Whimsical winter wordfest

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### The Apartment (1960) dir. Billy Wilder

Winter on the East Coast is cold, dark, and long, and stepping out of the biting cold into the warmth of one’s home is a relief like no other. Some though, like the lead character of “The Apartment,” C.C. Baxter (Jack Lemmon), have nowhere to go — although his circumstances are rather unique. The affable if lily-livered office worker is lonely and it’s the holidays, but he has found himself in the habit of loaning out his Upper West Side apartment to the higher-ups at his company for their extramarital trysts.

Soon enough, Baxter is contacted by personnel director Jeff Sheldrake (Fred MacMurray), who tells Baxter that he will be promoted if he allows Sheldrake use of the apartment. Baxter agrees, and asks an elevator girl, Fran Kubelik (Shirley MacLaine), out for that night. She agrees, but ends up standing him up for a date with none other than Sheldrake, with whom she has had an off-and-on affair.

Both characters are lonely, and the decision to set the movie over the winter holidays (major plot events happen on Christmas and New Year’s Eve respectively) reflects their state of mind. Though these holidays are typically times to rejoice with your loved ones, Baxter and Kubelik instead endure a series of heartbreaking rejections and setbacks in their relationships with other people.
 
Lemmon’s fantastic performance and the jokes packed densely into the script manage to transform what seems like a somewhat miserable plot, however, into — miraculously — a comedy, and a great one at that. Though “The Apartment” has been overshadowed by other romantic comedies from the same period like “Breakfast at Tiffany’s” and “Some Like it Hot,” it is one of the best films to come out of the 1960s and deserves a reputation as not only a great film but a perfect one for the winter holidays.

### The Grand Budapest Hotel (2014) dir. Wes Anderson
Though it does not once mention Christmas, Hanukkah, or New Year’s, there is no doubt in my mind that “The Grand Budapest Hotel” is a film for the winter holidays. It is a story within a story within a story, established in an opening sequence of a woman visiting the grave of an author who wrote a book about his visit to the titular hotel, where he was told a story by the proprietor, Zero Moustafa (Tony Revolori). The eccentricity in the framing of the story is present in virtually every other aspect of the film, from the pastel color palette, to each frame’s stilted symmetry, to the miniature models of the hotel. Anderson is one of the most distinct directors of our age, and “The Grand Budapest Hotel” is an extravagant aesthetic indulgence, both visually beautiful and absurdly unnatural.

The bulk of the story follows Gustave H. (Ralph Fiennes), a prim, poetry-loving concierge at the Grand Budapest who rules stringently over the staff and dotes on the elderly female patrons. Though there is a plot, involving a stolen painting, prison escape, and secret society of hotel concierges, it takes the back burner for the film’s more pressing thematic concerns, particularly nostalgia. Though the range of confectionary colors and dollhouse-esque sets evoke childhood aesthetics (further evidence of it being a holiday movie), more specifically, the somewhat ridiculous yet eminently respectable Gustave is a dandy committed entirely to the kind of high-end service that, as chronicled by the gradual degradation of the hotel, was in its dying throes at the time.

Though the Grand Budapest is located in a fictional Republic of Zubrowka, the phases it goes through are not unfamiliar to the 21st-century viewer: the colorful, glamorous 1930s giving way to a Nazi-equivalent occupation, and then finally the Iron Curtain-era dilapidation and grayness. Despite its highly unnatural and stylized composition and the layer of fiction separating our world from Anderson’s, “The Grand Budapest Hotel” imparts serious messages about fascism and art. It is also wildly entertaining, with a pitch-perfect comedic performance from Fiennes alongside Anderson’s crew of regulars, including Bill Murray and Owen Wilson.



### The Holdovers (2023) dir. Alexander Payne

“History is not simply the study of the past, it is an explanation of the present,” the curmudge only teacher Paul Hunham (Paul Giamatti) says in “The Holdovers,” a snowy dramedy set in a New England boarding school over winter break. Indeed, when a Focus Features logo customized to look retro flickers onto the screen, it’s made clear that “The Holdovers” is a film concerned with the past. Shot digitally, then edited to emulate film, it’s composed like a film from the 1970s, with Cat Stevens songs playing quietly over long shots of empty school halls and snowy Boston. But the quietly moving pain of the three lead characters, along with the unlikely bonds they form because of it, make this story still deeply resonating in the present day.

When Hunham fails the son of a major donor, his administration-prescribed punishment is to stay at the school and supervise the unruly group of boys “holding over,” the sort of rich, insubordinate brats he despises. Soon, however, most of the holdovers are picked up by one student’s magnanimous father, leaving only a student of Hunham’s named Angus Tully (Dominic Sessa). The head cook Mary Lamb (Da'Vine Joy Randolph), grief-stricken from her son’s death in the Vietnam War, joins them, and the three form an awkward trio, with each member initially concerned only with their own holiday melancholy. Through the events of the film, the three form a genuine bond that transcends their unfortunate circumstances.

The film is anchored by the three strong lead performances, particularly Randolph’s, who has been given the rawest emotional moments and does beautifully with them. It’s a quiet movie, fuzzy around the edges like childhood Christmas memories, and though the plot may not exactly move at breakneck speed I always find myself wishing at the end that Hunham, Angus, and Mary’s stories could last just a little bit longer. “The Holdovers” is a new, offbeat addition to my December movie rotation that manages to be heartwarming without being saccharine and melancholy without being maudlin, despite occasionally falling prey to holiday-movie clichés. 




Unofficial holiday movies

From being first chair cellist in the PHS Orchestra to performing with the Heifetz Institute, Seigo Iwata ’26 immerses himself in the world of music. Iwata has been playing for 13 years, starting the cello when he was only four years old. He plans to bring his passion for music to college, where he will take the next steps in his music career. 

**What is your favorite part about playing the cello?**

I’d say my favorite part is probably chamber music, since I can collaborate with other people. [It’s] a team building kind of thing where everyone has to do their best, because if even one person slacks off, it’s bad.

