Despite this being Mr. Jones’ first year teaching at Westwood, he’s no stranger to the world of computer science. With over a decade of industry experience, Mr. Jones is something of a veteran in the field.

“I’ve been in [the] industry for the last 14-plus years,” Mr. Jones said. “I started out as a software developer at Dell. Then, I moved over as a performance engineer for General Motors. I managed their entire manufacturing department. [I tested] all the software that went into the factories [to] make sure that it worked well. Before I came to teaching, my last role was the Director of Release Management at Sports Illustrated Tickets.”

Yet, despite his expansive experience with software engineering and computer programming, Mr. Jones felt as if he needed a change from the corporate world. For him, teaching felt like the next step.

For a high school computer science teacher, Mr. Jones has a unique background that shapes his teaching style into one like no other. Characterized by his immense industry knowledge of computer science combined with his desire to teach, Mr. Jones has created a truly unique teaching philosophy, centered around making computer science accessible to everyone, not just those who want a job in the field.

“[When I was in high school,] you were only ever taught [that if you did computer science], you will be a software developer, and that there’s really nothing more than that,” Mr. Jones said. “That’s definitely not the case anymore. I wanted to bring my industry experience in [to show that] you can do more with computer science. Whether you’re going into medicine, law, or programming, you can do a lot more with computer science than just being a developer. I take that industry style and experience into how I approach the lessons and the assignments that I do.”

Mr. Jones’ deep knowledge about computer science is especially important for students as they are key players in this new era of rapid technological development. In the midst of a period of rapid innovation where artificial intelligence, cloud computing, and 6G wireless technologies are taking the world by storm, computers and machinery are increasingly important in a litany of fields. These developments, in Mr. Jones’ opinion, render a robust computer science education imperative.

“Computers are something in any industry, any kind of profession, [that] you’re going to interact with,” Mr. Jones said. “In any job, you’re going to [interact with] some level of technology, whether you’re working on a website, building something, or working with data. [Technology] is something that’s very prevalent in any kind of job.”

Even independent of the emerging technology boom, though, Mr. Jones still feels as if learning computer science equips students with skills that are crucial to navigate the workforce and life in general.

“One of the biggest concepts I hope to teach is that computer science is about critical thinking, creativity, and thinking out of the box,” Mr. Jones said. “All those philosophies and concepts can be applied to any industry or any job. Anything we [learn] here, I want to correlate [it with] something in the world, no matter what it is.”

Cultivating critical thinking is an important part of Mr. Jones’ teaching philosophy, as he believes motivating students to approach familiar concepts from unique perspectives is crucial to help them learn information beyond the surface-level concepts they are taught in most other classes.

“For me, [the most important part of teaching is] getting the students to think differently,” Mr. Jones said. “[In] the lesson we’re doing today, which is about top-down design, the warm-up activity is about how to make a peanut butter and jelly sandwich. Everyone knows how to make a sandwich, but thinking about it from a top-down design [is challenging].”

All in all, Mr. Jones’ goal for his first year of teaching is to encourage students to think about concepts more critically and thoroughly in an attempt to reshape how they view learning. For Mr. Jones, conventional methods of teaching fail to delve deeper into the intricacies of certain concepts.

“I’m a person [who is] easygoing, and [my only concern] is that I want [my students] to try and think out of the box,” Mr. Jones said. “For too many subjects, you’re told you need to solve this problem exactly [in one] way. [The answer] should be A, B, or C, or you need to write [the answer] exactly this way. In computer science, while it may have a specific task, there are many ways to solve the same problem. I want people to think creatively, and think outside of the box [whenever they do things].”

Harvard’s pushback to funding cuts is especially important, due to the university’s reputation for being one of the most prestigious educational institutions in the world, with a long history of producing presidents, scientists, and researchers who have used Harvard’s education to transform the world. Harvard’s reaction to these funding cuts could set a precedent for how every other university responds to future challenges.

