分类： 赛事资讯

Sadie Gugliotta, 15, Canton High School, Canton, Mass.

“The Rise and Fall of a Midwest Princess” is a lush, rebellious depiction of self-acceptance as revolution, redefining contemporary camp with disco-synth scintillations and raucous lyricism. Chappell Roan, the creation of Missouri native Kayleigh Amstutz, defies the conventions of propriety and discretion with drama and ecstasy, dressed in rhinestone embellished prom dresses and bedazzled Skechers. Her persona is outrageous, loud and hedonistic, lending the album its overabundant character and depth of feeling, delivered through a pastiche of Carly Rae Jepsen and Lady Gaga, and polished by the oversaturated-pop sensibility of Dan Nigro’s production.

“The Rise and Fall of a Midwest Princess” sparkles with musical zeal and lyrical absurdism. Its second track, “Red Wine Supernova,” opens with compressed synths and crystalline guitar strumming, underlying Roan’s playful narration of a new crush turned sour: “I just wanna get to know ya / Guess I didn’t quite think it through / Fell in love with the thought of you / Now I’m choked up, face down, burnt out.” The juxtaposition of syrupy, hyper-femme vocals against instrumental stylings reminiscent of quintessential ’80s pop are a hallmark of the album’s sound; this pep rally-esque excess shines on “HOT TO GO!” and the almost caricatured decadence of “Super Graphic Ultra Modern Girl.”

In the more deliberate “Pink Pony Club,” Roan sings of leaving home to pursue her dreams of stardom, despite her mother’s disapproval. The song soars with sparse synths and wailing guitars, a prime example of the album’s appeal; it is an anthem of queer pride and triumph in the face of opposition, cresting in a chorus of unwavering resolve: “I’m gonna keep on dancing at the / Pink Pony Club.”

Roan is just as capable of delivering a bleeding ballad as she is a sleek, stylized romp; “California” makes a spectacle of disillusionment, honeyed vocals and desperately luxurious trumpets mourning promises unfulfilled by Hollywood glory. She sings, “I was never told that I wasn’t gonna get / The things I want the most / But people always say, ‘If it hasn’t happened yet / Then maybe you should go,’” momentarily abandoning the outsized persona with which Roan steels herself to lament the impermanence and disposability of artists in a culture of overconsumption. The track demonstrates the album’s nuance, undulating from subtlety to sequined pageantry with an ease that eludes most pop artists today.

“The Rise and Fall of a Midwest Princess” makes a farce of Roan’s greatest heartbreaks with flippant pettiness and gutsy humor, showcasing her musical versatility and theatrical performance, and shimmering with the uncut confidence of a seasoned pop star. Through brash lyrics, explosive instrumentals and exceptional vulnerability, Chappell Roan solidifies herself as a queer iconoclast and pop mainstay, a “Midwest Princess” for the “Super Graphic Ultra Modern” 21st century.

Tessa Elizabeth Ann Cook, 16, Liberal Arts and Science Academy High School, Austin, Texas

Tessa Elizabeth Ann Cook, 16, writes that Utah’s new state flag is “more than just fabric.”Credit...Wikimedia

As art connoisseurs worldwide reflect on the cultural masterpieces of 2023, there’s one thing on everyone’s minds: Utah’s legislative agenda.

OK, maybe not. And I know what you’re thinking: “I read reviews for something fun and nonthreatening, not an analysis of intricate state-level policy!” But fear not, because I’m happy to leave that to the experts. Instead, I’m here to propose one of the best works of art of the whole year, signed into law by Governor Spencer Cox on March 21, 2023: the new Utah state flag.

Unlike most flag discussions today — which focus on aspects we should take out, like Confederate symbolism — the old Utah flag wasn’t actively problematic. It was just … meh. Unlike what we do with the flag of my home state, Texas, nobody plastered the old Utah flag on their bumpers, nor could most residents pick it out of any of the two dozen other blue seal-on-a-bedsheet U.S. state flags.