**Who is your favorite composer? Favorite piece of music?**

My favorite composer is Gabriel Fauré and my favorite piece of music is String Quartet No. 2 by Mendelssohn. 

**What inspired you to start playing cello?**

My mom made me and all of my siblings play a musical instrument from a young age, and we had to continue it through middle school. I made a promise to my mom that if I didn’t like it, I would quit as soon as I went to high school. But then I went to Meadowmount School of Music, I was like, “Okay, I actually want to do this.” Around sophomore year was when I genuinely started to want to pursue music in the future. Mainly, that was thanks to the Heifetz Institute, where I was in a chamber group with two violinists. I got along really well with those people, and it really made chamber music fun for me.

**What was your experience like at the Tanglewood Institute?**

I was in the string quartet program last year, and this year I was in the orchestral program. It was really fun, but it’s a very intense program. It was over the summer for six weeks. I met all kinds of people. For string quartet, it was four hours of rehearsal every morning, from 8:30 a.m. to 12:30 p.m. with coachings. But then for the orchestra, it was only three hours of rehearsal in the morning. For the string quartet, we do two performances. We have one week to learn two or three string quartets and then play them. And then for the orchestra, you’d have three two week sessions.

**What makes the cello unique?**

There’s a famous saying that the cello is the closest to [the human] voice. I think that’s definitely kind of true because a lot of really famous somber pieces ... are written [for] cello. [These pieces] are all very heart wrenching pieces. And I think the cello is definitely the only instrument that ... can produce that sound. But there’s also a lot of drawbacks: we can’t play very high and can’t project as much. But I’d say it’s the most resonant out of the string instruments.

**What advice would you give to someone who wants to play the cello?**

If you want to play cello, I’d say you need to find a viable teacher because there’s so many things you have to get out of the habit of doing, even if you haven’t played an instrument. I played for seven years, and then I met a new teacher, I realized I’d been doing basically everything wrong. I had to completely relearn everything about how I played, and it really helped. 

**What is your favorite part about playing in the PHS Orchestra?**

I’d say my favorite part about playing in PHSO is the musical and the winter concert because  both are things in which we collaborate with parts of the arts department with.

**What is the most challenging part about playing with the orchestra?**

The most challenging part is working with the conductor. I’ve also talked to other musical professionals and ... they all said the same thing of whether the conductor will listen to you, and then whether the orchestra can pay attention to what you’re playing and match that. But it’s mainly the conductor who controls the orchestra. So, if the conductor doesn’t listen to you, you’re just on your own.

**Do you want to play any other instruments?**

I really want to play viola because you can play a lot of different types of music. The cello is great, but sometimes it’s not very useful, because sometimes you’re only given bass notes and things like that. On the other hand, the viola is kind of downplayed. But honestly, a good violist is insanely useful.

Photo: Charley Hu

Seigo Iwata ’26 practices his solo performance piece for the Winter Concert, “Le Grand Tango” by Astor Piazzolla.

Student artist of the month: Seigo Iwata ’26

Sofia DiGioacchino ’26 has always been surrounded by music. Her love for performing started young with the encouragement of her parents and their passion for theater and acting. Her confidence and wide range of singing styles have enabled her to perform on international and noteworthy stages. 
Currently, she co-leads a cappella group The Cat’s Meow, is a soloist for Studio Vocals, and is PHS Choir President. She recently toured with Studio Band in Europe.

**What’s it like singing a capella?**

I love it. I joined Cat’s as a sophomore. It’s such a different experience to create all the music yourself, which is something I never got to experience before Cat’s. A unique part of it is we arrange our own music. So that’s been a side of it that I really enjoy getting to do, now that I’m on the older side of it, I’m arranging the music and collaborating with the other seniors and things like that. It’s so much more fun to put on something you created. 

**How do you prepare for all your performances?**

I have a good ear, so a lot of times I’ve learned songs by playing it and falling asleep to it and putting an AirPod in my ear, because I like to think that subconsciously teaches you it. I don’t know if that’s true, but it works for me. I don’t even need to physically run through it. I just kind of learn everything by ear. I can multitask so I just have things on in the background. 

**How do you handle performance jitters?**

I just have kept performing. I don’t get nervous like I used to. I remember growing up my hands would be shaking. I’d be terrified to get on stage. But now I tell myself before I go on for anything, “Just keep your head on your shoulders, you know how to do it. It’s in your body, it’s in your bones.” And I think that confidence in yourself and preparedness, that’s a huge thing for me. Just knowing your stuff is the first step. Especially when things have really quick turnarounds, like for band, we turn songs around in like 12 hours. 

**Do you prefer singing to music or singing a capella?**

I prefer a cappella when it’s something I’ve written because I know it inside out. I prefer singing with music when it’s not, because there’s something so collaborative about all the instruments coming together in band. There’s something so fun about listening to one of my friends’ solos and then jumping back in. 

**What has been your favorite performance to date?**

This past summer we performed at the Umbria International Jazz Festival in Italy. It was so cool because this is one of the biggest jazz festivals internationally. People fly in far and wide to perform at this place. It’s kind of like Coachella. We’re getting escorted, there’s dressing rooms. We sound checked and you could tell it was professional grade. Then, we do the performance, and it was the biggest crowd I’ve ever been in front of in my life. You’re standing and there’s thousands of people. It was just such an unbelievable experience. I was so proud of myself because I wasn’t nervous. I was just settled with myself because I knew my songs like the back of my hand. 

**What experiences have you had going on tour at PHS?**

I’ve been so blessed to have the opportunity to be on three tours. First, I went on PJO two summers ago, my summer going into junior year. I got the opportunity really randomly. I was going to audition for band my sophomore year, but chickened out because my friend chickened out. [Bongiovi, one of the band teachers,] needed another vocalist at the end of that year, and pulled me aside after I performed in Cabaret for the choir. He was just like, “Do you want to go sing in Italy over the summer?” I was like, “What is that question? Of course!” That was a big turnaround and it’s the biggest blessing in my life. I made some of my best friends, I had the best time in my life. It taught me so much about myself, about performing, to introduce me to jazz which is now my favorite thing. 

