young edition

Copyright © 2009 • Young Society, Inc. • Editor-in-Chief, Paul Young Kim • Vol. 1, No. 1

Young EditionTHE

AN INTERCOLLEGIATE LIFESTYLE PUBLICATION

CONTENTS • Volume 1, Number 1

A Message from the Editor................................................................................................. 3

About the Society............................................................................................................... 4

Bush’s Legacy.................................................................................................................... 5

A Dartmouth Commentary.................................................................................................. 6

Electronica: Electronically Generated Music...................................................................... 8

About the Contributors...................................................................................................... 10

Still in the Works................................................................................................................ 11

Breaking collegiate boundaries. Blending your punch.


A Message from the Editor

Founder’s Statement: Why I did it.I felt compelled to pursue such a

project after realizing (A) that my gen-

eration experienced (and will continue to experience) an ever growing conflict with the college admissions process

and the distinct boundaries created between universities nationwide due to

such restricted or exclusive admis-sions policies (B) that my generation experienced (and will continue to ex-

perience) events quite distinct from any other generation in the near past

(not merely just the beginnings of a full-blown anti-terroristic war). We were the generation that saw the rapid

growth and dramatic effect of the internet (Facebook, Google, Wikipe-

dia), and we were the generation that saw the election of an African-American president. We were the

generation that redefined college ad-missions exams such as the S.A.T.

and we were the generation that faced financial concerns in regards to afford-ing university. We are also the genera-

tion that will be facing the beginnings of a severe economic recession and

we are also the generation that will be facing the challenges of adjusting to a new world-order. I thought that it was

best to create a firm network of stu-

dents earlier on in our "careers" rather than later on before it was too late.

Realizing that it would be most inter-esting if such a society were created at the "crux" of our educational ca-

reers (the beginning of our collegiate life), I launched the project upon

graduating from secondary school. Most important to me was the soci-ety’s mission. I made sure that one of

the primary goals of the society was to promote collaboration across colleges

and universities nationwide. It is old news to hear of students from one particular college accomplishing this

or discovering that. What would be



Paul Young Kim founded the society during the summer of 2008. He was 17.

interesting to see for once is a sole endeavor being pursued by individuals

from all different kinds of universities. Regardless of the institution one comes from, the Young Edition asks

you to share your works of writing. The publication is a blender where

anyone and everyone may contribute to the punch. Therefore by putting college/university ties aside, I believe

that we can create something really interesting. While it has not been easy

organizing everything (since doing so when all the members are scattered throughout the United States makes

things rather tricky), I've done pretty well in getting the members organized

thus far. We hope to hold a confer-ence and a gala sometime during the summer. As always, the primary focus

of this project is to break the bounda-ries found between university institu-

tions once and for all. And by doing so, we hope to create an editorial that is chock full of diverse works.

Editor-in-Chief,

Paul Young Kim

Who We Are, What We Are.

The Young Society, Inc. (tYsi.) is an

intercollegiate student-run "collabora-tory" and non-profit organization

founded by Paul Young Kim. A col-lectivity of sorts, TYSi* is a clearing house where individuals, specifically

bound for or already in university, hope to re-think current topics, events, and

ideas in a relative and open-minded fashion (via conferencing). Members focus on the importance of tolerance

and the significance of learning

About the Society

by means of direct collaboration with

numerous differing (and contrasting) perspectives. The basis of the organi-

zation is to promote communication and debate across universities as to better diversify the ideas being

thought throughout the country as well as the world.

History: The society was founded during the 2008 Presidential election and amidst the 2008 recession of the

U.S. economy. Originally started dur-ing the summer of 2008 as an online

forum known as the "Dead Poets So-ciety", the forum spiraled into some-thing more with the help from a few of

Paul's colleagues that included Alex-ander Park, a senior at Phillips Acad-

emy, Eleni Marmarelis, a freshman at Dartmouth College, Peter Kim a freshman at Emory University, Branko