Sure, it had the traditional symbol of business and industry — a beehive — that’s often associated with the Mormon Church, but beyond that, nothing about the old flag represented Utah except the state’s name scrawled across the bottom of the seal, which, in my opinion, is vexillological cheating.

The new flag, however, projects “Utah” even with squinted eyes at a mile’s distance. The beehive symbol remains, but instead of the original navy field, it is mounted inside a hexagon, atop a background of dark red rock, snowy white mountains and a deep blue sky. Everything down to even the number of points of the mountain range has a purpose — in this case, to represent the five Indigenous groups that consider Utah sacred land.

But really, beyond what the flag’s individual aspects represent, it is the initiative and motivation of Utah’s people that makes this new flag process impressive to me. There is not much that unites us Americans anymore, and although there was, naturally, some pushback against the change, Utahans needed a strong symbol to identify themselves and their communities, and so they went out and found one. It seems to be rare that Americans are willing to voluntarily work together in the name of unity, especially when it comes to breaking from tradition, like we’ve seen during voting expansion debates and gun control attempts. America was created around the idea of a “more perfect union,” yet when I look at the chaos of climate policy, international conflicts and domestic terrorism in recent years, the current American plan looks more like damage control than active improvement.

Utah’s new flag is more than just fabric; it’s our opportunity to turn the tide back toward progress, and a chance for America to be reborn.

Gisela Cortadellas, 16, Pine Crest School, Fort Lauderdale, Fla.

Gisela Cortadellas, 16, says the MSCHF Big Red Boots are “ugly, and I love them for it.”Credit...MSCHF

“I don’t get it.” The minds of countless bystanders sang the same chorus as the MSCHF Big Red Boot entered its way through social media and into street style. MSCHF released their Big Red Boot on Feb. 16, 2023, retailing for $350. The best way to describe the boot would be what a child’s interpretation of a shoe is, using crayons: Round, big, red. Someone at MSCHF decided to give life to the drawing with TPU, rubber and EVA foam. The shoe is unique, almost shiny, and its cartoonish feel makes it look computer-generated.

I’ll admit it. I thought the boot was plain ugly at first too. It’s not aesthetically pleasing, compared to other expensive shoes on the market in 2023. All one color. The silhouette is well, interesting. I even tried on a pair. They’re not comfortable, as you can imagine. How would you even go about styling this thing?

So, why? Why do I love it? Why should you?

Sure, it’s not what we are used to seeing right now. In an era dominated by “fast-fashion,” more and more of these new companies are constantly pumping out and trashing clothing every day. The major fashion houses are derailing as they plunge themselves into cheap materials and boring creative directors who recreate the same collection year after year. Same silhouettes, same patterns, same themes. I’m bored. They are all whispering; the Big Red Boot is shouting.

That’s why I have slowly fallen in love with the boot. It is weird. It is ugly. It is red. It’s not “ready-to-wear,” but why should fashion be?

The best part about this boot is, it worked. Social media forgot that MSCHF is an art and media company that is credited with creating viral and controversial products meant to spark debate. Readers may or may not remember that MSCHF was also a part of the infamous “Satan Shoes” back in 2021, a collaboration with Lil Nas X that landed both contributors in hot water. People went crazy for the Satan Shoes, and people went crazy for the Big Red Boot.

Somehow, these Big Red Boots have stepped their way into street style successfully. MSCHF even released a Crocs version of the Big Red Boot. It is quite the competition between which pair is more audacious.

So, was the original purpose of sparking conversation achieved? Yes. Did people like them? Not necessarily. But it worked. This boot is representative of how art and fashion is treated today; ridiculed and judged. People hate it. People love it. What else is art for, but to be different? The Big Red Boot is just unapologetic about it.

The boots are ugly, and I love them for it.

Tina Zhu, 17, Christian Heritage School, Dalton, Ga.