For choir, I had so much fun. My roommates were great and I learned so much. We performed maybe three or four times and everything else was learning. And I have the incredible opportunity of going to Europe again next week, which I’m so excited about.

**Who’s your favorite artist at the moment?**

Amy Winehouse and Stevie Wonder. Both in their own ways set the blueprints. I just think that their music is just so perfect to me in both their own ways. It’s very different but I would say Amy more vocally, and Stevie, he broke the mold. 

**Are you planning on pursuing music in the future?**

I definitely am but I’m not applying for a major in college. Everywhere I’m applying I’m either looking at the vocal minor programs or the band, a cappella, choir opportunities that the schools have.

Sofia DiGioacchino ’26 sings “Creep” by Radiohead at Pfarrgemeinde Salzburg Christuskirche in Salzburg, Austria, accompanied by PHS Studio Band.

Student artist of the month: Sofia DiGioacchino ’26

Since “Wicked” (2024) was released, audiences have been “holding space” for the second movie. Over the Thanksgiving weekend, “Wicked: For Good” had flurries of teenagers and adults alike, decked out in green and pink, flocking to movie theaters. The movie completes the story arc established in the hit Broadway musical of the same name.
 The movie picks up after Elphaba, learning of the Wizard of Oz’s deception, soars into the air on her broomstick in the number “Defying Gravity” featuring Cynthia Erivo’s iconic vocal riff. Unfortunately, the Wizard and Madame Morrible start a smear campaign, positing Elphaba as the new Wicked Witch of the West and her best friend Glinda as the Good Witch. Audience expectations for the sequel were high, following the cultural influence of the first movie. “Wicked: For Good” indeed succeeds in exploring new dimensions of Oz and the girls’ relationship, but ultimately, its magic falls flat compared to its predecessor.

Many aspects of the film work to make Glinda the main character, but do so at the cost of Elphaba’s own development. For instance, after the number “Wonderful,” Elphaba makes a (temporary) agreement with the wizard. Knowing her steadfast commitment to protecting animal rights, the audience has a difficult time understanding her intentions in doing this, and the act seems out of character for her. 

Additionally, Elphaba’s freeing of the animals interrupts Glinda and Fiyero’s wedding, resulting in Glinda being left alone at the altar. Although this raises the stakes in an audience-engaging moment, it ultimately makes Elphaba and Fiyero look like horrible people, which slightly dampens their cause. On a production level, the color grading of “Wicked: For Good” is slightly better than that of the first part (and the visual effects during “No Good Deed” are top-tier), but in some scenes, such as Glinda the Good’s speech to the Ozians, the characters still look washed out.

In all fairness, the original Broadway show didn’t leave much substance for the director John M. Chu to work with. The movie takes place over the span of the second act of the show, already criticized for a lack of pacing and enormous plot holes. It’s obvious to see that Chu tried to stay faithful to the original musical but attempted to develop certain aspects even further. For example, the addition of a new song “Girl in the Bubble” reveals more of Glinda’s past and her dreams, something that the original musical didn’t have time to flesh out. 

The movie overall did a decent job at transforming Glinda from a ditzy, selfish blonde, to a powerful figure willing to make a real change, hence the line “I have been changed for good” in the closing song “For Good.” 

Overall, the movie stayed true to the stage show and gave the characters more depth.  And for all the people who have been a “Wicked” fan since the musical, you know your heart skipped a beat when Grande and Erivo recreated the poster image in the ending scene. However, it might be safe to say the gold mine of Cynthia Erivo memes that we got from the Wicked press tour were more memorable than the actual movie. For the average non-theatre kid, “Wicked: For Good” did not defy our expectations but provided enough closure to end this green-pink frenzy.

Wicked: For Good review

On December 18, PHS choirs and orchestras performed in the 80th annual Winter Concert at the Princeton University Chapel. To honor the Neo-Gothic architecture of the chapel, the choirs sang sacred music, and the orchestras finely tuned their instruments to fit the chapel’s echo. 

At the end of the winter concert, the choir program participated in a tradition where they invited PHS alumni to sing Handel’s “Hallelujah Chorus” and “Break Forth, O Beauteous Heavenly Light” by Johann Sebastian Bach with current students. 
To prepare for the concert, the choir members rehearsed their songs in class every day and rehearsed out of school, making sure that they had their pieces memorized.

“Last year we got a lot of one-on-one time with the teachers, but it’s different this year, because there’s a lot more people, so it [was] harder to make sure we got everything completely right,” said Milania Kapoor ’27. 

However, the members of each choir were able to overcome their struggles by putting in hours of hard work and dedication to perform each piece.

The choirs sang a variety of songs from different periods, with a mix of classical and contemporary pieces. PHS Choir performed pieces that were orchestrated so that they could be performed with the Princeton Symphony Orchestra as well.

“PHS Choir [performed] a piece called ‘The Snow’ by Elgar with orchestra with the Princeton Symphony and they [did] with piano at the winter concert. It’s a beautiful piece,” said Vocal Music Teacher Sarah Pelletier.

The repertoire also consisted of songs from different languages, such as Latin, German and Hebrew. The choirs also sang songs of varying tempos, and styles. 

“I’m most excited for when it all [came] together for the concert and being able to perform it for everybody,” said Kapoor. 

The PHS Orchestra students have been practicing since the start of the school year to delve into the composers’ artistic intentions.

“It’s a very grand structure, and so the sounds have a tendency to bounce around a bit. For an ensemble to perform there, it’s a wonderful challenge,” said Instrumental Music Teacher Robert Loughran.

The orchestra will be performing an array of both classical and more modern pieces, including a new Latin flavor.

“‘Le Grand Tango’ by Astor Piazzolla features a solo cellist as well as really interesting orchestra parts. It also actually takes us to Argentina with the rhythms, with the colors that the composer has imagined,” said Loughran.

With a large orchestra, collaboration was essential to ensure a cohesive sound.

