and she mentioned us in her speech, which was surprising and exciting,” said Raya Kondakindi ’26, a student involved in the project. “We got to communicate with people with similar sustainability goals, and it was a really engaging experience to talk with people who had experience in areas we’re looking into.” 

### The Lower Basin

As PHS students pass by the lower basin near the tennis courts, the bare patch of land is often overlooked. However, a new restoration project led by the Friends of Herrontown Woods (FOHW) and PHS students aims to bring the  basin back to life. 

The basin was first planted with turf grass to help reduce flooding in the area, and was later overplanted with native upland prairie vegetation in an attempt to transition the basin into a prairie-like ecosystem. However, due to the poor environmental conditions, the prairie system didn’t form, and the basin was instead dominated by invasive species. 

FOHW submitted a project proposal last summer for the wet meadow basin in response to Princeton Public School’s request for plant care in the area. They are now working with the PHS environmental science class to restore the basin and re-establish native species in the wet meadow. 
“We provide support. They provide us with an orderly opportunity to understand that invasive versus native [plants], and what a wet prairie is,” said James Smirk, an environmental science teacher at PHS.

The July contract grants FOHW around $6,000 for upkeep, workshops at PHS , and new signage around the basin.

The restoration process began with the removal of invasive species, including plantain weeds, and in the coming months will proceed to the over planting of native grasses like little bluestem, soft rush, and ironweed, and various wildflowers. Smirk estimates that a self-propagating basin is still around 20 years away.

Until then, the basin will be maintained through a partnership between FOHW and PHS’s environmental science classes, who use it as a resource for learning. 

“Before, I didn’t really know a lot of wetlands and how important they are to nature, and just in general to us,” said Amelie Kraft ’26, a student in Smirk’s environmental science class. “This class has definitely opened me to that, [and] I have a lot more knowledge about wetlands [and] preserves.”

PHS students play an active part in collecting ecological data and conducting their own experiments. This data–including information on native species’ distribution and location–will contribute to a long-term database helping track restoration efforts and biodiversity in the area. 

“[The] student role is always going to be data driven,” said Smirk. “We’re [going to] collect data on invertebrates, because [they] are a good indicator for the overall health of the system.”

The basin project is a smaller part of the large sustainability goal throughout Princeton, which is to build an Emerald necklace made up of interconnected green spaces and trails.

 “We would like to see that [the] emerald necklace has a component that every school is connected to,” said Smirk. “We want to build a green pathway through every property that eventually connects.”

Though vision for the emerald necklace in physical connection between nature in Princeton, Stephen Hiltner, the president of FOHW, emphasized the importance of a connection between nature and people.

“I’m hoping [the project] will spark an interest in students to start getting to know nature and all the tremendous diversity — nature is very complex, and for some people, that’s intimidating, but for me, it’s fascinating. If you love something, you want to find out as much as you can about it. I’m hoping to spark some of that,” said Hiltner.




Photo: Emily Kim

From left to right: Andrew Rivera ’25, Elizabeth Chorba ’25, Julia McGoldrick ’26, Bhavya Yaddanapuddi ’25, and Arnold Zacarias ’26 prepare soil for a garden bed.   

PHS works to bring courtyards and lower basin back to life

What was once a level playing field for athletes has
become a marketplace. Modern college athletics has
reached an all-time high in popularity, becoming a
multimillion dollar business built on the backs of athletes
who have received nothing for their performance.
Name, Image, and Likeness (NIL) is an NCAA policy
that allows college athletes to earn their own money
through branding. This policy prevents brands from
misrepresenting athletes or using them to promote their
brand without consent. It also allows them to earn cash
for brands they choose to represent, eliminating the issue
of the NCAA’s lack of compensation. Some opportunities
for student athletes to make money through NIL include
autographs, merchandise, blogging, commercials, and
more. As of 2021, college athletes can make money
with the NIL, but some consequences such as wealthier
schools gaining more power and student athletes losing
focus from their monetary trade have been producing a
net negative impact on college sports.
Compared to last year's 200 players, more than
1700 athletes in men's college basketball entered the
transfer portal on its first day of opening because of
their inability to make money and earn recognition
in the current colleges they attend. This eliminates a
feeling of school loyalty and prevents smaller schools
from building better athletic programs, as they are
consistently losing their players to the bigger schools
with deeper pockets. Because of the branding, schools
with publicized athletes will compete more
often and in high-level tournaments, while
schools with less publicized athletes with the
same or better skill may not have the chance
to compete in these tournaments, as selection
depends on what the audience wants to see.
Still, many incoming college athletes look
forward to these opportunities.
“I think it would be great to be paid for
sponsoring someone and use my image to
promote their brand. It would be nice to have
extra cash for college,” said Sean Wilton ’25, a Brown
commit for shot put.
The ability for student athletes to promote their brand
and receive payment in college has been a debated issue
long before the NIL was passed, specifically because
supporters of NIL believe that student athletes should
earn compensation for what they accomplish. However,
opponents of the NIL believe that college freshmen
are simply not responsible or experienced enough to
handle these large sums of money. Still, the NIL was
officially introduced and passed in 2021. In recent
years, well-funded powerhouses have poached recruits
from smaller colleges with a much higher salary. These
temptations are slowly turning the focus of college
sports away from what they were originally, which was
for athletes to improve and be able to perform their best.
At first, the limelight and extra cash earned through
NIL policies may seem to benefit student athletes, but
over time, it has harmed them. These well-funded
schools are also more attractive to recruits looking for
colleges, creating situations where student athletes are
choosing schools for the money, rather than what is the
best fit for them. Not only does this create a negative
culture, but it also often results in going “one and done”
through college, meaning they go to school for only 1
year without graduating to immediately pursue their
sport professionally. This leaves athletes in difficult
situations if they are plagued by injury or other careerending issues and do not have a college degree to choose
a different career.
Schools without branding and NIL money don’t
get the same chance to recruit better players
and be shown more to a national audience.
Therefore, athletes who want to be recognized
for their talents and make a cash surplus must
attend colleges with highly publicized athletes.
These well-funded schools ultimately make
student-athletes into athlete-students. Despite
the benefits of NIL, some athletes are finally
seeing the downsides.
“I think right now [NIL’s] actually impacting
them for the worse,” said Wilton. “It is hurting
more athletes than helping them in some way.”
To prevent conflicts such as unfairness and loss of
focus, players and coaches could push for NCAArecognized restrictions on NIL. One potential solution
could be to implement a NIL budget for every school to
abide by, regardless of size or wealth, similar to a salary
cap in the NFL and NBA. Additionally, policies could
be used to regulate player agreements with NIL deals,
such as a loyalty clause, where students must stay with
a school they commit to for at least 2 years, to ensure
both the school and the athlete have equal benefits. This
proposition would not only create an equality amongst
colleges and universities in terms of NIL usage, but also
give college players a better overall college experience.
The initial intentions of the creation of NIL were
morally correct in the sense of giving college athletes
what they deserve for their hard work, given the
amount of money the industry makes. However, there
have been many hidden flaws that could have serious
negative effects on college athletes' experiences as they
go through their careers. This requires action against the
current forms of NIL, and restrictions need to be made
before college athletics are changed forever. If college
sports continue to uphold this negative culture, school
spirit and built-up talent will be replaced by business
proposals and short-term gains, leaving behind the true
meaning of the game. 