Stanley’s Pink Parade 40-ounce Quencher H2.0 FlowState Tumbler made a grand entrance this past Black Friday and got sold out in the blink of an eye, much like the fleeting whims of high school fashion. Stanley’s tumblers have now unofficially joined the ranks of the classic white Air Force 1 and Lululemon leggings, becoming the “it” item among high school girls. Wondering if its high school adoption is a nod to utility or an overture to trendiness, I got my hands on this glistening newcomer, jumping on the bandwagon that had seemingly captivated the entire TikTok community.

What sets this tumbler apart from the rest? First of all, it does the job. After using this 40-ounce cup for a few days, I noticed a significant increase in my water intake — the glossiest pop of pink bottle with a huge sturdy handle and a straw popping out kept reminding me to take an easy sip, while other water bottles have lids that make the water taking process cumbersome. The Pink Parade has successfully turned my daily hydration routine into a badge of honor.

The Pink Parade apparently has outstanding quality. Its unique double-wall vacuum insulation technology allows my ice-cold water to chill for 48 hours, ensuring it’s refreshing for me after an exhausting soccer practice. A girl on TikTok said that her car caught on fire, but the Stanley Cup survived, and not even the ice melted due to its high-quality stainless steel construction. The anecdote has massively enhanced the profile of the cup, at least for me, and staged it as a trustworthy sidekick that strikes the perfect balance between runway-ready and firefighter-fierce.

Well, the downside of my Pink Parade is also obvious — it is comically huge and heavy, especially for a 5-foot-3 girl like me. Memes about short girls carrying a huge Stanley are everywhere, saying the bottle looks like a giant trash can. However, I do consider this cup a versatile accessory — its cute look pairs well with my wardrobe, matching all my pink outfits and giving a dash of playfulness to my casual black-and-white wear. Moreover, carrying this hefty water bottle everywhere is like a free workout that strengthens my muscles, as well as a walking statement for a healthy lifestyle.

The Pink Parade and other Stanley tumblers’ explosive popularity among high school girls might be partially attributed to the TikTok trend, but it is also a testament to the power of practical chic in the unpredictable whirlwind of high school vogues.

Sabrina Akhtar, 16, Mirabeau B. Lamar High School, Houston

Sabrina Akhtar, 16, writes that the final season of the TV show “Succession” “conjured two emotions: absolute horror and entranced amusement.”Credit...HBO

Words are everything. Well, sort of.

In the hit HBO show, “Succession,” words can mean everything … but also nothing. A too-tight hug can be a strategic move to secure a vote. Pleasantries with Dad mean you want to steal his company from beneath him. A borderline neo-Nazi presidential candidate who won the election goes back on everything he promised you for your help. And according to Tom Wambsgans (Matthew MacFayden), even your wife telling you she’s pregnant must be some type of play. Sounds exhausting, right?

Imagine being the Roys.

For avid “Succession” viewers like me, the final season conjured two emotions: absolute horror and entranced amusement. From patriarch Logan’s (Brian Cox) unexpected death in “Connor’s Wedding” (an ironic name that suggests the shock was certainly purposeful) to Shiv’s (Sarah Snook) divorce-complicating pregnancy in “Honeymoon States,” to the tension-filled, hyper-realistic “America Decides,” the season covered much-needed ground; the previous had gone stagnant in terms of the endgame.

That is not to say the show has lost its spark. Thanks to producers like Will Ferrell, the humor lives on lavishly. Tom and his personal punching bag, Greg (Nicholas Braun), continue to make for a dynamic that warrants its own spinoff (pro tip: never mix Wasabi and La Croix, and if you do, most certainly do not carry them in a “ludicrously capacious” bag). However, the best performances were those absent of words. Shiv’s glare at Kendall in the finale foretold everything. Even Greg had his moment, his stare down in “America Decides” a pleasant change from his nervous stuttering.

This season has upheld the show’s quality. The score, produced by Nicholas Brittell, is a masterpiece; no scene would be the same without its corresponding track. However, the season’s biggest differentiation was its move to imitating real life. In a show where everything seems so ridiculous and foreign, Jesse Armstrong brings it down to earth by reminding viewers that yes, people like the Roys exist in real life, and yes, their petty sibling rivalries can have serious consequences for us “normal” people.