“The hardest part of preparing for the concert is trying to put things together and be able to listen to the other people around you in the orchestra, being able to stay together and rehearse off one another. It’s not your part that matters, but how you work with others in the orchestra,” said pianist Chen Jiang ’27.

Besides the classical orchestral instruments, Nassau 2 bass player Bora Akbay ’27 will also be performing alongside PHSO. 
“I’m really confident for the concert. Being a junior in Nassau 2, I’ve had a lot of time to prepare. I feel the most prepared I have, even before Mr. Bongiovi and Mr. Pollack left for [tour], I think they’ve done a great job in preparing me for being able to play the parts that I need to play,” said Akbay.
 
A key component in achieving a harmony of different sounds for one composition is maintaining both a grace with other instruments and a unique quality to individual roles in order to keep the piece cohesive and interesting.

“We played a double bass part, because a lot of pieces don’t have piano parts and for double bass, we kind of have that lowest voice that adds a presence to the songs,” said Jiang.

Photo: Katherine Chen

PHS Choir rehearses “Os Justi” by Anton Bruckner.

Winter concert brings choir and orchestra together

From December 5–15, PHS’s Studio Band toured Europe, performing across France, Germany, Austria, Switzerland, and the Czech Republic. 

The band performed a number of different pieces, each with different styles. Some of their songs included Christmas classics such as “All I Want for Christmas is You,” “You’re a Mean One, Mr. Grinch,” and “Let it Snow.” Other pieces included “Creep” featuring vocalist Sofia DiGioacchino ’26, “This Can’t be Love” featuring vocalist Sanya Bhatt ’28, and “New York, New York” featuring vocalist Jacob Zacks ’28. On the trip, the band recorded an album of holiday music at the Eiffel Tower, where they also performed. 

Each piece came with its own challenges, so in preparation for this trip, Studio Band practiced regularly. Countless rehearsals helped the band to put on smooth performances across each of the five countries they visited, and also make sure that they come together cleanly as a whole. During and after school, they would run through each of their songs and host sectionals, weekly hours-long practice sessions for each section, to work on specific parts with those who played the same instruments. The members of the band also practiced on their own time, perfecting their parts and working through tough sections of each of their pieces. 

“[We had] many night rehearsals. Three hours. Literally no break ... we come in, you take everything out, we warm up real quick, and then we start running stuff. Sometimes we [ran] the entire set, and then sometimes [Mr.] Bongiovi would pick certain spots or certain songs to focus on,” said saxophonist Leah Wang ’28.

Articulation and dynamics were especially important when working with each of these songs, as they performed in numerous spaces with different acoustics.

“The notes are challenging [and] there’s this really fast 16th note line. Articulations and dynamics [had] to be on point and we just [had] to sound together,” said Wang.

Alongside the band, Studio Band vocalists had their own preparations for the trip. They often practiced with the band during night rehearsals, as well as on their own time. Each vocalist worked on memorizing their songs and getting used to what they were singing, ensuring that they were comfortable with how each of their pieces fit their voice part.

“I would say by the beginning of November ... we really had to get this album in shape and ready to record. Recently I’ve been as careful as possible not to use my voice, because the worst thing that could ever happen is me being sick or losing my voice. This is a once in a lifetime opportunity,” said Zacks.

Aside from just the performances, the band had many opportunities to explore the cities and spend time bonding as a group. They visited Christmas markets and museums such as the Holocaust Museum in Germany.

“We got to record an album, which is a super cool experience. And just being in a place where so many really amazing people have made music and also... It was really fun to connect with the people on a trip,” said flutist Katie Schorr ’26.

Studio Band spreads holiday cheer throughout Europe

Cyrus Shams is waiting for a miracle. This is, at its
core, the driving force behind Kaveh Akbar’s 2024 debut
novel “Martyr!,” which opens with a flickering
lightbulb in Cyrus’ bedroom. He interprets it
as a message from God to quit drinking and
pull his life together.

A year and a half later, he’s finding
that his newfound sobriety makes
little difference in his existential
unrest. He’s an aspiring poet, but has a
day job as a medical actor, pretending
to be dying so that medical students
can practice their bedside manner. Both
of his parents are dead: his father due to
a stroke and his mother in the missile strike
from the U.S.S. Vincennes that in real life shot
down Iran Air Flight 655 in 1988. Cyrus has
grown obsessed with the latter event and
the idea of a meaningful death: his
mother was a martyr, he imagines,
and he will be too.

This preoccupation takes him
to a performance artist living out
her last days with terminal cancer
as an exhibit in the Brooklyn Museum.
Through his conversations with her, he gains a deeper
understanding of his identity as an Iranian-American
man, his long, complicated family history, and what exactly
brought him to her in the first place.

Chapter epigraphs contain excerpts from Cyrus’ latest
project: a “Book of Martyrs” written on a Word document
containing elegies for Hypatia of Alexandria, Qu
Yuan, and Cyrus’ mother, among others. “Dreams
give us voices, visions, ideas, mortal terrors, and
departed beloveds,” he writes in one entry. “I want
to die killing the president,” in another. Akbar’s
background is in poetry, and it’s in these entries
that he’s able to fully flex his lyrical muscles.
His prose is nothing to scoff at, though; the
English language is a sandbox for Akbar, words
and phrases molded or manipulated with a kind
of graceful ease that speaks to more experience
with prose than he has as a debut novelist.

Cyrus floats in a strange middle ground between
Iranian and American, too much of one to
belong fully to the other, complicated
particularly because of the American
involvement in the death of Cyrus’
mother. Was she a martyr? Was she a
victim? Cyrus can’t seem to decide.
The book deals in dualities: Iranian
and American, alive and dead (the
dedication is “for the martyrs, who
live”), hilarious and deadly serious.

Cyrus is both self-loathing and self-obsessed, fascinated
by his own existential misery. He trudges through the
novel in a haze of semi-suicidal ennui, methodically
ignoring everyone who cares about him. Though Cyrus’
seemingly endless lamentations about sobriety, God, and
a culture that he opines about more than engages with get
old, his perspective is not the only one given time in the
novel. Instead, it shutters between various members of his
family, with his mother, father, and uncle given a particular
spotlight; his best friend Zee; and himself. Though I
typically prefer the immersion that novels narrated by one
single protagonist give, the multiple perspectives offered
in “Martyr!” allow the reader to have an understanding of
the larger circumstances at play in the plot than just Cyrus’
cynical musings.