The dark side of NIL

## Alex Riera

Alex Riera ’25 enrolled in Mercer County
Technical School’s (MCTS) horticulture
and turf care management program at the
suggestion of her mother, who thought that it
aligned well with her interests in nature and
the outdoors. Riera, who will be graduating
from the 2-year program in June, is now
glad she enrolled.


“Taking care of plants or growing them…
[it] does help you mentally. I’ve had an
experience when we were planting tomato
seeds, and we had these containers filling
in the soil. I just remember it felt really
satisfying,” said Riera.


The program prepares around
20 students annually for careers
in landscape and agriculture industries — helping with everything
from securing horticulture
internships to technical skills.


“[We use] equipment like mowers,
turf riders, string trimmers, weed
whackers…we [also] identify plants
and weeds…and how to get rid of them. And
we’re introduced to different ways to get rid
of them, like pesticides or using bugs, for
example, [which] benefits the plants and is a
better way of getting rid of them,” said Riera.


Riera’s favorite part, however, has been
entering horticulture competitions and
conventions around the state with a team
of two other students from MCTS.


“[For] the Monmouth State convention,
we had to do a [presentation] on soil pH, soil
levels, and the importance of NPK (nitrogen,
phosphorus, and potassium). The first time
I was introduced to it, I [thought] I would
never [be able to] do it and I wouldn’t be able
to memorize these scripts…[my instructor]
was willing to help me through that and gave
me a lot of time to practice. It’s something
I never imagined I could do,” said Riera.


Riera only attends MCTS on Friday
afternoons this year. In the morning Riera
has classes at PHS, and in the afternoons
(with the expectation of Friday) Riera is
employed as a florist at McCaffrey’s as a part
of MCTS’s internship program.


“It was a long process, but I got [the
internship]. They make sure that the
coordinator comes to check on me if
everything’s okay [or] if I have any concerns.
And I’m like, ‘No, I’m doing well. This is a
great experience, and I’m very grateful to be
in it,’” said Riera.


Riera is also involved in Future Farmers
of America, an organization that supports
education in agriculture. Riera developed
the agenda for the organization’s 2024-25
programs and sold over 100 holiday wreaths
with the organization.


This fall, Riera will enroll in
Rutgers’ horticulture program,
a dream that she says was made
possible with the support of MCTS.
In particular, she plans to explore
her passion for horticulture therapy.


 “I’ve had so many great experiences
[at MCTS], and I’ve learned so much
about horticulture,” said Riera. “In
my [college] essay, I wrote about my
experience at [MCTS]. It really made a huge
impact on me.”

## David Lux-Betata

David Lux Beteta ’26 is enrolled in three
automotive programs at MCTS: Diesel
Technology, Automotive Technology,
and Auto Collision Technology. Through
MCTS, he’s learned how to assess damage,
repair vehicles, secure internships, and use
tools and equipment found in real-world
auto shops.


Beteta has been fascinated
with cars since his childhood,
and recalls deciding to go into
the automotive industry after
watching the Fast and Furious
films as a child.


“You would think it gets
frustrating… but it’s something that I’ve
always wanted to do, and I enjoy it. The rush
of ideas in your head… just disappears, and
you just kind of lock into the project that
you’re doing — that’s what I found myself
getting into,” said Beteta.


Beteta, like many oteer MCTS students,
juggles both in-class instruction and a paid
internship at a local auto shop, which he
also receives school credit for.


“There’s a range from staying in the
classroom — doing paperwork, [filling]
orders — to in the shop, [where] we do
things like den repairs, spraying primers
using the paint booth, [and] sanding using
pneumatic technology, which is air-driven
technology,” said Beteta.


For the past few months, Beteta has been
working on his project for the SkillsUSA
championship, the final-stage of a year-long
competition designed to showcase talented
students from technical schools across the
country. The competition requires students
to design a project and complete various
technical skills in front of a panel of judges.


“I made a custom snap-on toolbox. [I]
did all these different custom designs,
custom paint — everything,” said Beteta,
“I worked from A to Z on the entire thing.
The only thing that [my instructor] helped
me on was the initial design, but the rest of
it was completely my work that took about
a month in total.”


Beteta credits MCTS for having both
experienced, thoughtful instructors and
an excellent environment. His program
has around 20 people, which contributes
to a tight-knit community.


“The people… have a lot of character
[and] a lot of morals. On the first day, there
was no awkwardness. It was like
we already knew each other. We
just went into it, started doing
stuff. There was that excitement
in the air,” said Beteta.


Beteta hopes that the
instruction, internships, and
hands-on learning from MCTS
will prepare him for a career in automotive
technology.


“I plan on going into the army, an then
I’ll go into post secondary schooling...
for technology, where I can learn both
the business aspect of it and [bring] the
automotive [knowledge],” said Beteta.
“Hopefully, I can take a shot later on in
life, have enough money, and completely
fulfill my dream.”

Mercer County Technical School Student Profiles

The crowd holds their breath as Jacqueline Zang ’25, with her driver in hand, steps
up into the tee box of the first hole. She carefully chooses a spot to place her tee and
golf ball. Visualizing her shot, Zang takes a confident swing, influenced by her favorite
professional golfer, Nelly Korda. Her shot breaks the crowd’s silence as it flies through
the sky and lands perfectly on the green.
At age five, Zang began playing golf after her father introduced her to it. She initially
only played golf with her family, but later in her career, she would compete in big
tournaments.
“I used to play tennis, and
when I was around 11, my
parents told me to choose one
or the other,” said Zang. “It’s
funny, because I didn’t want
to do tennis because my dad
told me I’d be running around
in the heat. So I chose golf not
because I liked one more than
the other, [but] just because I
didn’t want to run.”
After deciding to pursue
golf over tennis, Zang went to
her local country club’s driving
range and practiced with her
sister, Madeline Zang ’23. When they practiced, they would mutually help and encourage
one another, along with the additional coaching from their father.
“November through March, I try to do around an hour a day. Sometimes, I skip a few
days. In the summer, if I’m not playing a tournament that weekend, I’ll be practicing
five to seven [hours],” said Zang.
Zang joined the PHS golf team in her freshman year, when golf was a co-ed sport
led by Head Coach Patrick Noone and Assistant Coach Jess Monzo. During Zang’s
sophomore year, a girls-only golf team was formed with Monzo as head coach. Over
the course of the past few years, Monzo has been able to see Zang grow as a player
and a person.
“She’s definitely matured a lot. She’s always been very focused, very lights out,” said
Monzo. “[She] knows what she wants to do, but I think as she’s gotten older, she’s
developed and kind of matured in the sport and understands that if I don’t make every
shot, it’s not going to make or break me.”
Zang’s determination and dedication not only helped her reach her current level
but also inspired the rest of her team, including teammate and close friend Kyuyoung
Chung ’26.
“She’s definitely very skilled as a golfer, and so I think that’s definitely inspired a lot
of the girls to practice more,” said Chung. “We’ve seen scores go down from last year,
so score-wise we’re doing better than we did last year.”
In addition to being a skilled golfer, Zang, who is captain of the team, serves as a
leader and role model to her teammates.
“She also has this sort of leadership [quality] about her, and so she’s just sort of
someone you can look up to, [and]
I certainly look up to her,” said
Chung.
Monzo witnessed the effect of
Zang’s leadership on the team and
how she serves as a role model for
her teammates.
“Every girl looks up to her,” said
Monzo. “She’s able to kind of help,
and she lends a hand, and she’s
always available to give girls advice.
So she’s been one of a kind.”
Throughout her career, Zang
qualified for the National Junior
PGA championship, the highest
level of junior golf, being inducted
into the Rolex Honor Society, and
placing in the top five in an American Junior Golf Association tournament in 2022.
Despite this, there were challenges that Zang had to overcome. Staying calm under
pressure and controlling emotions are both aspects of the sport that Zang has learned
to play with.
“[The most difficult part of] golf for me [is] probably the mental side. Just being
in the moment, committing to it, and actually doing what I’m trying to do on the
course,” said Zang.
While individual golf can be mentally challenging and stressful, Zang’s favorite part
of golf is a more enjoyable and less stressful way of playing it.
“[My favorite part] ... is team golf because golf is an individual sport, so it can get
kind of lonely sometimes,” said Zang. “Everyone plays their own ball, and then you
add up each individual sport for a combined team.”
Committed to Carnegie Mellon University, Zang hopes to contribute to another
season as one of their best players. As she prepares to leave PHS and start college, Zang
reflects on the valuable lessons golf has taught her throughout her years of playing.
“It’s a lot of ups and downs. It’s never really consistent, so when you’re not playing
as well, [be] patient with yourself, and keep your hard work up,” said Zang.