As we depart from our favorite dysfunctional nepo baby family, we can rest knowing that none of them won; perhaps that was a prize in itself. Armstrong has outdone himself and wrapped up a show that, if greedy enough, HBO would’ve dragged out for far too long. Some may be unhappy with the staggering ending, but to me, it’s perfect. The Roys aren’t equipped to have a happy ending. The feeling itself is foreign to them. Besides, what would the Roys have to do, if not preoccupied with wallowing in their misery up in the clouds of their untouchable wealth, eternally fighting for what they truly wanted: their father’s approval?

April Yu, 15, East Brunswick High School, East Brunswick, N.J.

April Yu, 15, writes that Olivia Rodrigo has “pioneered maturation over reinvention” on her sophomore album, “Guts.”Credit...Chantal Anderson for The New York Times

In a musical age of brassy new artists with the life span of a 90-day TikTok trend, Olivia Rodrigo’s story was meant to be over long ago. After her power ballad “Drivers License” went viral in 2021, she followed with her record-breaking album “Sour,” a half-melancholy, half-incensed collage of heartbreak and insecurity. Two years later, Rodrigo returns with her sophomore album “Guts” with more weapons in her arsenal. It’s not just six Grammy nominations, broken streaming records or mass critical acclaim talking — it’s Rodrigo herself, and she’s more pissed off than ever.

The album’s opening line, “I am light as a feather and as stiff as a board,” conjures images of a sleepover that takes a bloody turn — the perfect visual for a track that nosedives from embodying feminine perfection (“I am built like a mother and a total machine”) to swear words and 15 seconds of guttural screaming. Rodrigo turns her classic dry humor and self-deprecation into a hysterical feminist anthem, instantly shaping the unapologetic, lipstick-stained, vicious Riot-Grrrl world of “Guts.”

Through the rest of the album, it’s clear Rodrigo has learned to take shots at herself. Voice dripping with honeyed poison, Rodrigo indicts her social faux pas in “Ballad of a Homeschooled girl”: “I laughed at the wrong time, sat with the wrong guy / Searching ‘How to start a conversation?’ on a website.” Rodrigo also makes endless quips about her dating life; rapping about wanting to “break his heart / Then be the one to stitch it up” in “Get Him Back!” Rodrigo openly owns what society would dub her greatest shames: social anxiety and hookup culture. She reassures young women that girlhood is prime real estate for feeling every possible emotion at once.

Yet the insecure girl who created “Sour” has not disappeared — and herein lies Rodrigo’s true appeal. From pairing Dior dresses with Doc Martens to celebrating her chart-topping lead single “Vampire” with burgers on a grainy livestream, Rodrigo has nailed the duality of global superstar and teenage girl next door. In the ballad “Lacy,” Rodrigo describes her nearly romantic idolization of another girl; whether a nod to queerness, beauty standards or envy in the digital world, Rodrigo’s melancholy can’t help but make you relate on all three counts.

In a world where female pop legends are expected to don new personas for every album, Rodrigo has pioneered maturation over reinvention, unapologetically herself in theme and aesthetic. In the closing track “Teenage Dream,” Rodrigo ponders peaking young and her longevity in the entertainment industry. After 12 songs of smashing social constructs and her own worldviews, Rodrigo ends on this pinnacle of fragility — but for now, she doesn’t need to be more. Her story is just beginning.