“Martyr!,” as suggested by the title, is not a light read, but
it isn’t self-serious either. Often, the dialogue edges into
overly tongue in cheek territory, and the plot, too, toes the
line of unbelievability, but the book maintains a shrewd
self-awareness that helps ground it in reality and mark it
as an enjoyable read nonetheless.

Though Cyrus’ life may seem worlds away from the
average Princeton High School student’s, his story contains
valuable insights into a fundamental human curiosity:
what we’re here to do. At the heart of Akbar’s novel is the
question “What constitutes a meaningful life (and death)?”
Cyrus’ initial stance is living “perfectly enough” without
leaving “a ripple of pain” behind him, like “an Olympic
diver knifing splashlessly into the pool.” But clearly, just not
doing anything wrong isn’t the same as doing something
right. Instead, Akbar proposes, though art may never be
sufficient in correcting the world’s many shortcomings, it
can give purpose and beauty to life, and isn’t that enough?

“Martyr!”: a thoughtful reflection on humanity

Dancing has been important to Joselyn Winslow
’26 ever since she was young. Introduced to it by her
mother, Winslow has been dancing all the way until
and throughout high school, where she continues
to practice the art. At PHS, she not only dances for
the annual Black History Month assembly, but she
also continues to explore her passion for dancing
in her free time.

**What types of dances have you done?**

I did ballet for a really long time in high school,
but throughout my whole life, I’ve done hip hop,
tap, and contemporary dances.

**What is it like dancing for the Black History
Month assembly?**

It was really good to dance for the Black History
Month assembly, because I was dancing not only
for me, but I was also dancing for everybody
that’s [a part of] my culture. It’s also nice to show
other people my culture and our dancing style. To
prepare for the assembly, I practiced a lot in order
to achieve the tricks and moves.

**What does dancing mean to you?**

[Through] dancing, I am able to express myself
[and] be able to put how I’m feeling not in words,
but into my body … and also inspire others. It makes
me feel free in a different way and [allows] me to
show my feelings without being judged.

**How do you prepare for performances? How
do you normally practice?**

I usually stretch and listen to pump up music. I
would normally practice in a room that has [lots]
of space with a mirror. I’ve been practicing in my
room and literally anywhere.

**What is your favorite memory from dancing?**

I would say when I brought my best friend into
dancing. When I was a freshman … she wasn’t
really into dancing [before]. I think that was one of
my best moments to see her learn ballet.

**What are some challenges that you have faced
before, and how did you overcome them?**

A challenge I faced was just not wanting to go to
ballet practice. But, I have to understand that, this
is something that I do love, and it’s something that I
plan to do in the future, and I want to get better at.
So if I want to, I have to keep going at it.

**What do you consider the most challenging
about dancing?**

When you can’t get the counts, miss a step, or
mess up, [especially when] you’ve done it multiple
times. And technique is not too hard, but you can
do something perfectly well and then forget to point
your toes and have to redo it.

**What are your future goals with dance? Do you
see it continuing to be a part of your life after
high school?**

I know I’m going to focus on my major, which is
nursing and education. But I think that once I actually
have a secure job and money, I will become either a
dance teacher or a dancer again and have my own
studio. In college, I plan to pursue it in college as long
as it doesn’t interfere with my major.

**How has dancing changed for you over the years?**

I feel like dancing made me who I am today. If
I didn’t dance, I wouldn’t be Joselyn. I feel like it
sculpted me, in a way.
If you could share a piece of advice for rising
dancers, what would it be?
I would say, don’t quit, even if it seems hard or
annoying, [especially if it’s] what you want to do. It
makes you who you are at the end of the day. And I
think that you should keep pushing until you can’t
push anymore.

Student artist of the month: Joselyn Winslow ’26

A multi-talented performer since childhood, Konrad
Hedges ’26 has been dancing since he was three, singing
since the age of nine, and acting since sixth grade.
Now in his senior year of high school, he’s juggling a
cappella, theater, and auditions for college so he can
turn his passion into a career. Hedges plans to attend a
musical theater program to expand the community he’s
built around musical theatre, but still stand out with his
signature comedic style.

**How would you describe your comedic style in
acting?**

I think comedy is a genre that comes really naturally
to me. That’s something that’s sort of just ingrained in
my personality, which is why I often play comedic roles.
I also love dramatic roles, even though I haven’t gotten
a chance to play those as much. In musical theater
college program auditions, you have to do a comedic
monologue and a dramatic monologue, a comedic song,
and a dramatic song. The programs that I’m auditioning
for definitely look for dichotomy within a performer.

**How have you grown as an actor and singer?**

As an actor, you’re always growing and developing
your art. Acting is a very unique art form because you
get better at it the more you progress through life.
Acting is based on emotional experience, and unlike
dancing, your acting gets deeper and deeper the more
you age. In terms of technique, I’ve been training for
almost a decade now, and it’s really just consistency and
discipline that is gonna get you to grow more as both a
dancer and a singer, but it is your love for the art form
that will bring it alive.

**What was your experience doing theater in middle
school like?**

I met some of my closest friends doing shows at
Princeton Middle School, and I knew I always wanted
to be a performer, but doing the musicals at PMS really
solidified that for me. Just being able to work with such a
close, tight-knit group of people that were so passionate
about putting on beautiful and incredible productions
was so enlightening to me, and showed me the beauty
that was possible in theater, and really made me want
to spend the rest of my life doing it.

**What is it like to be a member of Around 8?**

Around 8 is so much fun. The social aspect of it
is just as important as the incredible performances
that we put on. I’ve gotten to know these people in
my a cappella group Around 8 so well, and I love
all of them so much. I personally thinkd you get to
know people in a way that you never usually would
by creating art with them, and I think that’s beautiful.
Joining an a cappella group at PHS is one of the best
ways to discover your own personality and identity
by creating art with others.

