Coleman challenger says he is ‘open to anything’

By Tammie Clark

Detroit, MI

New Jersey Republican congressional candidate Daryl Kipnis is “open to anything” to help people who are in need. In his race in the 12th Congressional District, a Democratic stronghold, he’s emphasizing his moderate platform in an effort to appeal to both liberal and conservative voters.

Kipnis said in a news conference at Princeton University earlier this month that the district’s current representative, Democrat Bonnie Watson Coleman, blindly votes against any policies proposed by Republicans without considering what would be best for New Jersey residents. When asked about his qualifications that would set him apart from Coleman, he only continued to discredit Coleman’s credentials.

Kipnis also discussed the high cost of living in New Jersey and proposed creating a “rainy day” account that could help residents undergoing various financial hardships, like losing your job, or car trouble. “My focus is what’s going on in your life and how I can help you,” he said.

While he was not immediately open to raising the minimum wage, he did not seem entirely opposed to the idea.

“If the minimum wage is just too low,” he said, “then a conversation can be held to see where it could go.” He repeated that he was “open to anything” because he could see how an underprivileged family might suffer from applying to his “rainy day” account if their income and saved funds were too low.

Unlike a typical Republican, Kipnis tread lightly on the issue of immigration to appeal to Democrats. He said he was open to immigration, and doesn’t believe in mass deportation.

“The ceremony of becoming a citizen is amazing,” he said.

Kipnis said that the cost of obtaining documents for the legalization process should be reduced because it could cost more than $700 for the application fee and background check to cover the application for naturalization. However, Kipnis was not open to accepting all immigrants, going as far as categorizing some immigrants as “good” or “bad.” 

“It’s not my place to tell people what to do,” said Kipnis with regard to abortion. Kipnis added that he would not let his personal views or religion get in the way of deciding how to handle the issue.

Trump’s rhetoric is harmful, reporters say

By Kayla Ricumstrict

Detroit, MI

Though journalists are facing higher levels of mistrust and physical intimidation, two journalists say their work feels more important than ever.

In talks at The Princeton Summer Journalism Program, Gabriel Debenedetti of New York Magazine and Megan Garber of The Atlantic spoke to a small group of student journalists about the problems facing journalists in the age of Trump.

Criticism is a part of the job for journalists, but Trump’s words have made it worse. “The failing New York Times and the Amazon Washington Post do nothing but write bad stories, even on very positive achievements,” the president wrote in a recent tweet, “and they will never change!”

For some reporters, this mistrust has turned into intimidation—and even violence. At a recent Trump rally, a woman gave CNN reporters the finger. Verbal attacks and offensive gestures are only two of a number of issues journalists have to face. “I know a lot of political writers who’ve felt under physical threat,” said Debenedetti, who covers politics for New York. “That is not something we should get used to, and we should not just say ‘that’s just okay, that’s just what it is.’ We shouldn’t have to deal with that.”

Garber, the Atlantic staff writer, agreed. “There is a feeling of fear, I have to say, among journalists,” she said. “People will feel entitled to send me all kinds of terrible feedback, and I think that’s a very common experience for women. I’m pretty sure it’s worse for women of color.”

Intolerance for women and people of color is also a problem within the newsroom, said Garber. That has weakened the public’s trust in journalists because many people don’t see their stories represented. “Journalism has been a profession dominated by white men,” said Garber. “I think people now are responding to that narrowness by resenting journalism overall, but I don’t think that’s fair.” Despite that, Garber is excited to see more diversity. “We are getting more and more people into journalism, more and more voices,” she said. Those people are “able to share their own experiences to tell the stories of people whose stories weren’t always told before.”

Beyond history, ‘Hamilton’ offers lesson in dangers of ambition

By Raho Faraha

San Jose, CA

You have married an Icarus,” sings Phillipa Soo broken-heartedly in the hit Broadway musical ‘Hamilton.’ Soo plays Alexander Hamilton’s wife, Eliza, who is devastated after finding out her husband had an affair with another woman. She continues:  “He has flown too close to the sun.”

This show is known for using an unconventional medium—musical theater—to teach history, and also for exclusively casting people of color to play America’s white founding fathers. But ‘Hamilton’ is also a lesson on the danger of ambition mixed with arrogance.

In the musical, Hamilton is portrayed as a highly-intelligent, headstrong, and ambitious character at the forefront of America’s birth. His ambition was fueled by a need to escape his penniless past in the Caribbean. To join New England’s elite faction, Hamilton becomes a major general in the Revolutionary War and marries Eliza Schuyler, the daughter of a decorated war hero. Over the course of his life, his drive turns him into a power-hungry politician who becomes Secretary of the Treasury. But he still wants more.