我们邀请学生就与他们相关的问题向个人或团体写一封面向公众的信。

比赛日期：2026年2月25日至4月8日

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什么困扰着你？谁能为此做点什么？你能对他们说些什么来说服他们关心或做出改变？

如果我们都读了你的信呢？你怎么能让我们也关心呢？

这些是我们要求您在新的公开信竞赛中思考的一些问题。公开信是一封公开的抗议或呼吁信，通常写给个人、团体或机构，但面向公众。

现在我们邀请您亲自尝试。就你关心的任何问题写一封你自己的公开信，写一封你喜欢的人，只要它对《纽约时报》的普通读者来说也是合适和有意义的。

你应该写信给谁？你应该说什么？公开信如何运作？

下面是规则和常见问题解答：

挑战

几条规则

常见问题

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挑战

写一封500字以内的公开信，针对特定受众，呼吁关注某个问题，并促使反思或采取行动。以下是一些需要考虑的事项：

你关心什么？

你的信可以轻松或严肃，但应聚焦于你关心且有一定经验的问题。例如，看看我们过去获奖者的主题，比如关于改善助听器可及性的，或者关于从儿童菜单点餐的。

谁能做出大大小少、地方或全球性的改变来解决这个问题？

你的信应写给特定的受众，无论是你的父母、老师、校董会成员还是市长;国会议员;公司负责人;艺术家或艺人;比如“硅谷”或“克里姆林宫”这样的转喻;或者其他人。

你具体希望你的听众理解或做什么？

发出行动号召，无论是具体的，比如请求国会立法或要求企业停止有害行为，还是更抽象的，比如邀请听众思考他们之前可能未曾思考过的特定观点或问题。

如果你读过马丁·路德·金著名的《伯明翰监狱来信》，你可能已经知道，公开信是一种文学手法。表面上看，这篇文章似乎只写给某个人或一个群体，因此通常读起来像是一封私人信件（甚至会让读者觉得自己在“偷听”私人想法），但它实际上是一篇面向公众的说服性文章。

所以请记住：虽然你是以信件的形式写的，但这毕竟是一篇观点文章。你应该努力说服你的目标受众和读者关注并采取行动。正如上述例子的作者所做的，利用修辞策略来支持你的观点，并用可靠来源的证据支持你的观点。你必须至少引用两个来源，包括一个来自《纽约时报》，一个来自《纽约时报》外部。

我该如何写这封“公开信”，不仅吸引我和收件人，也吸引阅读我文字的普通读者？

公开信同时对明确的收件人——无论是总统还是你的体育老师——发信，同时也向隐含的受众——我们——你的读者——发言。确保你的信件写得相关、易懂、合适且有意义，对任何可能在《纽约时报》上看到的人都适用。

请记住，这应该以信件形式写，而不是正式的论文。你的话题和受众会影响你作品的风格和语气，无论是幽默、调皮、真诚、要求性强还是其他。

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几条规则

除了上述指南外，这里还有一些更多详细信息：

你的作品总字数不得超过500字，不包括标题。

你必须包含至少两个来源的证据，包括一个来自《纽约时报》和一个来自纽约时报外部的。 《纽约时报》也包括《The Athletic》。投稿表单中会有一个“引用作品”部分，用于引用所有来源，您可以随意排版。文内引用并非必需，但请注意在直接引用后加上引号，并在引用作品中转述的部分注明出处。

参加者必须是13至19岁的初中或高中学生，且所有学生必须获得家长或监护人的许可方可入场。

你提交的作品应当完全是你自己的——不应抄袭、由他人创作或由人工智能生成。不过，你可以使用拼写和语法检查工具，获得写作反馈。

你的公开信应为本次比赛原创。这意味着投稿时不应该已经发表，无论是在校报、其他比赛还是其他地方。不过，在你自己的社交媒体上发布的作品也可以提交。

还请记住，《纽约时报》拥有全球读者，包括许多家庭，因此你的投稿应适合广泛的受众。（比如，请避免脏话。）

你可以单独或小组合作，但学生每人应只提交一份作品。

你还必须提交一份简短的非正式“艺术家声明”，描述你的写作和研究过程，字数不超过400字。这些声明不会用于选拔决赛选手，但它们帮助我们设计和完善比赛。详情请参阅常见问题解答。