**Do you have any specific dream roles or musicals?**

Yes, I have a list. I’m so glad you asked. Here are
my top three as of right now: Anthony in the play
“I & You,” the baker in “Into the Woods,” and Oliver
from “Maybe Happy Ending.” “Into the Woods”
is phenomenal, a brilliant exhibition of human
psychology and behavior, and also just beautiful.

**What advice do you have for people who would
want to follow in your footsteps and go into that
same kind of career?**

Don’t follow in my footsteps. You can use me as
motivation, but focus on your own footsteps. Love
what you love and never be apologetic for it, put the
work in, be disciplined, and be consistent, show up
every day. If you do that, you will be great.
Where do you see yourself in the future?
I see myself hopefully using the art form that I’m
pursuing to make the world a better place. I really
think that musical theater is an art form that has
such a wide reach. So many people go to Broadway
and they love it. I really do think that musicals can
teach people to watch other people storytell, and that
allows them to empathize with people that they might
not ever notice. That is something that is incredibly
beautiful and powerful about musical theater. 

Student artist of the month: Konrad Hedges ’26

Earning another summoner’s belt, South Korea team T1 didn’t just win Worlds 2025; they reminded the world why their dynasty refuses to die. League of Legends is a multiplayer game where two teams of five players each try to destroy the other team’s nexus. Every player controls a character known as a champion, each with special abilities and roles. The game uses strategy and teamwork as players try to out-battle and out-smart the opposing team. The strategy, competition, and organized leagues make the game an esport that has been growing in popularity since its creation.

 T1 defeated fellow South Korean team KT Rolster in a dramatic 3-2 series to win the 2025 League of Legends world title on November 9 in Chengdu, China. This win marks T1’s dominance, as they are the first team in League of Legends history to win three consecutive world championships, making this their sixth world title.

On average, roughly 6.7 million people tuned in to watch the final between T1 and KT Rolster. The event also held massive opening ceremonies, featuring K-pop stars, popular singers, and lifelike animations. The game even produces new songs every year for this moment. 

“My favorite part was definitely the Grand Finals, just watching T1 and KT go back and forth was crazy. Every game felt super cool and like it could flip any second,” said Sahil Ponnada ’29. “The hype and the crowd was all super energetic and made me feel really part of the moment.”

T1, along with KT Rolster, were two of the four teams sent by the League of Legends Champions Korea (LCK). The rivalry between the two teams gained so much significance in the world of esports that it became known as the “Telecom War,” stemming from the fact that both teams were founded by major telecommunications companies: SK Telecom and KT Corporation. The rivalry between their organizations is not limited to League of Legends; it began in StarCraft in the early 2000s and continues in other competitive games and sports like basketball.

Stars such as Faker, who first went viral back in 2013 from a clip demonstrating his skills in a solo mission, drew in further interest towards the game. He later earned an exemption from the Korean mandatory military service by earning a gold medal in the Asian Games, allowing him to play in future League of Legends events. 

“I think [Faker] is gonna keep going until he gets bored of it. This is the LeBron James of esports,” said Edward Yin, a Computer Science Teacher. “League of Legends is competitive. It’s a thing of national pride, right? So in a certain sense, he represents Korea on the world stage for a competitive event.”

From the opening ceremonies to the very end, the League of Legends tournament has gained popularity from across the globe while also elevating the game and its community. As this year’s tournament has drawn to a close, the future of the esport appears to be bright.

League of Legends: the center of esports

In 2003, English Language Learner (ELL) teacher Michael Klinger took a simple photograph on his trip to Guatemala:  bare-faced and bare-footed, children stared from their dirt-floor huts. More than 20 years later, he sees the image as a motivator for the work he does everyday for students at PHS that come from realities nearly identical to those in the photograph.

“A Princeton High School diploma for this kid is amazing,” said Klinger. “This really puts your work into perspective as well — the idea that these students become the same students that graduate with high school [diplomas]”.

For decades, the unspoken agreement within ELL classrooms has been simple: if a student sits passively to the side without causing any trouble, they receive a passing grade, regardless of their level of engagement. Klinger described this as an entrenched tradition in line with the “soft bigotry of low expectations,” referencing George W. Bush’s speech addressing an annual NAACP conference in 2000.

“I think that a lot of American schools, including these here, have been guilty of that,” said Klinger.

To dismantle this trap, PHS’s College Counseling and ELL Department are launching a renewed partnership this December to reshape the district’s support of ELL students. By breaking down communication gaps, they hope that their mission to support these students will be fully realized.
“Right now, [we’re] more of a team, which is what we need,”  said Nipurna Shah, PHS’s College Counselor. “We just [need] to communicate and work together. You can’t be successful in a silo or working against each other.” 

Shah’s approach to college counseling is central to the new partnership: she offers individualized support to every student that comes through her doors by upholding the dreams of the students.
“We want to set students up for success,” said Shah. “We want students to have opportunities and open pathways to really reach whatever goal it is that they want to do.”

Back in the classroom, Klinger mirrors Shah’s ambition for the students, but believes that seizing those opportunities requires a fundamental shift in academic expectations.

“I’ve started to give the kids quizzes every week, and they’ve never had quizzes before,” said Klinger. “We had some quizzes today, and the kids did not study, and the results were not good.”

For Klinger, however, these failures are not a reason to retreat to the old, softer standard: instead, they are stepping stones towards building genuine agency. He views his efforts in increased rigor as “growing pains” for students who have rarely been asked to take ownership of their learning in the past.

“You have to have these moments of maybe stumbling and falling on your face for them to get the message of ‘No, I’m serious [about] my expectation that you spend some time studying,’” said Klinger. “That you’re actually committing some of your own personal mental energy. You’re not just sitting there passively, because that’s what’s happening.Too many of our kids are just sitting passively through their days and not learning enough.”