His arrogant and overly sensitive nature stem from a place of immense insecurity. But ambition can only hide deep-seated insecurities for so long. 

Icarus fell from grace when he ignored his father’s warnings, while Hamilton fell from grace when he published the Reynolds Pamphlet, needlessly exposing the intricate details of his affair and ensuing extortion. Both Icarus and Hamilton allowed their ambition to get the better of them. Ambition can be an asset, but these stories should serve as a warning: Don’t fly too close to the sun.

Gen Z finds its voice in sublime ‘Eighth Grade’

By Lauren Herandez

Palm Harbor, FL

Imagine a 13-year-old girl vlogging to ultimately no viewers without a stitch of makeup. She talks about how to solve life issues and navigate daily struggles. This is not an uncommon trend among the younger generations; vlogging can help young people feel a sense of togetherness even when there may not be anyone else. ‘Eighth Grade’ is one of the first films to accurately represent what happens in many young teenagers’ lives instead of romanticizing them.

This is a nuanced coming-of-age story similar to those of John Hughes movies—with a 2018 spin. It thoughtfully captures what it is like for Generation Z, raising an important lesson not taught in other movies: It displays sexual misconduct between the main character, Kayla, a 13-year-old girl, and an older boy. That scene is hard to watch, but it was necessary: The feeling of her shame resonates because it is a realistic portrayal of the real world situations many women have experienced.

Kayla (Elsie Fisher) evokes the emotions many teenagers feel and captivates the audience with her portrayal of a teenager who experiences the effects of social media and anxiety. The character’s radical empathy juxtaposed with that of her peers makes her stand out—which illustrates how the younger generation is part of a disengaged culture. This is apparent when Kayla hands a note to her peer, who does not look up from a phone.

This movie also displays the dynamic of a father-daughter relationship. The movie displays not only the child’s difficulties, but the parent’s struggles raising a child. The film explores the ultimate bond with a heartfelt talk many children experience.

The director, Bo Burnham, a famous YouTuber, was well-equipped to direct this movie. The rhetoric used throughout the movie and the vlogs conveys Burnham’s understanding of the age demographic. Burnham made a movie about the struggles of vlogging—which he also knows—from an adolescent perspective while incorporating real life generational issues many struggle with.

‘Eighth Grade’ lives up to expectations, demonstrating its cultural awareness far better than typical movies.

‘Waltz’ is a tale of love and tenderness

By Nicole Chow

New York, NY

Anxious breathing in the waiting room. A monologue uncovering emotions. Quaky legs locked in nervousness. This is how the character Anna opens Princeton Summer Theater’s production of ‘The Baltimore Waltz,’ a play by Paula Vogel.

Anna is waiting for the diagnosis of her brother, who has AIDS. Vogel, whose brother died of AIDS, based the play on real life events. But in a twist, Anna and Carl switch perspectives in the play. Anna becomes the one who’s contracted a strange illness—ATD: Acquired Toilet Disease—which she supposedly caught from using a public bathroom while teaching in a elementary school.

The two characters go on an adventure around Europe, where Anna goes on a sexual spree. This sexual desire comes from one of the stages of coping with the acknowledgement of your own death—lust. The first night they arrive in Paris, Anna starts to face these stages. At one point, she begins to fantasize about the idea of death, standing in the middle of the stage with gloomy light and a soft presence. “This is how I’d like to die, with dignity,” she said.

The play was marvelously performed by Abby Melick, Sean Peter Drohan and Evan Gedrich. From the acting to the technical elements like lighting, sound and stage design, the play was impeccable in every sense. Sure, there were stutters, maybe a couple, but the level of professionalism and meticulous movement was impressive. I was sitting dead center, seat 105, and let me tell you, it was the best seat in the house. From that point of view, I was in the middle of it all. I was the dream the characters looked up to, the audience they spoke with. Every placement and movement of each actor was strategic and poetic. The lights and the colors illuminated the stage as so that it illustrated the mind of the characters. The music served to set the time and feeling, the unimaginable beat of the moment. Whenever two characters stood in center stage, the beautiful imagery would remind me how important angles are in a story, both physical and mental.

There are symbols in this play, most prominently stuffed bunnies, one of which Carl seems too attached to. Carl and another character smuggle bunnies here and there, hiding something inside of each—not quite drugs, but meaning. But what are they trying to keep and hold so dearly on to? Is it life and hope? Drugs? Health? A cure?

Running into the hospital room, jumping into the bed and screaming for help, Anna begins to end the play, revealing that everything that took place after her and her brother switched perspectives isn’t part of the real world; it relied on Anna’s mind and her fantasies.