Photo: Charley Hu

Zang is one of the original members of the girls golf team, and is preparing with the
rest of the team to gear up for the Mercer County Championships in May. 

Jaqueline Zang ’25: golf

**Across**

1. Hogwarts School of ___ and Wizardry 

6. 1.5 Volt battery 

7. It’s marked by an X 

10. I Know Why The Caged Bird Sings recently received one 

12. It’s used to make bronze, along with tin 

14. Matilda’s teacher 

16. It protects your eyes from the sun 

18. The five senses are for this 

20. The exam much of PHS is dreading 

21. If it’s after BCE 

22. It provided the boy with apples, branches, a house, and a boat. 

27. Holmes, but not Sherlock 

28. Sci-Fi author Asimov who coined “psychohistory” 

30. Nintendo’s best selling console 

31. Harper who published To Kill A Mockingbird 

33. Guthrie, but not Woody 

34. Golfer’s goal 

36. Jaws or Goosebumps, to a child 

**Down**

1. Aladdin’s first was to be a prince 

2. It’s known for being very hungry 

3. 10,000 square meters (abbreviation) 

4. They’re usually yellow in NYC 

5. Gatsby is celebrating its 100th 

8. The most famous supercalifragilisticexpialidocious user 

9. E or A’s scrabble value 

11. __ Kaplan, Pentatonix singer 

12. “__ don’t feel,” Elsa’s demand to Anna 

13. Impulse 

15. Reddit, DoorDash, and Airbnb incubator (abbreviation) 

17. The modern form of the metric system (abbreviation) 

19. Humpty Dumpty was one 

20. This type of wine or cheese is usually more expensive 

23. Technique in many video essays (abbreviation) 

24. “No”, to a Scot 

25. B, in fixed do solfège 

26. The BFG had a large one 

29. Viet - ___ 

32. Pen in most nurse’s offices 

Literary crossword

   With its box-office-breaking records and eye-opening perspective on Chinese animation, “Ne Zha 2” (2025) isn’t just a film — it’s a cinematic landmark in the animation world. “Ne Zha 2” is an animated fantasy movie loosely based on the 16th century novel “Investiture of the Gods” by Xu Zhonglin, and a sequel to the first movie “Ne Zha.” Written and directed by Yang Yu, or more famously known as Jiaozi, “Ne Zha 2” is a visually stunning and emotional movie. 

   Following the first movie, Ne Zha, a teenage deity, and Ao Bing, a dragon prince, are struck by lightning, which destroys their physical bodies. To prevent the destruction of their souls, Master Taiyi Zhenren uses the powers of his Seven-Colored Sacred Lotus to recreate their physical bodies. Despite the regeneration, both Ne Zha and Ao Bing’s bodies are still fragile, so Master Taiyi Zhenren advised the two to act with caution. Believing his son to be dead, Ao Bing’s father Ao Guang sends out an order for Shen Gongbao, Ao Bing’s former master, to attack Nezha’s hometown Chentang Pass. Ao Bing defends Ne Zha’s home, but unfortunately destroys his weak body in the process. 

   In order to revive Ao Bing, the Seven-Colored Sacred Lotus must be restored. As a result of a deal, Ne Zha and Ao Bing must share a body for one week, complete three trials to become immortal, and receive a potion that can restore the lotus and create a new body for Ao Bing. As the two strive to combat new challenges, secrets unravel, putting them to their friendship to the test. 

   Throughout the movie, the visuals and animations stood out to me. For example, Ne Zha and Ao Bing perfectly contrast each other, with Ne Zha designed to resemble fire and flames and Ao Bing with cool tones, symbolizing ice. Unlike in the previous movie, Ne Zha looks fiercer and more mature with fiery eyes and energy swirling around him. Ao Bing on the other hand is portrayed elegantly, his actions both smooth and regal. The visual contrast between the two characters highlights their personality differences while showing how they balance each other out. 

   Furthermore, the gods and mythical creatures were also designed intricately. Each character has their own distinct color palette, symbolic accessories, and details that are inspired by Chinese mythology. One of my favorite parts of the movie was when Immortal Wuliang led his army, the Chan sect, to fight in the battle. To show the strong bond between the army, animators depicted the Chan sect in the shape of a golden bonsai tree. The details were mesmerizing, reflecting the countless hours animators put into this project. These fascinating visuals contrast drastically with the precedent set by other Chinese animated films. While many argue that Chinese animations are often “cringy” due to immature plotlines or distinction from western familiarity, “Ne Zha 2” proves these assumptions wrong. 

   What makes this movie even more impressive is its complete dominance over the box office, grossing over $2.1 billion. Even though “Ne Zha 2” has been released for less than six months, it has reached number one on the list of highest grossing animated films, surpassing “Inside Out 2,” made by an American studio, by almost $500 million. While being an engaging movie with its visuals and colors, the movie also modernizes old folk stories, making it accessible to younger audiences. 

   “Ne Zha 2” brings China’s mythology to life through ways unlike before. The movie is a continuation that explores the personal growth of Ne Zha and the other characters through eye-opening visuals. It is a wonderful animation that truly changes the history of Chinese film-making through its visuals and record breaking gross in the animation world.