However, despite Harvard’s fight against funding cuts, the sheer pressure of the Trump administration has forced Harvard to take preemptive measures, such as cancelling funding for affinity group celebrations, such as black graduation, an annual event held by the Harvard Black Graduate Student Alliance (BGSA), which aims to celebrate the achievements of black students at Harvard. These funding cuts have drawn national attention, due to their unprecedented size, and massive potential impact on other universities that rely on DEI programs. For some students, these funding cuts aren’t merely flashy acts that intend to scare schools into compliance — rather, they have far-reaching impacts on the world.

“I think [the cuts] are really dangerous,” Chaaya Annamreddy ‘27 said. “University research is a huge part of a bunch of innovations, especially medical innovations. A lot of pharmaceutical innovations [are] done through [universities]. So when we cut back all this funding, that has [impacts on] health [in the] U.S. and even [the rest of] the world.”

Though major universities like Harvard stand at the forefront in the battle against funding cuts, many also fear the impact of these funding cuts on public educational institutions that are already struggling with funding issues. In particular, many are anxious about what could happen to Westwood. As the Trump administration cuts funding to various educational institutions, many are uncertain about potential cuts to club funding, DEI programs, and even changes in staff hiring procedures.

“[If] Westwood does say yes [to rollback of DEI programs], then that would cause a huge loss of minority representation in Westwood, whether that’s either less teachers being hired or less minority students coming to Westwood,” Brijnandan Saranu ‘27 said. “[If] they ignored it, it [would] cause massive funding cuts, which would obviously lead to even more teachers leaving, and [it would result in] worse education overall.”

Students’ fear of funding cuts to Westwood are magnified by the belief that public schools like Westwood are uniquely vulnerable to funding cuts, as many believe private schools like Harvard have deep pockets that help cushion negative impacts of funding cuts, while smaller schools such as Westwood, could lose substantial portions of their funding.

“[A lot of] these higher education institutions, [especially] public schools, are already dealing with a lot of state and local [level] funding cuts,” Anushka Gupta ‘26 said. “Peeling back DEI [funding], especially in the state of Texas, would have negative [impacts on] these public schools in that some of the funding [cuts] might [hurt] programs promoting inclusivity that are trying to help students rather than harm them. [At] that point, it isn’t even about DEI’s goals and its advantages, it’s just [that] this amount of money won’t be going to public schools anymore.”

Though the punishment of funding being stripped from programs is severe, many students also worry about how funding cuts signal that the Trump administration is willing to go to great lengths in order to achieve its goals, making the future volatile and frightening.

“Harvard [is] like the largest institution and has the most funding from its donors,” Ethan Andrew ‘26 said. “The more important part is the sort of precedent that this sets, that the government can revoke funding at any time if it’s not abiding by the ideology of the political party, which is a huge problem because it’ll regress to politicizing education, which obviously is something that should be separated from your political views.”

In the wake of these funding cuts, students feel more unsettled than ever, and many believe that funding cuts to universities due to implementation of DEI programs will not only hurt educational quality, but also the students themselves. For many students, the next few months could determine the course of the rest of their lives.

“[Current policies are] definitely [going to] affect my chances of acceptance into certain higher education [institutions] and universities when I graduate,” Annamreddy said. “[If DEI programs are removed,] it’s going to be harder for me to get into certain spaces.”

In 2016, the Canadian Broadcasting Corporation’s Kim’s Convenience took the nation by storm, receiving record numbers of viewers. Four years later, the show also attained widespread popularity in the United States after being released on Netflix. The show’s authentic nature coupled with its hilarious, yet simultaneously incredibly realistic humour made it appealing to a litany of audiences.

Set in Moss Park, a neighborhood that is home to a myriad of cultures and people in the heart of Toronto, Kim’s Convenience explores the life of a Korean-Canadian family who manage a convenience store. The father, Mr. Kim, is a serious, yet simultaneously witty and charming middle-aged Korean man who loves nothing more than his convenience store, and wishes deeply for his daughter, Janet to take it over. The mother, Mrs. Kim, is a stubborn, but kind hearted and determined woman who stresses day and night over her children’s futures and familial issues. The daughter, Janet Kim, is a photography student at the Ontario College of Art and Design, and struggles with independence from her parents. Lastly, is the son, Jung Kim, a manager at a local car rental, who struggled with drug usage and criminal activity as a teen, ultimately estranging himself from the family after stealing money from the convenience store. Jung maintains a relationship with Janet and Mrs. Kim, but struggles to build back a relationship with his father. It is this tense, yet simultaneously rich and strong family relationship that is the heart of the entire show.