The increased rigor is also paired with an introspection into how material is taught. Klinger explained that, for too long, high school English teachers attempted to teach literary analysis to students who still needed support with foundational literacy. To address this, he has begun to work with experts like Sarah Moore, an elementary school literacy specialist, as well as Dr. Solange Murphy-Lopez at The College of New Jersey to redefine the program’s approach towards phonology and basic reading instruction. 

By aligning the curriculum towards students’ true needs, Klinger hopes that the program moves toward empowerment rather than pity.

“When we’re throwing seven hours of English at these kids a day, and then they don’t understand 90 to 95 percent of it, that’s frustrating ... they’re normalizing tuning it out,” said Klinger.

Raising the bar within the classroom is only half the battle, however. To ensure that students have support beyond their four years at PHS, the College Counseling Office helps students navigate the bureaucracy of the enrollment and scholarship process.  Shah also acknowledged that a four-year university can sometimes be out of reach, especially for students that need to work to support families at home and abroad.

“I want to meet the students where they are, I want to listen to what their goals are and then help them provide the pathways to get to that goal. And that’s the same whether you’re an ESL student or whether you’re a ... student in any population,” said Shah. “I don’t tell them, here’s what you need to do, X, Y, and Z.”

Through the 101: Fund scholarship, PHS students can receive complete tuition support for two years at Mercer County Community College, giving students a stepping stone into higher education as some still try to figure out their future.

“Two free years of college ... Why not take advantage of a unique opportunity that’s only at Princeton High School? There are no other high schools that have this scholarship program,” said Shah.

Even with free tuition on the table, Shah recognizes that immediate employment is a necessity, not a choice, with some students working over 40 hours to support their families. To that end, Shah’s goal is to ensure that bureaucracy is never a hurdle in the scholarship application process, and that every student receives individualized support to set them up for success.

Dr. Andrea Dinan, director of the IDEAS Center, has come to better understand the experiences of students from immigrant communities through her work with first-generation students. For her, helping is walking a fine line between caring and being overbearing.

“We have to respect the kids’ dreams. It’s really easy for anyone that starts working with kids with such sad stories to start feeling bad. They want to be their savior,” said Dinan. “That’s not the way to do it. You got to find out what the kid wants.”

With these challenges in mind, the ultimate goal of the new partnership is to foster agency among students. The staff hopes to replicate the success stories of ELL program graduates like Carolina Soto ’17. After graduating from PHS, she served in the military police through an ROTC program and is now an education major at Dickinson College. Soto plans to return to PHS as a part-time ELL and part-time Spanish teacher.

For now, Klinger is steadfast to a simple goal within the ELL program: help his students learn English. Working single-mindedly to this singular goal then gives students the agency to make the right decision for their own futures.

“We can assist them, and we can encourage them, and we can present options to them,” said Klinger. “But that’s [the] agency. That’s respecting them as autonomous, human beings that have come to this country with a plan, [and] have come to this country with a vision.”


Photo: Michael Klinger

On his 2003 visit to Guatemala, Klinger saw the plight of children in the country. In his classroom today, his work aims to build up students from nearly identical circumstances. 

Beyond the “soft bigotry of low expectations”: Redefining success in PHS’s ELL programs

Breakdancing isn’t just spins, flips, and crazy footwork — it’s a cultural movement. Though breakdancing was created by Black American and Latino youths on the streets of New York City during the 1970s, this style of dance has now grown into a worldwide phenomenon. 

Today, it shows up in music videos, competitions, and even the Olympics. Breakdancing made its first and only Olympic appearance in 2024, and has since then been removed from the Olympic catalogue of sports.  Nonetheless, the Olympic debut remains a memorable moment for those who saw breakdancing as a sport more than an art.

“I think breakdancing is very impressive and entertaining to watch and requires lots of skill,” said Claire Hua ’27. “I was disappointed they took it off the Olympics because I liked watching it.”

With dance trends spreading through social media and school events, breakdancing cannot only be seen as a global art but also as a way of expression. 

The art of breakdancing corresponded with the rise of hip hop. DJ Kool Herc, a Jamaican-American DJ and nicknamed the “Father of Hip-Hop,” founded it at the age of 18 in the Bronx. During extended instrumental drum breaks, breakdancers had a chance to display their skills in front of the crowd. Early breakers — the term for individuals who practice this form of dance — developed and created unique moves such as the top rock, six-step, and power spins.  Later on, in the 1980s, breakdancing began to reach larger crowds as famous artists, including Michael Jackson, started performing it during concerts.

Over time, breakdancing has become more than just a dance, but a form of expression and rivalry between neighbourhoods. Crews and teams formed around the globe soon after battles in New York popularized. Even right now, the Pro Breaking Tour invites dancers from across the globe to compete in Los Angeles, California.

During the pandemic, it was announced that breakdancing would be at the 2024 Olympics, and breaking had a huge surge in popularity. Breaking competitions became popular over Zoom calls and facetimes between people. Lots of breaking studios held cheaper online classes so people could learn the sport and art of breaking. As a result, it became very popular and helped sustain breaking studios throughout the tough economy during the pandemic. 

Recently, the Redbull Dance Competition was held in Los Angeles, where breaker JAIRA Joy took first place, defeating the previous champion, Waackxxxy, in the final. The Redbull Dance Competition is the world’s most respected dance competition, where individuals from all over the globe are brought together to share their creativity and talent. Breakdancing battles are not only judged through skill and power moves, but also taking into account musicality and originality. 

“I think break dancing is very impressive. I respect it so much for those who can breakdance,” said Jessica Zhang ’26. “It’s very impressive and admirable to see how people can move and control their body in so many different ways to express certain feelings.”

Today, breakdancing continues to inspire and intrigue many of the youth, whether that be in schools or at home. Competitions, talent shows, and school events allow break dancers to show off their skills and creativity.  What began as a street dance in the 1970s has now grown to become a form of art and expression for students who enjoy music, movements, and freedom to create their own style.