"Ne Zha 2" reviewed

“Snow White” (2025), the recent live-action remake
of the classic 1937 animated film “Snow White and the
Seven Dwarves,” has been marred by controversy since
the moment Disney announced the start of production.
What started as an attempt to simply update the classic tale
for a modern audience quickly turned into a high profile
storm of hate comments and public
backlash.

The original story is familiar to
most. Based on the Grimms’ fairy
tale, it follows Snow White, a kind
and beautiful princess
w hose evil
stepmother,
jealous of her
stepdaughter’s
beauty, forces
her to work
as a ser vant.
When the Evil
Queen’s Magic
Mirror tells her
Snow White is more
beautiful than she and
the Queen tries to kill
her, Snow White is
forced to flee into
the forest, where she
befriends seven
dwarves. After
the Evil Queen
attempts to kill her once again (this time with a poison
apple), Snow White falls into a deep sleep, but is rescued by
a handsome prince and presumably lives happily ever after.

The charming animation and fun music, combined with
the novelty of it being the first full-length animated film
made the original movie an instant success, grossing around
$2.3 billion (adjusted for inflation) at the box office, more
than any other animated movie in history. So, the 2025
remake had big shoes to fill.

There are some key differences between the original and
the remake: instead of a prince, Snow White falls in love
with a commoner; and instead of just riding off into the
sunset at the end, she deposes the Evil Queen and takes
control of the kingdom. Unfortunately, pretty much every
aspect of the movie sparked intense dispute, from the two
lead actresses’ opposing views on the war between Israel
and Palestine to the comments of Snow White’s actress,
Rachel Zegler, surrounding the original film, which she
called “extremely dated.”

The handling of the seven dwarves in particular became
very controversial. The decision to use CGI to bring the
beloved characters to life instead of casting actors with
dwarfism made many members of the dwarfism community
angry, as well as fans. The movie, which came out in theaters
a few months ago, was not particularly well received by
fans. Expected to gross $48–58 million in its first weekend
in theaters, “Snow White” only brought in a disappointing
$42 million, according to IMDB.

However, the film does have some good elements. Despite
Zelger’s comments regarding the original storyline, she
brings a fun new twist to the character of Snow White.

She explores a new depth to the character that was not
included in the original. The character of the prince has
also been updated effectively. Instead of a prince, the love
interest Jonathan (played by Andrew Burnap) is a bandit
and rebel, giving his character a touch more personality
than the original, sort of bland Prince Florian. Additionally,
I liked that we get to see his relationship with Snow White
evolve over the course of the film, so it’s less insta-love and
more realistic.

In my opinion, the best part of the new film is the music.
It keeps many of the beloved original songs like “Whistle
While You Work” and “Heigh-Ho” for a touch of nostalgia,
while also adding exciting new ones like “Waiting on a
Wish.” In addition, I thought that the sets were beautifully
designed and let you really become immersed in Snow
White’s world as the story unfolds. From the imposing,
beautiful castle to the seven dwarves’ quaint, cozy cottage,
the sets added a lot of whimsy and magic to the film.

However, I do think that the movie had many flaws. For
example, I found the use of CGI for the seven dwarves a
bit creepy, and I thought they stood out in a negative way
among the other characters. I also definitely preferred the
costumes from the original film to this one, especially
Snow White’s iconic dress, the updated version of which
I didn’t love.

Despite its controversies, “Snow White” still has many
good pieces that make the film appealing. So, I suggest
going to the theater and seeing the movie for yourself
before deciding on what you think about it. Even if you are
a die-hard fan of the original, there will still be something
to enjoy in this magical updated fairytale!

Meet Disney’s new Snow White

Photography has been around for more than two hundred years, capturing moments in time that are forever immortalized with a click and a flash. As technology evolves, cameras can now easily take high-resolution pictures that don’t require any effort whatsoever to develop or share. Editing and filtering apps are plentiful and can help photographers stylize and perfect any image. However, the resurgence of Polaroid cameras has sparked a throwback trend toward imperfect photography. The joy of Polaroid photography is based on its flaws, its spontaneity, and the fun of bringing back what’s old as new again. 

Unlike professional cameras or phone cameras, Polaroid cameras are not super-accurate or predictable. Pictures often end up with odd lighting that creates high contrast between the subject and background. Because the photo cannot be edited, the camera captures the true essence of the moment. This type of unfiltered reality is so rare in today’s photography that Polaroids can be a refreshing break from the constant perfection we see on social media. 

“Phones are boring, social media is so fake, but with Polaroids you can’t fake it,” said Viraaj Pasricha ’28. 

Since the point is imperfection, people can grab their Polaroid camera and click away without worrying about the precise angle, lighting, background, or even their smile.

Polaroids are also gratifying and are a different way to share and remember special moments. Our grandparents and even our parents collected printed pictures to document their good times, but few our age have photo albums. 

“They’re so much more precious than digital photos,” said Pasricha. 

By taking a bunch of Polaroid pictures at an event, friends can each take some home, pin them up on the wall, and enjoy looking at them in a completely different way than staring at their device. 

Ultimately, Polaroids have become so popular due to the recycling of trends. Clothing styles from the 1980s are trendy, and old-school cars like the Trans Am and IROC are coveted again. So it’s not surprising that trendy stores are selling Polaroid cameras and film while playing Tears for Fears in the background. Maybe one day our grandkids will dig up our phones and call them vintage!

The resurgence of Polaroids

As spring unfolded across Princeton, the halls of PHS
choir classes were alive with the sound of preparation.
Singers found their harmony as the choir groups performed
their annual Spring Concert at the Performing Arts Center
on April 24. A total of nine groups participated in the event,
including five choral ensembles and four student-run a
cappella groups.

This year, the program featured a variety of genres and
styles, including pop, folk songs, and musical theater. The
five choir classes performed folk songs in different languages
while each ensemble and a cappella groups presented two
selections. The concert also included international music,
such as an Indian raga, an American spiritual, a Japanese
folk song, an Italian pop, and a British song.

“We do a lot of
experimenting with
different styles, and
that’s what makes it
really interesting,” said
Mia Dunlap ’26.

The singers started
preparing for the
concert around two
months before the
concert. The choir
classes rehearsed for
their performances
during class or solo
work with choir
teachers Vincent
Metallo and Sarah
Pelletier while the
student-run a cappella
groups selected their
own repertoire and
rehearsed outside of
school.

“We started preparing for the concert in mid to late
February, choosing selections for all the groups and
immediately diving into breaking them down and working
on all the components,” said choir director Vincent Metallo.

The diversity among the songs excited the singers as they
rehearsed and performed their musical journey through
their songs.

“Through the preparation for this concert, I’ve learned
variations in singing style that are included in [the] different
signs that we are singing, [and] the different styles that
we’re singing. It [has] expanded my skills in being able to
sing,” said Benjamin Caswell Klein ’27.

The tight schedule and the lack of enough time had
sometimes put the groups into challenges that they had
to overcome.

“Consistency is key,” said Metallo. “Some days they sound
great, and others, their voices are a little raspy or they’re
not as focused. But we encourage them to always strive to
take their performances to the next level.”

With much dedication and hard work, the PHS choir
groups hoped that their audience came away from the
concerte feeling uplifted.

