FASNY Headmaster Retires - Franco-American School of New York

FASNY Headmaster Retires - Franco-American School of New York FASNY Headmaster Retires - Franco-American School of New York

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6WorldJu n e 2012The Beast Lies WithinBy Maddie King“The Afternoon wore on, hazyand dreadfu(…; the sow staggered her wayahead of them, bleeding and mad, and thehunters followed, wedded to her in lust,excited by the long chase and the droppedblood.…. They were just behind her whenshe staggered into an open space where …butterflies danced round each other and theair was… still. Here, struck down by theheat, the sow fell and the hunters hurledthemselves at her.…Then Jack found thethroat and the hot blood sprouted over hishands. The sow collapsed under them. Atlast the immediacy of the kill subsided. Theboys drew back, and Jack stood, holdingout his hands.“Look”He giggled and flicked them whilethe boys laughed at his reeking palms.(…)Roger began to withdraw his spear (…).Robert stabilized the thing in a phrase thatwas received uproariously.“Right up her ass!”(…)This time Robert and Mauriceacted the two parts; and Maurice’s actingof the pig’s efforts to avoid the advancingspear was so funny that the boys cried withlaughter.(…) The butterflies still danced,preoccupied in the center of the clearing.”--Lord of the FliesFor a bunch of twelve-year-old kids, thebehavior shown in this passage fromLord of the Flies is not only unexpected,but frighteningly eerie. Set duringWorld War II, the book recounts thestrange evolution of a group of youngBritish boys after their plane crashesonto an uncharted island. While, in thebeginning, the boys, aged 6-12, continueto act with a “civilized” conscienceand sense of responsibility, they soonembrace a life of savagery.This conduct can be viewed intwo different ways: either as a mentalregression into a more primitive state,or the emergence of evil from the verydepth of the human nature.It could even be a correlationof both. The author’sautobiography suggests thatviolent tendencies as a teenagerwas one of the greatestelements that inspired himto write the book. The timeperiod is no coincidence either.In his memoir, WilliamGolding, the author,admits: “World War II wasthe turning point for me.I began to see what peoplewere capable of doing. Anyonewho moved throughthose years without understandingthat man producesevil as a bee produces honey must havebeen blind or wrong in the head.” Somesuggest that the book is actually an allegoryof the war: the boys start out asfriends, brothers, even, yet are dividedonce some are unwilling to submit tothose who are by that time insane withpower and barbarism.Many psychological tests weremade in the second half of the centuryconcerning this type of radical behaviorchange. In 1971, Philip Zimbardoconducted his famous Stanford prisonexperiment. The procedure’s goal wasto study the psychological reaction ofseventy-five perfectly normal men whengiven the role of either a prison guard ora prisoner.The results were shocking. Afteronly two days, the prison guards startedto psychologically and physically abusethe prisoners. Various forms of humiliationwere handed out as punishment forbad behavior while the obedient wererewarded with better cells, meals andsupplies. Six days in, the experimentshut down. The men’s reactions wereeven more extreme than Zimbardo hadpredicted: many of the guards seemed tohave developed true sadistic tendencies,and the prisoners were, of course, traumatized,and grew to internalize theirprisoner role as a result. One prisonereven had to be removed from the mockprison after 36 hours on account of violentcrying, bouts of anger and screaming.In the end, Zimbardo concludedthat the participants’ behaviors weremore due to the intense situation ratherthan their individual personalities. Heeven wrote a book entitled The LuciferEffect, which questions whether we canever be sure we are inherently good.Numerous critics challengedZimabardo’s verdict. Erich Fromm, notably,defended a different theory: thatviolent behavior such as this is unalterablydue to character traits. He arguedthat the experiment carried out by Zimbardowas incorrectly and unjustly executed,and even referenced the Naziconcentration camps to support hisviews.Also, in a more recent context,soldiers in enemy territory have beenknown to have had similar irrationallyviolent behaviors. Abhorrent picturesof the military posing in insulting positionswith Iraqi prisoners and corpseshave frequently been turning up in themedia. We have viewed these pictureswww.nobelprize.orgwith disgust and horror, and, uncomprehending,we have either assumedthat these people were the “bad apples”of the bunch or attributed their actionsto pure traumatic insanity.But can it be more than that?The truth is, a hostile environmentbrings out the worst in us. With a licenseto kill (or in the case of Lord of the Flies,a license to survive), people are capableof things they would not have fathomeddoing when they had ethically and