The very first scene of the very first episode of the show sets the scene for the rest of the show, when a gay couple walks into Mr. Kim’s store, asking him to hang up a poster advertising a local pride parade in the window of the storefront. Mr. Kim declines, saying that he doesn’t understand why pride parades are so boisterous and flashy, and expresses his wish for parades to be quieter, and more calm. The couple, perplexed and frustrated, ask Mr. Kim if he’s homophobic, and threaten to report him, to which Mr. Kim protests, by saying he can’t be homophobic, because he offers discounted goods to gay people. The scene ends with the couple buying a discounted chocolate bar from Mr. Kim, and walking out the store to a happy, “Okay, see you!” Scenes like this illustrate exactly what Kim’s Convenience is about. The rich culture that immigrant communities bring to other nations often comes at odds with the established nature of the social orders of other countries. It’s this conflict that ultimately results in division, but at the same time, it also results in new experiences, and a richer, stronger, social fabric that’s able to weather a rising wave of xenophobia and hate.

Perhaps one of the strongest examples of this can be seen in one of the show’s cold opens, when Mr. Kim and his friend, a local Indian restaurateur, converse about the sound a frog makes. Mr. Kim ardently defends the position that frogs make the sound “gaegul-gaegul” when they speak, whereas Mr. Kim’s friend insists that frogs make the sound “terr-terr.” Eventually, as the argument escalates, Janet walks in, and Mr. Kim asks her what sounds frogs make, to which she replies with “Don’t they say ribbit ribbit?” to which both Mr. Kim and his friend immediately dismiss as a byproduct of linguistic colonization resulting from years of living in Canada. Though on face just an ordinary scene written to get laughs, moments like this illustrate what the show is all about; being able to traverse established, rigid cultural boundaries, and create a new social order that blends different cultural experiences together.

Furthermore, the show effortlessly captures the tense nature of family life in immigrant communities. One of the core storylines of the show is built off of Mr. Kim’s disputes with his eldest child, Jung. Jung and Mr. Kim’s relationship is rocky, yet not irreparable. The pair frequently butt heads over their opposing worldviews, Jung’s criminal past, and Mr. Kim’s stubborn nature. Yet, despite this tension, Mr. Kim loves Jung very much, but can’t bring himself to admit his deep love and admiration for his son due to his stubborn nature and pride. This dynamic can best be seen when Mr. Kim attends a party for Jung, after he receives a promotion at the car rental where he works at, and notices Jung is stressed. Mr. Kim points this out, but Jung vehemently denies it, resulting in the two fighting, with their relationship that they had slowly built back crumbling. It’s scenes like this that represent what Kim’s Convenience is all about: the beautiful, yet simultaneously scary nature of life in immigrant communities. 

Portraying immigrant culture in short, 30-minute-long television episodes is difficult, considering the expansive amount of distinct immigrant cultures and experiences, all with their own individual unique characteristics. Yet, Kim’s Convenience manages to do this effortlessly throughout its duration. It’s this ability to perfectly encapsulate the complex nature of immigrant life that makes Kim’s Convenience still relevant years after its release. In the midst of rising terror for immigrant communities as deportations, racial violence, and immigration restrictions rise, Kim’s Convenience serves as a moment of fresh air for immigrant communities.

The Round Rock Independent School District (RRISD) hosted a chess tournament for elementary and middle school children on Saturday, March 29 at Hopewell Middle School. The tournament drew excited students from across the district. Yet, for one elementary schooler who has chosen to remain anonymous, their passion met a roadblock. Due to their cerebral palsy, they weren’t able to manipulate pieces with their hands, annotate moves on the board, or even touch the chess clock they were required to use. However, in this moment of difficulty, Westwood Chess Club member Sanmita volunteered to step in and help.