“I’m hoping that they feel inspired to learn more about
the musical traditions that we [sang] for them [and] I hope
they derive some joy from hearing our beautiful singers,”
said Klein.

Besides highlighting the musical range of the PHS choir
program, the concert also offered a space for students across
grade levels and experience levels to perform, collaborate,
and connect through music.

Photo: Julia Li

PHS Choir performs at the Choir Spring Concert in the Performing Arts Center,
accompanied by pianist and choir teacher Sarah Pelletier and conducted by Vincent Metallo.

Musical variety at the spring choir concert

In a step towards a more sustainable future,  Princeton Public Schools recently announced their purchase of two electric school buses and an electric bus charger.

The district hopes to receive the two 54-passenger Blue Bird electric school buses by the end of August and have them running by the start of the 2025–2026 school year. 

The cost of the buses without state aid is $1,013,069.48. However, a roughly $700,000 NJ Department of Environmental Protection grant and around $40,000 in federal aid reduces the out-of-pocket cost for the district to $300,000, which is comparable to the price of two standard gasoline buses.

“It is our responsibility as elected officials to ensure that the vehicles carrying our children to school do not adversely affect their health outcomes as they grow. That’s why my administration has dedicated $30 million to date to ensuring that those vehicles are powered by clean energy,” said New Jersey Governor Philip Murphy during a press conference announcing the grant.

The grant was designed to replace the district’s few remaining diesel buses, which will be decommissioned, with a safer and more environmentally friendly option. The remaining buses will have standard gasoline powered engines. 12 other districts in New Jersey with diesel buses received similar grants. 

“Not having diesel fumes will make the air quality a little safer for the community [and] a lot safer for the kids that ride on those two buses,” said Jenny Ludmer,  a program manager at Sustainable Princeton who organized much of the purchase.

An average gas-powered vehicle emits around 12,000 pounds of carbon dioxide every year, compared to around 1,500 for electric vehicles. The school also purchased a $212,000 bi-directional electric charger for the buses, allowing the district to store  any excess energy until needed. In NJ, the vast majority of electricity is either from nuclear power or natural gas.

Though the electric buses have a limited range, Ludmer assures that they will not cause any problems and are suited for the district’s transportation needs.

“[Its range] is around a hundred miles, so it’s less than what most vehicles have,” said Ludmer. “But [while] the district does have some long distance routes, these buses would not get used for that situation — they would only be used locally — so they’re not gonna have a problem.”

In the future, Ludmer hopes that the district can acquire an all-electric fleet of busses. Princeton University recently finished converting its campus-wide Tiger Transit system into an all-electric fleet, as part of its net-zero carbon emissions initiative.

“This is a proof of concept that the electric buses are going to work well, be easy to maintain, and be quieter — and have a more enjoyable ride that way. I think with proof of concept and with additional funding, the district can continue to add more buses to their fleet that are electric,” said Ludmer.

However, Adam Bierman, a current member of the Board of Education, is skeptical that the district will be able to purchase a complete fleet of electric busses in the near future.

“The process right now is very volatile.You have a federal administration that is not pro-electric. Then we might even have a Republican governor — I’m saying this as a nonpartisan — that might want to do some DOGE-type cuts in New Jersey. The funding is really up in the air,” said Bierman.

PHS students, for their part, are excited about the potential for an all-electric fleet in the future. 

“[The current seats] are often ripped and uncomfortable — and they can’t clean them either,” said Griffin Short 27, who rides a regular bus to school. “The engine noise, you can just hear so much. It’s really distracting and especially early in the morning, it [makes] it hard to focus. Then, obviously it’s much better for the environment using an electric vehicle  than gas-powered.” 


Photo: Charley Hu


The current fleet of Princeton Public Schools’ busses sit in a parking lot behind the PPS administrative office. 

PPS purchases two electrical buses

On February 27, the Trump administration launched an “end-DEI” portal that allows anyone to report illegal diversity, equity, and inclusion (DEI) practices in the classroom. Then, on April 3, the Department of Education sent a letter that threatened to withhold federal funding for districts that do not end “illegal DEI practices.” Finally, on April 22, the Supreme Court heard arguments about whether elementary schools can compel students to be present for lessons that discuss LGBTQ characters. 

This rapid sequence of initiatives that aim to eliminate DEI programs in education have left administrators, educators, and students across the country — including at PHS — questioning what exactly qualifies as an illegal DEI practice, whether they can continue discussing DEI-related topics, and what might come next.

“The goal is to chill speech. It’s to chill conversation about diversity, equity and inclusion, and it’s very frustrating,” said Kimberly Tew, assistant superintendent of curriculum and instruction for Princeton Public Schools (PPS). “Talking with teachers, they’re like, ‘Can I still do this lesson? Can I talk about — you know — maybe they’re a cisgender woman married to a woman, right — can I talk about my family?’ There’s a lot of concern about these things.”

The federal government does not have the right to determine the curriculum in public schools, a power reserved to the states according to the 10th amendment. However, the federal government does fund around 15 percent of total public school spending — which is its primary leverage in enforcing new DEI policies. 

New Jersey mandates the teaching of diversity, equity, and inclusion in public schools, including a mandate to teach LGBTQ history, African American history, and Asian American & Pacific Islander history. It’s not immediately clear whether these mandates are “illegal DEI practices” according to the federal government, which has left districts unsure whether they are at risk of federal funding cuts. 

“[Though] the U.S. Department of Education’s request references “certain DEI practices” or “illegal DEI,” it does not define those terms, and there are no known federal or New Jersey State laws prohibiting diversity, equity, or inclusion,” wrote Kevin Dehmer, NJ’s education commissioner, in response to a letter from the Trump administration.

PPS receives only 2 percent of its budget from the federal government (most comes from local property taxes), which means that it is much less beholden to federal funding policies compared to most other districts nationally.

“The district embarked upon an equity initiative starting in about 2018, and since then, we have done a lot of work, both in and outside the curriculum arena, to make this building more equitable. That’s something we’re proud of, [and] we will not change that,” said PHS Principal Cecilia Birge. 
PPS administrators are instead concerned with what might happen to NJ education policy. In 2024, NJ experienced the second largest shift to the right nationally.

“You know, my bigger concern is at the state level — who’s coming into the new governor’s office this year, what the State Assembly and Senate look like. Those bodies have much more say about what happens at the school level than the federal government,” said Tew.

However, for now, some PHS teachers are using the crackdown on DEI as a way to educate their students about issues like censorship, historiography, and systemic racism.

“We’re trying to help students understand that it’s part of trying to cut out or cover up different parts of history — we’re noting current events where things like a page about Harriet Tubman on like government websites might be taken down, or [the government websites] on the Stonewall Rebellion are dropping the T of LGBT,” said Patricia Manhart, who teaches PHS racial literacy. 

“We’re trying to get students to understand that the attack is really just an attack on accomplishments by people of color throughout United States history, as well as [a] cover up the legacy of racial inequality that is also very real.”

PHS students have also expressed concerns over the efforts to eliminate DEI, especially concerning the effects it would have on their future educational environments. 