The play ends with Anna and Carl dancing a waltz, him in a suit and her in the only piece of clothing she’s been wearing throughout the whole story—swift and energetic moves, parallel to the way they lived, yet so full of love and tenderness.

‘BlacKkKlansman’ reinforces unfortunate stereotypes

By Auhjanae McGee

Detroit, MI

In his work, Spike Lee, an African American filmmaker, tries to straddle the line between accurately portraying the black experience and making those experiences palatable for a larger audience. His most recent film, ‘BlacKkKlansman,’ skillfully does both, hitting the viewer over the head with symbolism and real-world allusion to blackness while also appealing to a demographically diverse group of people.

‘BlacKkKlansman’ has an interesting and unique premise: A black detective in 1970s Colorado goes undercover with the help of his white partner to expose potential dangers in a local chapter of the Ku Klux Klan. John David Washington, the actor who portrays Ron Stallworth, also known as the Black Klansman, calls his local chapter of the Klan and uses his “white voice” to pretend to be a racist white man in order to set up an undercover investigation to expose the wrongdoings of the organization. While the film expertly grapples with ideas of black assimilation in a white America, it is also littered with problematic black stereotypes.

The most prominent issue of ‘BlacKkKlansman’ is the reinforcement of stereotypes that contribute to the exploitation of African Americans in film. The idea that certain races speak in particular dialects and that “white” dialects are the most acceptable permeates throughout the entire film. One could argue that Stallworth pretending to be white over the phone is crucial for him to have gotten his foot in the door with the KKK. But by the ending, when he reveals his “black voice,” it’s clear that his eloquence and diction are supposed to be seen as an act—a white act.

Furthermore, Patrice, a black female activist and president of the Black Student Union at a local college, is an exceptionally flat and static character. Her only role is to stand for “black power” and oppose the police force, perpetuating yet another stereotype: that black people hate all cops. Lee’s exploitation of these assumptions is harmful to black people who see their race being reduced to overly-defined clichés, and simultaneously beneficial to white people who can feel comfortable hanging on to potentially problematic views they may have on the black race.

‘BlacKkKlansman’ does make the effort to depict Stallworth as a sort of mediator between two polarized sides. While that’s much needed in our current political climate, the effort could have been stronger. And the underlying issues hold this film back from realizing the type of true-to-life nuance that other movies that deal with the black identity in America — like Get Out — achieve.

Although Lee is an African American who can be said to be “of the culture,” he does not have a free pass to exploit the black characters whose stories he chooses to represent. The film is great for patronizing white liberals who want to champion the defeat of horrible racists at the hands of people of color. But if black audiences expect to see the trials and dynamics of being an African American cop undercover as a Klansman, they will be sorely disappointed.

Underdog congressional candidate demands reform of judiciary

By Emiliano Davalos

Chicago, IL

Republican Congressional candidate Anthony Pappas—who is running against Democratic rising star Alexandria Ocasio-Cortez in New York’s 14th congressional district—showed up to his very first press conference with documents of his divorce along with a towel in his bag.

To start the press conference, he quietly lectured 40 student journalists from The Princeton Summer Journal about a case in which a young person was sterilized, scribbling the words “fallopian tubes” and “testicles” on the chalkboard behind him. He then argued that judges were allowing such tragedies to happen. He held out his towel to depict how a mother might hold up a child, and explained a court case in which a woman, at the age of 15, had been unknowingly sterilized—while being falsely told that the surgery was to remove her appendix. “Judges are above the law,” he said, explaining that he was fixated on reforming the judicial system.

In a district where Democrats hold a 6-to-1 majority, Pappas is running without much support from the local or national Republican party. He devoted the majority of his press conference to discussing his 2009 divorce and arguing that the judiciary system is corrupt. At one point in the press conference, Pappas asked someone in the room to validate the legitimacy of documents from his divorce proceeding. These documents alleged that he had committed domestic violence, resulting in the need for reconstructive surgery for his wife.

Although Pappas believes that not all judges are corrupt, he sees his divorce as part of a systemic problem. “We are gods, you can’t question us,” he said, characterizing the attitude of judges. He alleged that the judge on the case had “threatened retaliation on me” and “hallucinated that I committed a major crime.”

Not all people who win elections are experienced politicians, so why, you might ask, can’t an eccentric-seeming candidate who has just held his first press conference manage to become a congressman? Then again, in a heavily Democratic district, Pappas faces long odds, and his opponent’s campaign appears confident. Ocasio-Cortez’s senior advisor, Saikat Chakrabarti—who held a press conference with The Princeton Summer Journal following Pappas’s appearance—put it this way: “I think she is going to win.”