所有参赛作品必须在2026年4月8日太平洋时间晚上11：59之前，使用本页底部的电子表格提交。

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常见问题

关于写作的问题

1.这个比赛和你长期举办的编辑比赛有什么不同？我们还能用这些材料吗？

我们举办了十年的编辑比赛，参与者热情地写关于各种话题——人工智能、快时尚、种族、跨性别权利、大学录取、父母监禁、同人小说、雪天、表情包、混乱等等.你仍然可以写那些激发你热情的问题和想法——只是这次你要把作品框架成写给一个有能力改变或理解该问题的人。

我们的相关指南更详细地介绍了传统观点论文与公开信之间的区别，但我们为那个早期比赛开发的大量材料也被巧妙地融入了指南中，因为诸如精神、理性（logos）和情感（pathos）等概念仍然与本次挑战密切相关。

2.我完全不知道该写些什么。我应该从哪里开始？

我们的学生意见论坛通过众多问题帮助你，鼓励你头脑风暴你可能写作的受众和你想探讨的话题。

3.我真的可以寄出我的公开信吗？

你可以！只要等你提交作品给我们再做吧。（和我们比赛一样，你保留提交作品的版权，可以随意使用。）

关于评审的问题

1.我的公开信将如何评判？

您的作品将被《纽约时报》记者以及来自美国各地的学习网络工作人员和教育工作者阅读。我们将使用这个评分标准来评判参赛作品。

2.“奖品”是什么？

将您的作品发表在学习网络上，并有资格在印刷版《纽约时报》上发表您的作品。

3.获奖者名单何时公布？

比赛结束后约8-10周。

4.我的作品没有被选为获奖者。你能告诉我为什么吗？

我们通常会收到数以千计的比赛参赛作品，所以不幸的是，我们的团队没有能力对每个学生的作品提供个人反馈。

关于规则的问题

1.谁有资格参加本次比赛？

本次比赛面向全球 13 至 19 岁的初中或高中学生开放。大学生不能提交参赛作品。但是，正在参加一门或多门大学课程的高中生（包括高中研究生）可以参加。在魁北克省参加为期两年的 CEGEP 第一年的学生也可以参加。此外，19 岁或以下已完成高中但正在休学年或未上大学的学生可以参加。

《纽约时报》员工的子女和继子女没有资格参加本次比赛。与这些员工住在同一家庭的学生也不是。

2.我可以让其他人检查我的工作吗？

我们理解学生经常会根据老师和同学的反馈来修改他们的作业。这是本次比赛允许的。但是，请确保最终提交的内容反映了学生的想法、声音和写作能力，而不是其他人。

3.我需要引用文献页面吗？

是的。我们为您提供一个单独的字段，以列出您用于通知或撰写公开信的来源。您可以随心所欲地设置列表的格式;我们不会根据本节中的格式来判断您的参赛作品。你的信中没有必要进行内部引用。

4.你为什么要对我们的创作过程要求艺术家声明？你打算怎么处理它？

我们所有在学习网络上工作的人都是以前的老师。现在我们在新闻编辑室而不是教室工作，我们错过的许多事情之一就是能够实时看到学生对我们的“作业”的反应——并提供帮助或调整，使这些作业变得更好。我们要求你反思你做了什么，为什么，以及其中的困难或容易之处，这在很大程度上是为了我们能够改进我们的比赛和我们为支持它们而创建的课程。这对于像这样的新比赛尤其重要。

另一个原因？我们从许多老师那里听说，写这些陈述对学生非常有帮助。从一件作品中退后一步，试着用语言表达你想表达的东西，以及你为什么以及如何做出艺术选择来做到这一点，可以帮助你重新审视你的作品，并弄清楚如何让它变得更强大。对于我们的员工来说，他们提供了重要的背景信息，帮助我们了解个别学生和提交的作品，并更多地了解世界各地学生创作的条件。

5.如果我对本次比赛有疑问或提交参赛作品时遇到问题，我可以联系谁？

了解更多赛事详情、提交问题，均可扫码添加顾问老师咨询