“I’ve personally talked to minorities about the topic, and they definitely hold more pessimistic ideas about their own futures, and that’s something I can relate to,” said Jasmine Taylor ’26, a student in the Racial Literacy class at PHS. “It kind of made me feel a lot more pessimistic about college, because I feel like they’re not taking into account very nuanced topics [anymore].”

Photo: Katherine Chen

Patricia Manhart (left) discusses with her PHS racial literacy students Jennifer Lopez de la Cruz ’26 (center) and Anuar Viruel Lopez ’25 (right).

PHS reacts to federal crackdown on DEI in K-12 education

One thousand people — including several Princeton High School students — gathered in Princeton’s Hinds Plaza on April 5th to protest the Trump administration as part of a nationwide “Hands Off” movement. PHS students cited a number of reasons for attending, ranging from concerns for LGBTQ rights, threats to the Department of Education, and the Trump administration’s disregard for humanity.

“It's selfish men and women, men especially, doing what serves their ego best — and what serves their pockets best. It's so infuriating that we've given them enough power to actually be able to hurt people on a mass scale,” said Rica Eleches-Lipsitz ’25, who attended the protest.
Indivisible Princeton, one of the main organizers of the event, noted on their website that one of the core principle of the protest was nonviolence, and encouraged all participants to de-escalate potential confrontations. However, attendees described a strong sense of collective energy and enthusiasm at the protest, which was part of the largest national movement so far against Trump’s second administration.

Lia Eleches-Lipsitz ’27 attended the protest with her family and a sign that read, “The only minority that's destroying this country are the billionaires.’ A different protester held up a sign that read, “We the people have power over the people in power.” 

“It was empowering to see all these other people. It's really easy to read news articles and feel like you're by yourself with your rage, but it's nice to see [that] together, we actually might be able to make some sort of difference,” said Lia Eleches-Lipsitz.

Maya Halcomb ’25 echoed this desire for change.

“In Princeton specifically, it's important that we are all coming out and leveraging our privilege. Even though we're [in] a progressive town, I feel like there’s not a lot of movement that happens, so it's important that we're super active in the change — and I think our privilege can do a lot to change things,” said Halcomb.

Princeton University students organized a smaller rally that began at Firestone Library, before joining the main event. The university, along with several other Ivy League institutions, recently saw federal funding cuts, but Princeton University President Christopher Eisgruber has continued to speak out against Trump.

“[Trump] kept $210,000,000 of Princeton’s grant funding last week, and we believe that research is valuable and that America can only be strong if its universities are strong,” said Isaac Barsoum, a freshman at Princeton University.

The event lasted around two hours, and featured several speakers, including U.S Representative Bonnie Watson Coleman, whose congressional district includes Princeton.

“This is the most corrupt and incompetent — which might you know be helpful — administration in my lifetime,” said Watson Coleman. “This administration chooses to take very important resources from those who really need them so that they can make their greedy folks richer. These people have so much money that if they even just shared a little bit of it — tithe to the poor — we wouldn't have poverty.”

Though most PHS students can’t vote, Rica Eleches-Lipsitz urged students to engage themselves in politics, whether through protest or education.

“[We] should stay involved in politics, even if it's not a ton. Just enough to know who to vote for, enough to stay engaged,” said Rica Eleches-Lipsitz. “You don't have to make it  your life — and you shouldn't, because we need to breathe — but at the same time, we have to keep being there for each other.”


Photo: Charley Hu


Indivisible Princeton organizers led chants of “Hands-Off!” and “The People, United!”

1,000 attend “Hands-Off” event in Princeton as part of national anti-Trump protest

**Cheers:**

Take Your Child to Work Day; USC Mind ice bucket challenge; Kickstart energy drink; cold brew; SZA & Kendrick Lamar Grand National Tour 

**Jeers:**

AP season, humid air, litter, running out of pencil lead, expensive review books, school tissues, nosebleeds, performative activism

Cheers and Jeers: April 2025

Walk into any grocery store in America, and you’re bound to find shelves full of ultra-processed foods wrapped in shiny plastic packaging. Ultra-processed goods, products that are prepared using industrial methods, are often high in sugar, salt, and fat. For these reasons, many health professionals and critics on social media have taken to advocating for consumption of “whole” foods such as fruits and vegetables. Although reaching for an apple is decidedly healthier than grabbing a bag of chips, both foods can be sources of a less-discussed health threat — microplastics.


Microplastics are defined as small pieces of plastic less than five millimeters long, and result from the natural degradation of plastic products, such as packaging, synthetic textiles, and paint. Since the coinage of the term “microplastics” in a 2004 University of Plymouth study, its negative effects on marine organisms have been well-established. However, microplastics aren’t just a problem for our environment — they have begun to find their way into the foods that we consume on a daily basis.


For example, a 2020 study by Catania University discovered that carrots and apples contained high levels of microplastics, likely due to absorption of microplastic-contaminated water. Additionally, according to a National Institutes of Health study from 2023, tea bags made with certain plastics can release billions of very small microplastics into cups of tea. Marine organisms consumed by humans can also have thousands of larger microplastics, and any foods stored in plastic containers contain thousands of plastic particles of all sizes. When consumed, these microplastics have been shown to mimic hormones, messenger chemicals within the body. One study from the American Chemical Society found that a gene called TRPV4 was over-expressed due to microplastics acting as growth factors, leading to respiratory issues. Microplastics can contribute to an increased risk of cancer, neurological diseases, and respiratory issues. They also exacerbate pre-existing medical issues, or activate latent disease-causing genes in the body. 


In particular, many of the microplastics in humans arise from a process known as biomagnification. Because of pollution, there are many plastic particles floating in the ocean. Small organisms eat these plastics, and they are then consumed by predators. The plastics move up in the food chain, becoming more and more concentrated in the tissue of the apex predators. When a human proceeds to eat this animal, they receive a portion of the many microplastics present in the ocean. Biomagnification occurs in a similar sense for land animals like chickens and cows, which often consume contaminated plants. In all cases, the original source of microplastics are man-made materials that pollute the environment.


This is not a problem that can be solved through selection in what we eat, but instead needs to be solved at its origin. We fill our oceans with trash, destroying the single geographic feature that gave rise to all life. As a society, we need to change to save our planet, our oceans, our marine life, and ourselves. Large societal shift begins with small, personal steps. Right here at PHS, students can make a meaningful impact in the fight against microplastic pollution. From the cafeteria to the vending machines, we make daily choices that either contribute to or help combat this growing health and environmental crisis. 


If you want to stay away from these life-threatening, cancer-causing particles, start by putting your water bottles in the recycling. The next time you go to the cafeteria or Tiger Café, choose items with less plastic packaging. Bring your own reusable water bottle instead of purchasing plastic beverage bottles from the vending machine. Even small changes like using your own reusable utensils or avoiding plastic straws count. These changes may seem insignificant, but together, we can reduce sources of microplastics that end up in our food, and in our bodies.

Photo: Julia Li

Izzah Memon ’27 eats a bag of chips during break.

Microplastics are a macro problem

The lunch bell rings at 11:33, and fourth period ends as hundreds of students pour out of classrooms and into the halls of Princeton High School. Some students head to the library, while others head to the guidance office. Some just walk laps — earbuds in, heads down, skipping lunch for the third, maybe fourth day in a row. It is not a diet. It is not a protest. It is not always a choice. 