Backovic, a freshman at Yale Univer-sity, Bohuslav Romanenko, a first year

student at the University of Oxford, and Peter Davis a freshman at Harvard University, and Fred Carter, a freshman

at Lehigh University.Current Mission: The nature of the

society is two-fold: one sector is kept private while the other sector is made public. Members are selected based

on various defining criteria. All mem-bers are expected to build strong and

lasting friendships with each other therefore enabling networking oppor-tunities for such students across uni-

versities. Instead of learning within one’s own institution of higher learn-

ing, the society provides a way in



which the brightest and most passionate students nation-

wide can learn, converse, and grow together (regardless of the institution they come

from). Therefore, the organiza-tion boasts itself as a “truly

intercollegiate society”. The purpose of the society in terms of the public is to

ultimately provide the government, the general

public, and the universities with a collaboration of thoughts, works, and ideas

produced by students from all different walks of life. By

gaining contributors from sec-ondary schools and universities nationwide, the organization aims to

gain recognition and legitimacy as the next generation’s premiere student run

collectivity. The society's membership currently represents 25 universities, including 2 in the United Kingdom.

By Young Society, Inc.

What exactly did he do right?

With the entire nation if not the

world embracing the rise of the ever so popular Barack Obama, it appears

as if the complete disappearance of number 43 from the press, media, and society has gone entirely unnoticed.

Not to say that it has been customary for the predecessor of the Oval Office

to make a quiet departure from his position, especially at times when the one who succeeds must hit the

ground running due to the current state of things (in which the previous

commander-in-chief left them to be).

Bush’s Legacy.

It is only natural then, that the people

focus on the successor, the one who has come to pick us up. Take Ronald

Reagan's rise to fame for example as the nation's 40th president. The coun-try, at the time, was in a similar period

of "malaise", economically to be more exact, and with his election to the ex-

ecutive office, Jimmy Carter was somehow swept away with the dust of his administration's accomplishments.

Many still consider him to be one of the "worst" presidents our nation has

ever seen. Yet when one takes a look at Mr. Carter today, it's agreeable that he is a wonderful humane man who

simply had to make several hard deci-sions when in office. When one looks

at Bush later on, or perhaps even now, a similar conclusion may be drawn, however there is one key difference

that distinguishes Bush and his ad-ministration from any other "failed"

presidential administration. While the general public has made it seem clear that Bush was incompetent and at

times negligent in terms of his duties, powers, and decisions, whose to say

that the nation and the world have been incompetent and at times negli-gent when criticizing his every move.

What it comes down to is the fact that the Bush administration did at least

one thing well, and that is keeping their intel secret and hidden from the prying eyes and ears of the press. In

fact it makes perfect sense as to why the public views Bush's presidency as

a particularly huge fumble. It's be-cause compared to any other presi-dency, we know the least about this

one. In knowing so little about the inside workings of Bush's Washington,

it's inevitable that his actions and de-cisions appear ridiculous to the gen-eral and dare I say, ignorant, public.

While Bush himself might have been somewhat innocent and possibly in-

competent, his administrative staff as



well as his overall connections were all very well educated and well informed.

What do we know about Condoleeza Rice and General Rumsfeld really? Where did they really stand in Bush's

war against terror or his policies to invade Iraq? What did they really

know about Sadam's regime and the economic future of America? The press and media outlets that fed the

public information throughout the en-tire Bush administration would have no

way of really knowing the topics they were covering (otherwise they would be working in the White House and not

the press room). At times they would simply have to bend the truth and

make stuff up solely due to the fact that the Bush administration was too good at keeping things secret. In

foresight, this might seem unaccept-able and ludicrous, however perhaps

50 years from now in hindsight, it may be considered a stroke of pure genius. We've lost sight of the pros to a con-

servative culture, and this seems daunting to America's future. Secrecy,

privacy, and Government manipulation of the public are all things America has needed to grow up with whether

one chooses to accept the fact or not (take a look at the CIA). America's

status as a super world power can be attributed to this element of conspir-acy. And for those who think its all a

hoax, well then true democracy has a funny resemblance to communism, if

not anarchy. From a clearer looking glass, Bush's legacy is still yet to be determined. One cannot judge his

presidency as of now, since his doings have not enacted their full conse-

quences just yet. With the way things just might work out, his presidency may prove to be one of the most re-

vered in the his-tory of Amer-

ica. It just goes to explain why number 44 is

having a much more difficult

time dropping and reversing all of his

predecessor's policies.