History of breakdancing

#

### Experience the 250th Anniversary of the Battle of Princeton 
*January 4, 2026 - 9:30 am to 12:00 pm*

Celebrate the 250th anniversary of the pivotal Battle of Princeton with the Princeton Battlefield
Society! The event will feature a historically-accurate reenactment of the Battle featuring more
than 350 actors and a memorial ceremony afterwards. Attendees will also have the opportunity to
tour the Thomas Clarke House, one of the most historically important sites in Princeton, and will
be provided with free coffee and hot chocolate. Although registration is required, the
semiquincentennial of this important battle shouldn’t be missed!

### StuCocoa Day
*January 8, 15, 22, and 29, Flex Time and after school*

As the bitter frost of winter sets in, students may find themselves struggling to grapple with the
cold weather, especially after a tiring day at school. Luckily, on the Wednesdays of January,
Student Council will be selling hot chocolate as part of their annual StuCocoa fundraiser outside
the PAC. There will also be toppings like whipped cream and marshmallows for you to add,
creating the ultimate after-school cold-combating combo!

### Winter Club Fair
*January 26*

Clubs are an integral part of the PHS student experience — it's a place to explore passions and
build friendships. On January 26, the club fair will return for clubs and students alike to explore
their interests or sign up for a club that may not have been at the fall club fair. Happy clubbing,
PHS!

### January Big Band Dance
*January 30th, 7–10 p.m.*

Join PHS Studio Band and Jazz Ensemble for a night of music ranging from jazz classics to pop
hits. Refreshments will also be provided by the PHS Band Parent Association. Get ready to
dance in your finest under the bright lights of the PHS Cafeteria!

January 2026: Save the Dates

For over 50 years, the EPA has been responsible for ensuring that American air and water is safe. December 2, 1970 marked the inauguration of an agency that has unilaterally brought monumental benefits to the American quality of life — from tackling forever chemicals like PFAS in our water to working with global partners to fix the growing gap in our ozone layer. The EPA is the one agency to which we can attribute tangible change and benefits for Americans across all strata of life. Because the environment doesn’t discriminate — regardless of social status or party line, a warming atmosphere chokes everyone equally.

Yet now, the EPA’s mission has shifted significantly, and politics has entered the arena of environmental protection in a way never seen before. The EPA’s mandate has been warped and its authority diminished. EPA Administrator Lee Zeldin has openly reframed the agency’s purpose, saying that the agency now aims to “lower the cost of buying a car, heating a home and running a business.”

Let’s be clear: the EPA’s job should not be to make buying a home more affordable. It should be to make sure that our homes aren’t poisoning us, and our cars aren’t producing emissions that burn our lungs. The EPA, by its principles set out in Rachel Carson’s “Silent Spring,” ought to operate separately from the free market. Capitalism already does well enough of a job of cutting the most corners and finding the cheapest solution possible, often at our expense. We must not forget the impetus of Carson’s novel: that the toxins released into our environment are often invisible to the naked eye, yet their effects are very real on the human body.

These changes couldn’t come at a worse time. With the global AI boom, the United States is quickly becoming the nexus of new data centers to power massive AI engines. And this all comes at a harrowing energy cost. For the first time in over two decades, electricity demand is on the rise again. Now more than ever, we needed the EPA to step in. To regulate and to fulfill its initial mission set in motion by Carson’s book. 

The changes at the EPA are supposedly part of a broader campaign to put America first. Yet taking a step backwards in energy regulation does anything but and betrays the American people. A systematic gutting of the agency by firing scientists, cutting funding, and staffing industry lobbyists cripples the agency’s very foundation. Through the elimination of regulations like the “Good Neighbor Rule,” a policy which mandated states to address pollution drifting across borders, the EPA essentially absolves corporations of any accountability for the toxins they create. Federal changes affect New Jersey and Princeton directly — dirty air minds no borders, but neither should our resolve. We must urge our lawmakers to put the climate agenda first, for both our lives and our livelihoods.

As PHS students go out to vote, make the environment a top issue on your ballot. Because while the economy or education could seem important, none of it matters when our health is being directly undermined. It is an invisible virus with lasting afteraffects. Remember that your fight matters, and it has tangible consequences for your community. In the absence of clear, concrete, and measurable regulation, it is time we realize that where Washington D.C. has stepped away, Trenton must step in.

It’s beginning to look a lot like...a climate crisis

Making resolutions has become an advent for the new year. After all, the blank pages of our new journals and calendars need to be filled with something new. In need of inspiration, many students turn to social media for guidance on what they should achieve in the upcoming year. 

Unfortunately, social media is fake — and characteristically so. In order to succeed on the algorithm, creators often need to present the most perfectly aesthetic side of their lives and deliver the most shocking statements. Most of what we see online are carefully curated and artificial, with no reliable way to confirm which lifestyles are truly authentic. If our resolutions are built off of these unrealistic online influences, they can at best lead to disappointing outcomes and at worst cause lasting damage to bodily and mental health. 

One popular new year’s resolution for students is to pursue new academic goals. Aesthetic “Study-tok” and “That Girl” videos, for example, that show unrealistically perfect routines, pressuring students to believe overachieving goals are practical. For example, many videos may include ideas equating achieving a 4.0 GPA or learning a new language in an absurdly short period of time to being a “perfect” or “ideal” student.
 
Fanciful academic resolutions are not the only unrealistic expectations pushed by social media; there are also athletic or appearance-based goals. For instance, the pressure to “glow up” can cause teens to question their body image and develop negative self-esteem, often leading to eating disorders. The constant stream of “what I ate in a day” videos or cleansing challenges can lead impressionable audiences to make nutritional decisions without professional nutrition knowledge.
 
In the end, each person knows themselves best. When setting goals, it is important to consider what one knows they are actually capable of and what their situation allows for. For example, trying to squeeze in more hours of studying into an already packed schedule could cause burn out and negatively impact future performance. Aiming for a complete physique change in a short period of time can lead to the development of unhealthy exercise habits and cause injury. 

Rather than aiming for lofty, unrealistic goals motivated by social media’s expectations, it could be better to break these goals down into smaller, more specific objectives, such as exercising three times a week or cutting down on fried foods. These kinds of resolutions are not only specific to each person, but also more simple and reachable, making them more likely to be achieved. 

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