For too many students, lunch has become optional. Not because they are not hungry — they are — but because 35 minutes is not enough time to eat, finish an essay, ask a teacher a question, and review for the quiz they have next period. In the past few years, there has been an unhealthy exaggeration of high school performance and how it affects the futures of these students. Because of this, when given the choice between nourishing the body and “getting ahead” in their studies, the choice seems trivial.


This is not just a PHS problem. According to a 2020 national survey by Yale University, 75 percent of high school students report having negative feelings toward school. The general sentiment seems to be that these students feel negatively towards school because of apathy or laziness. The truth, though, is that these students are under copious amounts of stress, driving them to have these negative feelings.


A New York Times article written by Tim Donahue stated that “we [as a society] have pushed high school students into maximizing every part of their days and nights.” Students feel like they need to do more and more in order to stay afloat. Self-care takes a backseat because students feel like they need to do so much in order to distinguish themselves. They need to get perfect grades, take the hardest classes, be a part of every extracurricular under the sun. Of course, under all of this pressure, physical needs become an afterthought.


The way students cope with this stress is not always visible — but it is often unhealthy. Skipping meals, sleeping in fragments, and studying at midnight. It becomes a game of sacrifice: what can be dropped to make room for everything else? For too many, the answer is lunch. A study from the Harvard T.H. Chan School of Public Health found that students given less than 20 minutes to eat consumed significantly less food and nutrients. When the body is not given the nutrients it needs to function properly, productivity drops. This, in turn, harms students’ academic performance.
When students are skipping meals just to keep up — when they feel they have to choose between eating and succeeding — something is wrong with the system, not the student.


We need to stop pretending that this is normal.


Lunch should not be a luxury. It should not be treated as expendable. It is time — real, uninterrupted time — to eat, decompress, exist as something other than a GPA.


So the questions posed are, how do we take back our lunch periods? How do we take our lives back from the grind that academia has instilled in us? There is no single fix, but there are places to start — both as individuals and as a school.


At a school-wide level, the goal should not just be more time. It should be better use of the time we already have. Lunch needs to be protected. No required meetings, no mandatory makeups, unless a student chooses them. The school can also help by making lunch more accessible — a pre-order system or even a simple form could cut down the lines that push students away. And if we are serious about student wellness, the message needs to be loud and clear: eating and resting are not optional, they are essential. Teachers and administrators should say that out loud. Not just in emails during Mental Health Week, but every day, in how they schedule, how they speak, and what they prioritize.


But change cannot just come from the top. It starts with what we do, too. That might mean bringing food from home instead of skipping lunch. Taking ten minutes to sit down and actually eat. Using free periods to slow down instead of squeezing in more. Outside of school, it means setting boundaries — around sleep, around work, around the pressure to always do more. And maybe most of all, it means shifting how we think. Getting the perfect grades and getting into a top college are not the most important things in your life. More than that, needing rest does not mean you are failing. Taking care of yourself is not weakness — it is proof that you are still trying to live, even in a system that tells you to do the opposite.


So when the lunch bell rings at 11:33, you do not need to run. You can stop. You can eat. You can let that be enough.

Photo: Julia Li


Ksenia Petukh ’27 eats lunch and studies in the IDEAS Center.

Lunch is for eating, not cooking

Bridget McAloon '27: "It has to be Kinder Buenos. I'm a sugar fiend."


Priya Bakshi '25: "I just like to chew gum ... I think it helps me concentrate."


Ian Lee '28: "I like to eat chips while I'm studying ... Doritos, Lays."


Lile Kapanadze '26: "Red Bull ... because it's an energy drink and it helps me study."

PHS Speaks Out: What is your favorite study snack?

“Stop GENDER DISCRIMINATION in debate,” reads the cover slide of the hit 2024 Instagram post by the Debate Hotline. This particular post collected (at the time of writing this article) a whopping 2,164 likes and 247 shares, making it probably one of the most notable moments of feminist activism in the high school debate space in recent years. 


Any debater with an Instagram account would likely recall the viral impact of this post. Across my feed, debaters of all genders shared the post, creating a powerful moment of solidarity. This moment mirrored activism in other competitive academic spaces — from the #WomenInSTEM movement addressing gender gaps in mathematics competitions to the Women’s Chess Initiative highlighting similar disparities in chess. Nonprofit organizations have proliferated across these disciplines, each focused on promoting gender equality in their respective activities. In debate specifically, feminism has become perhaps an integral movement. Yet despite this widespread activism, gender disparities persist across all these academic spaces. In mathematics, women still represent less than twenty-five percent of International Mathematical Olympiad participants. In chess, women account for just eleven percent of rated players worldwide. In debate, the disparity remains since the viral post. This raises a critical question that transcends any single discipline: Is our current approach to addressing gender discrimination in academic competitions actually effective?


To approach an answer, we can examine the Debate Hotline post and how the debate space handles inclusive activism. The post features quoted testimonies from female debaters describing misogynistic social encounters they have experienced: “At the Harvard tournament, I advanced in out-rounds. When a male friend of mine found out, he congratulated me by saying ‘have my babies,’” recounted one anonymous submission. Beyond these accounts, the post presents three key statistics: women are 18.8 percent less likely to win Varsity elimination rounds, 30 percent more likely to quit debate altogether, and notably absent from half of all national circuit finals. They end with a call-to-action urging debaters to sign a petition that demands the NSDA to implement mandatory judge bias training. 


The message of the post reflects the message of the overall feminist movement in debate: biased judging leads to female debaters losing rounds, which drives them out of the activity, ultimately hurting their academic and life opportunities. This rhetoric also follows through in Fem-Kritiks, a popular argument (usually made by female debaters) that urges the judge to drop the opposing team (usually male), and for the opposing team to forfeit the round. This is done in order to even out the win-loss disparity by addressing judge bias.


The problem with this widespread rhetoric is that it is only partially true; a closer look at Yi and Nie’s 2020 study “An Empirical Study of Gender Differences in Competitive High School Debate” reveals something crucial. In Varsity rounds, the study found “a large difference in win rates between teams of different gender compositions, with female-female teams 17.1 percent less likely and male-female teams 10.0 percent less likely to win a debate round against male-male teams.” However, they also found “no gender gap in win rates for novice debaters.”


If the thesis of female push-out being due to judge bias is to be believed, why is there no sex disparity in novice round results? The study follows this discovery by suggesting that “the disparity does not occur from innate entry ability differences, but rather appears alongside experience in debate.” In the results section, Yi and Nie continues that “some possible causes of this gap result from a female debater’s environment: potential bias in the amount of resources allocated to competitors by coaches, the gender-hostile environment of a team, or the effect of the perceived stereotype of the activity, to name a few examples.”


This pattern extends beyond debate and into other competitive academic spaces. Chess, for instance, has implemented structural solutions by creating women-only sections and tournaments since 1927. Yet despite these institutional changes, the gender disparity in chess still exists today. The underlying cause mirrors what we see in debate, which is a hostile social climate. Female chess players consistently report implicit exclusion from the broader chess community, which pushes them out from participating. In many academic environments, female participants describe being excluded from study groups, having their contributions minimized, and facing heightened scrutiny of their abilities. These experiences, not competition results alone, ultimately drive many talented women away despite their proven capabilities.