By,Andrew Han

A Dartmouth Commentary.

A Breakfast of Egos.

An 8:00 am writing seminar went something like this:

No doubt hoping to elicit objective responses based off research and

reading, a Dartmouth Professor asked, “How can a person’s voice change as he moves through life—jumping from social scene to social scene, from childhood to university life, from socio-economic class to socio-economic class?”

A response citing the lecture the students listened to on their ipods seemed appropriate. Something refer-encing Barack Obama’s many voices, or the lecturer’s inability to return to her hometown and see friends—fear-ing ridicule of her new education.

Perhaps because it was 8:00 am, or perhaps because no one listened to the lecture, the discussion was as fol-lows:

“I know that moving to Dartmouth was a big step for me. I went from being the smartest person in my class to being among my equals. I guess my voice was affected by that,” said girl one.



“My friends back home used to always call me 800 SAT boy, because I used a big vocabulary. I’m happy I can speak to people here without being ridiculed for my intelligence,” said boy two.

“In Juno, I hated my school. Because I always wanted my teachers to chal-lenge me more, I took every AP class offered and found myself labeled ‘the smart guy.’ It was great. I mean…wait, what was the question?” Asked the boy in the corner.

“I was never labeled 800 SAT boy, but I was considered really intelligent in high school,” piped the fourth student.

“I was smart in high school too.”

“My teachers always told me to stop making all the good points in a debate, so the other kids would have a chance to speak!”

I began to wonder if the template response for this discussion was along the lines of, “I am [insert sophisticated and rarely-used-in everyday-conversation adverb here] witty and great.”

Scraping away the fluff, it’s obvi-ous that comment after comment sought to impress and amaze. Under-lying each anecdote was the general consensus that we Dartmouth stu-dents are quite intelligent beings—a fascinating topic for discussion.

“But what about how a voice can change?” the professor looked around at the self-contented faces almost pleadingly.

When did humility fall out of fash-ion? Or is it the idea that one can brag as much as they want when they rec-ognize they are among their peers? Have these college freshmen been starved for some self-praise or do they

just want everyone to fully realize that they belong at an Ivy League school?

Wow, that guy was Valedictori-an…she must have been revered by her teachers in high school…how can someone read that many classic nov-els?…I bet he had the highest SAT score in his class…she just sounds remarkably intelligent…captain of the debate team? That’s impressive!

The Professor breathed deeply and just past her head, I caught the eye of a girl who hadn’t spoken all period. She gave a little smile and shook her head. I wanted to talk to her after class. By Leni Marmarelis



Electronica:Electronically Generated Music

"Music was born free; and to win free-dom is its destiny."

In Sketch of a New Aes-thetic of Music, Ferruccio Busoni, an early prophet of electronic music from whom the above quote was taken, wrote, “I almost think that in

the new great music, machines will also be

necessary and will be assigned a share in it.” He was certainly

right in his as-sumption; elec-

tronica repre-sents the

dawn of a new

æra of music. Electronica, electronically generated mu-sic, is both highly accessible and personal; it represents a revolution, a renaissance if you will, of how music is experienced.As Dr. Juraj Kojs, Postdoc-toral Associate in Music Technology and Multimedia Art here at Yale, brought to light in a recent interview, “When you think about music his-tory, music is very old and elec-

tronic music is quite new.” He

went on to say that electronica

“technically started with the beginning of

electricity,” but techni-calities aside, one can

trace its roots back even further. Dr. Kojs begins

the history of elec-tronica with Guttenberg’s

printing press, “the first ad-

vanced me-chanical system

that

stimulated society.” Indeed, the media blitz caused by the sudden accessibility of text brought the mediæval æra to a close, parallels the growth and rapid spread of electronica today. By which I mean that both media level the playing field in their re-spective realms.

“Once sound was sepa-rated from source, music traveled across borders and spoke across generations as it never had.”- Ken Jordan, Stop. Hey. What's That Sound?