sociallyimposed boundaries. In studyingLord of the Flies, we observe that theboys begin to lose it not when they startmurdering each other, but way beforethat: when they slaughter their first pig.Could this be the root of ourproblem? If, in your mind, you are ableto kill, then you are able to harm. If youare able to harm, you are able to torture.And once you are able to torture, thenthere is very little separating you fromutter sadism. Now say you were in aposition in which you were personallyhanded a gun and told you had to killthe people in front of you if you andyour people wanted to survive. Whatwould happen then? Would you releasethe beast within?The French-American School Of New YorkMessengerGood luck to Debbie in her new post in the Fenimore office! We will miss you! Visit us often!Editors-in-Chief: Emanuelle Rizk, Julian SalzManaging Editors: Armand Latreille, Olivier WeissVOL. IX NO. VMiddle School Editor: Margaux Salz Sports Editor: Paul Castaybert Design Editor: Clémence Wassen Copy Editor: Emma GuyotDrawings by Louis LeJamtel and Emanuel Wickenburg.Reporting Staff: Michael Anderson, Victor Counillon, Joaquin Delmar, Jurnivah Désir, Thomas De Villemejane,Amelia Getahun-Hawkins, Nicolas Granato, David Guyot, Zoé Guyot, Guillaume Horikawa, Emilie Kehm,Maddie King, Cedric Nakashima, Sophia Nee, Yuri Nessen, Elizabeth O’csay, Mathieu Rizk,Oumou Sarr, Jacqueline Sarro, Emanuel Wickenburg, Camile Williams, Irène Woo.Ecole Franco-Américaine de New YorkFrench-American School of New YorkFaculty Advisors: Mrs. Anne K. Culhane, Mr. Tom FaureSpecial thanks to Ms. Creteur, Mr. Guyot, Ms. Lopez, and Mr. Taylor145 New Street, Mamaroneck, NY 10543(914) 250-0000 www.fasny.org

In ReviewJu n e 20127Jazz: Roy Hargrove at the Village VanguardBy Julian SalzDespite what theuninformed or uninitiated earmay hear, there is no musicquite as brilliant or original in itssound as Jazz, the music whichwas the anthem of a youngand unfailingly optimisticgeneration. Sadly, the fascinationfor this sound waned with therapid and dramatic evolutionof the country which hadnursed it. And for more than30 years, what was and is stilltoday one of the centerpieces ofAmericana seemed abandonedto an art form appreciableonly to the “intellectual” andnostalgic. Thankfully however,America has not completelyforgotten the tones and rhythmsunimaginable by anyone else,and neither has Roy Hargrove.Th e 42 year-oldHargrove returned to theVillage Vanguard in the WestVillage this past April to showthe once “Mecca of Jazz” thatthe music and its audience wasstill breathing ferociously. ButHargrove is not merely one ofthe young lions who emergedinto the contemporary jazzscenes in the early 1990s.He is also at the forefront ofa neo R&B/soul group, theRH Factor, with which hewon a Grammy in 2002. Healso acted as a sideman forrapper Common and nowfronts the Roy Hargrove BigBand. As has now becomesomewhat of a tradition, hisquintet returned to one of thepremiere but discreet venues onManhattan’s lower west side toperform pieces from its mostrecent albums, “Earfood” and“Nothing Serious”.A Jazz show is unlikeany other form of live music,blending a mood, acoustic, andpersonality all its own whichdoes not exist in any other style.The Village Vanguard, whichhas played host to some of thebest artists and live recordingsin Jazz, is the perfect initiationto this music. The playersare only a few feet from you,displaying their groans andcries of approbation. Jazzmenare playing nearly every night,laboring to create somethingcompletely original. Thephysical, mental and spiritualdemands of this art form canbe seen on the grimaces, smiles,and shouts of the players. Jazzgroups also share a communalintimacy, a will to play together,to maintain their own musicalpersonality and agenda whileworking as an ensemble. Thisis why Jazzmen are consideredto be the best musicians inthe world, because their genrerequires total commitment tocommunal creation. They arejust as talented at listening toeach other as they are at playingwith each other.This is what RoyHargrove did masterfully,playing six songs that trulyshowed the crowd theexceptionality of his talentand innovation. His last twoalbums, mentioned earlier, arefusions of post and hard bopwith simple but incredibly richand soulful melodic ideas. Thelength and brilliant simplisticoriginality of his phrasingduring ballads is reminiscent ofMiles Davis, yet he also delightsin exposing the influence DizzyGillespie had on him in hisbop and Afro-Cuban inspiredpieces. His now longtime altosaxophonist Justin Robinsonpours just as much excitementas talent into his breathtakinglylong and complex solos, leapfroggingbetween pitches at analmost frightening but thrillingrate of speed. Pianist SullivanFortner showed why he is oneof the most creative players ofhis time with R&B and funkinspired riffs evocative of catchyhip hop instrumentals. QuincyPhillips created what can onlybe described as a shining sea ofperpetually crashing symbolsand fills, dabbling even in discoand rap beats that blendedsurprisingly