Although misogyny and other forms of inequity is a systemic problem in academic spaces, we need to stop focusing on that — however counterintuitive it sounds. Exclusively deeming the issue to be systemic is how we arrived at our current position. It removes responsibility from the individual. If you are someone who cares about and wishes to solve inequality in the academic space, it is time to address the issue on a personal level: how you deal with and react to hostile situations. Have you stood up for others? Have you excluded team members from resources? Have you actively denounced crude, inappropriate behavior? Have you stopped perpetrators from participating in leadership? 


I’m not demeaning current feminist initiatives. Their focus on institutional change remains important. But perhaps we need to focus elsewhere; perhaps our activism has become too copy-paste, too shallow, too performative; perhaps we need to look elsewhere, deeper, within ourselves. Our efforts must address the social climate that shapes our activity from within, not just the institutional structures above. While continuing to advocate for structural change, let’s recognize that creating truly inclusive spaces begins with us.

Why inclusive initiatives are failing in the academic space

 It is well-accepted that the sense of American security collapsed along with the World Trade Center back in 2001. From a country dazed and confused, the War on Terror began, and, soon enough, our generation was born: a population hyper-aware of and sensitive to instances of terrorism.

The September 11 attacks certainly dwarfed any instance of non-war violence that the United States had seen in the preceding decades — but terrorism did not start in the twenty-first century. Many students may remember learning about John Brown, who killed several pro-slavery expansionists and attempted a raid on Harpers Ferry to further the cause of abolition. Brown became a Union martyr in the years following his execution, and even today, many don’t necessarily deem him a terrorist.

To better understand Brown’s case, consider the definition of terrorism: an act of violence against non-combatants for a political aim. Non-combatants are everyday civilians who are not directly partaking in hostilities, while combatants are the actors in the conflict. Besides a simple semantic separation, this implies a distinction between the right to protection held by each group. Supposedly, the United States conducts war — an action justified in that it kills people who chose to fight — and its enemies conduct terrorism — an action unjustified in that it kills people who chose nothing. Brown never killed a truly “neutral” person, neither from his perspective nor ours today, because for both, to defend slavery constitutes such an abhorrent belief that it becomes violent by nature. But for the wider view of his day, abolition had become so polarized as a political issue that “neutrality” in its matter meant simply not engaging in physical violence for the cause.

Therefore, complications arise when evaluating who truly counts as a combatant. Somewhere between John Brown’s raid and the September 11 attacks may lie someone like Ted Kaczynski, otherwise known as the Unabomber. In Kaczynski’s manifesto, he detailed his fear that modern technological advancements would trigger a world without nature, human freedom and dignity. By mailing bombs to university professors conducting STEM research, airline executives, and advertisers, Kaczynski acted upon his extreme political opinions. With knowledge on the extent of global warming, Kaczynski might have very well argued that the everyday choices of Americans to use ecological resources such as gas and electricity and water, made them combatants against the Earth itself, which he defended.

The question of who is a combatant has come to a larger stage in the trial of Luigi Mangione. Even without any legal determination as to whether or not he murdered United Healthcare CEO Mark Thompson, Mangione has become a folk hero for his alleged action. To his defenders, the insurance CEO is responsible for the violent action of causing people to suffer unmanageable healthcare fees, whereas Luigi, if guilty, is only a victimized soldier in the class warfare that the rich started. The prosecution, meanwhile, sees a man murdered for doing his legal job and a terrorist responsible for that murder.

What made these cases compelling and generally socially accepted? Figures such as John Brown, Ted Kaczynski, and Luigi Mangione based their actions off of well researched, passionately defended ideological positions that tapped into public grievances. Their targets were not random but individuals seen as combatants responsible for systemic issues, whether it be slavery, the degeneration of humanity, or healthcare inequality. Their actions were not intended to instill fear into the general public but rather a distinct resistance towards a combatant.

In a community like Princeton, where student activism is often passionate and socially conscious, it’s important to ask: how do we define resistance, and where do we draw the line between protest and violence? While we don’t condone acts of harm, we can reflect on the motivations behind historical and controversial figures to understand how they were able to make people so deeply moved by injustice. PHS activists can learn that effective change comes not just from emotion, but from informed, strategic action that taps into shared concerns and presents compelling narratives.

What we can learn from controversial figures

President Trump’s recent funding cuts to colleges and public schools has hit especially hard here in Princeton, a town internationally recognized for its high standards of education. The government has cut many research grants at Princeton University as well as colleges and universities across the U.S., and it is currently threatening to pull funding immediately from public K-12 schools if they do not eliminate diversity, equity, and inclusion (DEI) programs.

The shutting down of the DOE impacts Princeton in various ways. The DOE enforces the implementation of Section 504 of the Rehabilitation Act of 1973 (commonly referred to as a 504 plan), a federal civil rights law that protects the rights of individuals with disabilities in programs receiving federal funding. In particular, Section 504 formally outlines accommodations and support services for students with disabilities, such as allocating extra time for testing. Without 504 plans, students who need these plans may not be given them, leading to them not succeeding as much as they could because their right to accommodations was taken away.

These decisions have already faced mass pushback from many in the nation, including in Princeton. Hundreds of students, professors, and Princeton community members congregated by the Princeton Public Library on April 5, partaking in the national wave of protests on “Hands Off Day,” with over 1,200 other rallies all over the country. Gatherers protested Elon Musk and Trump’s efforts to pull funding from various government initiatives, such as Medicaid, Social Security, and the Department of Education (DOE).

With these developments, access to education is becoming a privilege and democracy is deprioritized. Since 1979, the DOE has fought for students’ rights, advocating for inclusion of female, disabled, LGBTQ, and all minority students. With the Trump administration slashing 50% of its workforce, the DOE  is likely to fade away as a central authority in maintaining standards for equitable and quality education. Every school is impacted, especially those in rural or under-resourced communities.  

If education is no longer a civil right, high educational standards are now a privilege reserved for the highest tax brackets and the wealthiest zip codes. By trading educational standards in the name of “government efficiency,” we are quickly letting go of the American principle of opportunity and upward mobility.

 Our education system should strive to dismantle systemic barriers. The Trump administration’s policies certainly will make it so that inequality will become institutionalized in the one place that ought to provide an equitable launchpad to the real world. While some students receive shiny, new, updated textbooks and modern labs, others that are less fortunate will be struggling to learn with outdated materials and crumbling infrastructure.

The social inequalities that fester unchecked in society will bleed into schools and dismantle the educational promise of equal opportunity. If we are serious about upholding our ideals of equal opportunity, and if schools are meant to be a stepping stone to our future, education can not be relegated to a gamble. 

To the government: thank you for proving to us that you are willing to jeopardize the education of millions of capable, smart, and ambitious American students. Thank you for proving that you do not care for improving equality. We hear you loud and clear. 

The Tower

Student Artists

The Tower