Édouard-Léon Scott de Martinville’s phonautograph, which marked the first time in history that sound was recorded, and Edison’s phonograph, which made playback possible, ushered in a new way of interfacing

with sound. With the inven-tion of magnetic tape, came a new way of manipulating sound. Musique concrète, spearheaded by Pierre Schaffer in the late 1940s, was founded on the princi-ple that all sounds are musi-cal. A typical musique con-crète piece may have any number of sounds, from breathing to spinning saucepan lids, interplayed with traditional musical sounds. At around the same time, elektonische musik, was a differing ap-proach to the new medium. Instead of incorporating sounds from the world, mu-sicians like Karlheinz Stock-hausen used purely synthe-sized sounds. Despite major differences in philosophy, both electronic music styles harness the invention of the tape recorder to reshape music with various editing techniques used today



Dr. Juraj Kojs, Yale University

Thomas Edison with his Phonograph

including echo, looping, reverb and sampling.

“Human culture is always derivative, and music perhaps especially so.”- Daphne Keller, The Musi-cian as Thief

It is sad that the regular sounds of industry that in-habited Guttenberg’s work-shop are lost to us forever. Had they have been re-corded, they would have been transformed easily into electronic music. For the cleft between sound and its source is nowhere so great as in electronic music, due to electronic musicians’ use of sampling. The technique of sampling enables any sound to be music and any person to be a musician. “A New Way to Say Hooray”, a track from Shpongle’s Tales of the Inexpressible, is a good example of the for-mer; it incorporates a lec-ture from Terence McKenna, the sound of buzzing flies, birdcalls, children’s singing, and many other samples to accurately reproduce a DMT trip. What results of this mixing is something totally new and highly listenable. Moby reflected in an inter-view with Lucy Walker that “sampling is overcoming my weakness and liabilities.” He goes on to explain that sampling allowed him to overcome his poor singing voice and to reuse sounds created by previous musi-cians in order to improve the quality of his music. In the same interview Moby dis-cusses the egalitarian nature of electronic music, stating

“anyone with access to a computer can make music now.”

"‘When the mode of the music changes, the walls of the city shake.’ said Plato out of Pythagoras. He disap-proved of changing the mode of music because it meant destabilization of the older society. But when people began moving to a different rhythm, that affects the whole body and think-ing process and a new consciousness rises.”– Allen Ginsburg

Much of what one hears on the radio today sprung from the search of countercul-tures for their own music. As Dr. Kojs explains, “In gen-eral, any genre [of electronic music] started in subculture. Any genre needs to start somewhere, and that somewhere is under-ground.” Disco came into being in the 1970’s in such a way; it sprung forth from

counterculture. Its overtly sexual messages and get-happy themes spoke from and to the gay pride and women’s liberation move-ments, as well as the African-America and Hispanic communities and it was “not originally thought of as popular music.” It employed a steady four-on-the-floor beat to create a steady beat which allowed anyone to be a dancer. “No lessons require, just step on the dance floor and lose yourself in the music,” disco declared. Through the use of new technology, drum machines, disco re-imagined the human body into what Dr. Kojs calls “a

cyborg pleasure machine” , it was the rallying point of a new culture, complete with its own forms of dress, dance, and drugs. As is the case with most countercul-ture, disco was later co-opted by mainstream soci-ety, but it was only after the ‘79 Disco Demolition in Chi-cago that disco was dead.From its ashes rose two new forms of EDM (electronic

dance music): House and Techno in New York and Detroit, respectively. Along with them came rave culture which was new and hot in the 1990’s. Sadly, “Now when [one] look[s], ten years later, there is nothing new about it,” lamented Dr. Kojs. As evidenced from a recent Armin van Buuren show I attended, I would have to agree with him; both forms of EDM, and their younger cousin Trance are alive and well, but rave culture is lam-entably dead. With the ex-ception of the small cliques of jumpstyle and liquid dancers in the back of the venue, there was little to differentiate the trance

crowd from a pop or rock music con-cert. EDM has gone the way of disco; it has been too commercialised. When asked if raves were yester-day’s news, Dr. Kojs chuckled and replied, “That’s a good way to put it.”