well with AmeenSaleem’s cool bass.Hargrove’s quintet’sunique sound is driven by itscareful blend of the best of thenand now. Each musician playswith one ear leant to the pastand one towrds the future of Jazzwhich is just as unpredictable asit was in its heyday.Even if your ear is notone to be taken on an incrediblejourney by the solos of Coltraneor the tone of Miles Davis, youtruly have not fully experiencedlive music until you’ve seen ajazz show. Jazz doesn’t have tobe reserved for the intellectual,nostalgic or old, but right nowit seems to be doing just fine onits own.Dreaming in Outer Space with M83By Will HorikawaFollowing the release of acritically-acclaimed album HurryUp, We're Dreaming and MidnightCity, arguably the track of the year,M83 has been spending the majorityof 2012 on a worldwide tour, andstopped by New York's Terminal 5this May to play one of the venue'smost dazzling, energetic and electrifyingshows of the year. The Frenchoutfit took the stage right after a veryM83 performing at Terminal 5strange looking alien creature, noneother than the one feature on theMidnight City single artwork, whowarmed up the crowd while a cinematic,orchestral composition followedhis every move. Suddenly, thelights fade to black, and M83 begintheir set with the aptly named "Intro",a heart-wrenching synth trackwhich invigorates the crowd withlead singers Anthony Gonzalez &Morgan Kibby's escalatingvocals. The mesmerizingis also in full effectfor the very first time:the stage was filled withneon light cylinders andthe walls were coveredin a bed of scintillatingstars (This is almost tobe expected when yourband is named after agalaxy, Messier 83). Theband worked throughan eclectic set list, incorporatingsongs frommany different albums,and because of this,they were able to createa concert experiencethat is second to none:in less than 90 minutes,I felt as if I had been toa sold-out stadium rockperformance (Reunion,This Bright Flash), a 90'srave (Sitting, Couleurs),a local indie show (YearOne, Year UFO), an 80sparty (Steve McQueen,Graveyard Girl) an orchestralrecital, the listgoes on & on.But if there was onething to remember from M83that night, it would simply be thefact that, more than the vast majorityof independent bands today, theyunderstand and value the context ofa live show and put in effect so manynoteworthy adjustments to make theaudience's experience a memorableAlbum cover for M83’s Hurry Up, We’re dreamingone: be it mixing down new layers ofsounds over already familiar songs,processing mind bending electronicsthrough synth modules betweentracks or simply jamming out oncowbells, the band always looksready to perform like there's no tomorrow.

6WorldJu n e 2012The Beast Lies WithinBy Maddie King“The Afternoon wore on, hazyand dreadfu(…; the sow staggered her wayahead <strong>of</strong> them, bleeding and mad, and thehunters followed, wedded to her in lust,excited by the long chase and the droppedblood.…. They were just behind her whenshe staggered into an open space where …butterflies danced round each other and theair was… still. Here, struck down by theheat, the sow fell and the hunters hurledthemselves at her.…Then Jack found thethroat and the hot blood sprouted over hishands. The sow collapsed under them. Atlast the immediacy <strong>of</strong> the kill subsided. Theboys drew back, and Jack stood, holdingout his hands.“Look”He giggled and flicked them whilethe boys laughed at his reeking palms.(…)Roger began to withdraw his spear (…).Robert stabilized the thing in a phrase thatwas received uproariously.“Right up her ass!”(…)This time Robert and Mauriceacted the two parts; and Maurice’s acting<strong>of</strong> the pig’s efforts to avoid the advancingspear was so funny that the boys cried withlaughter.(…) The butterflies still danced,preoccupied in the center <strong>of</strong> the clearing.”--Lord <strong>of</strong> the FliesFor a bunch <strong>of</strong> twelve-year-old kids, thebehavior shown in this passage fromLord <strong>of</strong> the Flies is not only unexpected,but frighteningly eerie. Set duringWorld War II, the book recounts thestrange evolution <strong>of</strong> a group <strong>of</strong> youngBritish boys after their plane crashesonto an uncharted island. While, in thebeginning, the boys, aged 6-12, continueto act with a “civilized” conscienceand sense <strong>of</strong> responsibility, they soonembrace a life <strong>of</strong> savagery.This conduct can be viewed intwo different ways: either as a mentalregression into a more primitive state,or the emergence <strong>of</strong> evil from the verydepth <strong>of</strong> the human nature.It could even be a correlation<strong>of</strong> both. The author’sautobiography suggests thatviolent tendencies as a teenagerwas one <strong>of</strong> the greatestelements that inspired himto write the book. The timeperiod is no coincidence either.In his memoir, WilliamGolding, the author,admits: “World War II wasthe turning point for me.I began to see what peoplewere capable <strong>of</strong> doing. Anyonewho moved throughthose years without understandingthat man producesevil as a bee produces honey must havebeen blind or wrong in the head.” Somesuggest that the book is actually an allegory<strong>of</strong> the war: the boys start out asfriends, brothers, even, yet are dividedonce some are unwilling to submit tothose who are by that time insane withpower and barbarism.Many psychological tests weremade in the second half <strong>of</strong> the centuryconcerning this type <strong>of</strong> radical behaviorchange. In 1971, Philip Zimbardoconducted his famous Stanford prisonexperiment. The procedure’s goal wasto study the psychological reaction <strong>of</strong>seventy-five perfectly normal men whengiven the role <strong>of</strong> either a prison guard ora prisoner.The results were shocking. Afteronly two days, the prison guards startedto psychologically and physically abusethe prisoners. Various forms <strong>of</strong> humiliationwere handed out as punishment forbad behavior while the obedient wererewarded with better cells, meals andsupplies. Six days in, the experimentshut down. The men’s reactions wereeven more extreme than Zimbardo hadpredicted: many <strong>of</strong> the guards seemed tohave developed true sadistic tendencies,and the prisoners were, <strong>of</strong> course, traumatized,and grew to internalize theirprisoner role as a result. One prisonereven had to be removed from the mockprison after 36 hours on account <strong>of</strong> violentcrying, bouts <strong>of</strong> anger and screaming.In the end, Zimbardo concludedthat the participants’ behaviors weremore due to the intense situation ratherthan their individual personalities. Heeven wrote a book entitled The LuciferEffect, which questions whether we canever be sure we are inherently good.Numerous critics challengedZimabardo’s verdict. Erich Fromm, notably,defended a different theory: thatviolent behavior such as this is unalterablydue to character traits. He arguedthat the experiment carried out by Zimbardowas incorrectly and unjustly executed,and even referenced the Naziconcentration camps to support hisviews.Also, in a more recent context,soldiers in enemy territory have beenknown to have had similar irrationallyviolent behaviors. Abhorrent pictures<strong>of</strong> the military posing in insulting positionswith Iraqi prisoners and corpseshave frequently been turning up in themedia. We have viewed these pictureswww.nobelprize.orgwith disgust and horror, and, uncomprehending,we have either assumedthat these people were the “bad apples”<strong>of</strong> the bunch or attributed their actionsto pure traumatic insanity.But can it be more than that?The truth is, a hostile environmentbrings out the worst in us. With a licenseto kill (or in the case <strong>of</strong> Lord <strong>of</strong> the Flies,a license to survive), people are capable<strong>of</strong> things they would not have fathomeddoing when they had ethically and sociallyimposed boundaries. In studyingLord <strong>of</strong> the Flies, we observe that theboys begin to lose it not when they startmurdering each other, but way beforethat: when they slaughter their first pig.Could this be the root <strong>of</strong> ourproblem? If, in your mind, you are ableto kill, then you are able to harm. If youare able to harm, you are able to torture.And once you are able to torture, thenthere is very little separating you fromutter sadism. Now say you were in aposition in which you were personallyhanded a gun and told you had to killthe people in front <strong>of</strong> you if you andyour people wanted to survive. Whatwould happen then? Would you releasethe beast within?The French-<strong>American</strong> <strong>School</strong> Of <strong>New</strong> <strong>York</strong>MessengerGood luck to Debbie in her new post in the Fenimore <strong>of</strong>fice! We will miss you! Visit us <strong>of</strong>ten!Editors-in-Chief: Emanuelle Rizk, Julian SalzManaging Editors: Armand Latreille, Olivier WeissVOL. IX NO. VMiddle <strong>School</strong> Editor: Margaux Salz Sports Editor: Paul Castaybert Design Editor: Clémence Wassen Copy Editor: Emma GuyotDrawings by Louis LeJamtel and Emanuel Wickenburg.Reporting Staff: Michael Anderson, Victor Counillon, Joaquin Delmar, Jurnivah Désir, Thomas De Villemejane,Amelia Getahun-Hawkins, Nicolas Granato, David Guyot, Zoé Guyot, Guillaume Horikawa, Emilie Kehm,Maddie King, Cedric Nakashima, Sophia Nee, Yuri Nessen, Elizabeth O’csay, Mathieu Rizk,Oumou Sarr, Jacqueline Sarro, Emanuel Wickenburg, Camile Williams, Irène Woo.Ecole <strong>Franco</strong>-Américaine de <strong>New</strong> <strong>York</strong>French-<strong>American</strong> <strong>School</strong> <strong>of</strong> <strong>New</strong> <strong>York</strong>Faculty Advisors: Mrs. Anne K. Culhane, Mr. Tom FaureSpecial thanks to Ms. Creteur, Mr. Guyot, Ms. Lopez, and Mr. Taylor145 <strong>New</strong> Street, Mamaroneck, NY 10543(914) 250-0000 www.fasny.org

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