“The relation-ship between electronic music and the listener, based on the

technology that we have, is very personal.”- Juraj Kojs

Fortunately, EDM does not encompass the entirety of electronica. In recent years, the subgenres of electronica have exploded, blend the barrier between acoustic and electronic and between



foreground and background music. New technology en-ables music to cross genres barriers like never before, creating a storm of port-manteaux; folktronica, funk-tronica, and livetronica, to name a few. This trend shows not only the influence of music upon our lexicon, but also indicates a shift of “a lot of electronica artist turning back to acoustic instruments.” The blend of live human performance, along with loops and sam-ples, gives the music a hu-man touch. Improvisation is encouraged, fostering a dy-namic and interactive expe-rience to which a DJ show cannot come close.

Perhaps Dr. Kojs’ postmod-ern views toward the future of music are right. When asked what direction elec-tronic music was taking, he mentioned that “ what is really interesting is music that is on the threshold be-tween music and silence. It has nuances, detail, and delicacy.” However, I see the future in fusion genres like Livetronica, the mix of jam music and electronica. It is an example of a culture that is still young enough to be fresh. Go to a Pnuma Trio, Sound Tribe Sector Nine, or EOTO/Zilla show, and there will be no mistaking the crowd for that of an average rock concert, in that audi-

ences are diverse and en-gaged. Drugs are present, but they serve as enhance-ments to the musical expe-rience because they break down the barriers between ego and music. You’ll get the sense that the audience is really at the show to enjoy the music, to be apart of something new.

“History, tradtion, and classical music – are there words related?Who decides what is or when it is – is it you or them?”- Daniel Bernard Roumain, What One Must Do

It is only through technology that music will ever be free. Electronica causes us to question the very definition of music. It challenges tradi-tional forms of music and should make you one stop and think, stop and dream. As technology advances, the line between acoustic and digital has already been wiped away. Now the power to sample, remix, and mash the old and the new sounds of the world, both human and digital, has begun to break down the barrier be-tween art and life, and I think there is something in-trinsically good in that.

By Andrew James Davis

About the Contributors

• Andrew Han is currently a senior at Ward Melville High School. He plans

on attending Amherst College where he hopes to study economics. He resides in Long Island, New York.

• Andrew James Davis is cur-rently a freshman at Yale University

where he is studying computing and the arts. He is originally from Aurora,

• Eleni Marmarelis is currently a freshman studying Genetics at

Dartmouth College. She is originally from Palos Verdes, California.



STILL IN THE WORKS...

Alexander ParkA senior at Phillips Academy, he

will be studying Economics at

Columbia University next fall.

Eleni MarmarelisA freshman at Dartmouth college,

she plans on majoring in Genetics.

Fred CarterA freshman at Lehigh University,

he plans on majoring in Accounting/

Finance.

Ayasha GuerinA freshman at the University of

Pennsylvania, she plans on majoring

in Environmental Studies.

Peter KimA freshman at Emory University,

he plans on majoring in Government

and History.

Bohuslav RomanenkoA first year student at Oxford

University, he plans on studying

German and Russian.

An Interesting Letter to Take Note of

Published: May 1, 1994

To the Editor:

Regarding your chronicling of the hard times

that have befallen some of my Harvard contem-

poraries and the letters responding to it ("The

Humbling of the Harvard Man," March 6; Letters,

April 3), I should point out that not all of us avoid

reality. Upon arriving for my 25th reunion, many

classmates told me I should not have written in

the class of 1960 report that I was "unem-

ployed." Rather, they insisted, I should have

stated that I was a consultant.

To each I inquired as to which college's reun-

ion we were celebrating, and they replied,

"Harvard, of course." I then asked, "What is

Harvard's motto?" And they would reply,

"Veritas." Then, I would ask the English transla-

tion of the Latin; oddly enough, they all knew.

The answer is truth. Having made my case, I

walked away in every instance. Although some

of us have been humbled, those of us who re-

ceived that education and live by it have always

lived by the truth.

By Bert Kneeland

Siesta Key, Florida April 1

Getting Involved!

The Young Edition invites anyone

and everyone to contribute works of

writing to its collaborative publication.

There are no real deadlines since our

web publication and hardcopy go

through publication constantly. If

you would like to submit a work, just

visit one of our websites, www.tysi.org

and click the “Submit a Work” form.

If you are interested in joining the

team as an editor or administrator,

visit our website at

www.youngsociety.org and click the

“Membership” form. As always, we

are committed to breaking collegiate

boundaries and blending your punch.

Enjoy!



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