“[I found out about the child] through [our] chess club,” Sanmita said. “Our [club] president sent out an email asking us if we wanted to help this child and I said yes. [I helped by] moving the [pieces] and then I would write down [their] moves using algebraic notation. Sometimes they would need to bring in a clock and so I would also hit the clock for [them].”

“I’ve always just been a person that wants to help other people. [It] brings me a lot of joy and that’s the main reason why I wanted to [help out],” Sanmita said. “I wanted to [do this] for the child. I just sat there and thought [about] what [would happen] if no one came to help them, [and] what [would happen] if [they were] all alone. I wanted to help them have fun in chess.”

Ever since being introduced to chess in preschool, Sanmita knew that chess would become a core part of her life. Her first tournament in the first grade gave her a taste of competitive chess, amplifying her interest, and she hasn’t looked back since. Sanmita believes that volunteer opportunities like this help her share her love of the game to as many people as possible.

“My favorite thing about chess is that it requires a lot of patience and it requires a lot of thinking,” Sanmita said. “You can’t just be rash with your moves, and I think that that’s something that I want to share with everybody. Just take your time, think about things and plan ahead. That’s something chess has taught me and I want to share it with others.”

In addition to her avid passion for the game, Sanmita is a strong advocate for those who wish to indulge in the same experiences, but are unable to do so. She strongly believes chess is for everybody, and that regardless of any handicaps, chess is structured in a way such that anyone can play it. Its strong accessibility to all individuals has spurred its popularity in recent years – chess is immune to societal or physical standards placed on traditional sports athletes.

“More people should play chess because chess is a game for everybody,” Sanmita said. “It has different time controls. If you [want to] play slow, you can play slow. If you [want to] play fast, you can play fast and it’s not boring at all. You get really invested once you start. Once you just start, you’ll get immersed in this world.”

In the future, Sanmita aims to work with other children interested in chess to spread her joy for the activity. Her strong dedication to both playing and teaching chess has motivated her to seek out other opportunities helping others.

“More than playing chess, I love teaching chess,” Sanmita said. “Hopefully in the future I can help other people learn chess and become good at chess, because what I’ve observed is that [inexperienced players] – they know the rules and everything, but [other people] like their coaches don’t really tell them [exactly how to carry that out] because theory is different than practice.”

However, at the end of the day for Sanmita, nothing mattered more than the happiness the child felt after being able to truly express their passion and joy for the game.

“[They were] just so happy and so excited. I was so happy that I was able to make that happen,” Sanmita said. “I’m guessing if I hadn’t been there, I don’t think they would’ve achieved the same level of happiness [they had] playing this game.” 

With artists like Kendrick Lamar having entire stadiums chant along to songs that condemn police brutality, and artists like Doechii winning Grammys for showcasing their emotional vulnerability through their art, it’s clear that music has changed. We seem to be in another cultural renaissance: just like Woodstock and the counterculture movement of the 1960s, the music industry is at a crucial inflection point.

For years, the public has blasted mainstream pop music for being too focused on flashy material goods, and being too detached from reality. Artists’ extravagant dresses at the VMAs and billion dollar private jets have been lambasted for being overly materialistic, and showing a lack of concern for the negative societal consequences their choices have on the environment or on the Global South. Most notably, Taylor Swift received considerable flack from critics for her private jets’ environmental consequences. Swift brushed off responses by buying carbon credits but ultimately, never made meaningful changes to her daily life. It is this indifference that has earned the music industry a bad name in recent years.

“I’ve definitely noticed problematic behavior in pop music,” Annie Curtis ‘26 said. “I think that sometimes it is [forgiven] too easily, especially [when] the artist has a [good] reputation. I think it’s [important] to hold pop artists accountable because they have such a large audience, especially with young people, [because it’s easy to] influence them.”

A prolific commercial success, KSI’s debut single Thick of It charted the Top 100 Billboard with a peak of No. 64. Although the song, filled with internet memes, was made a mockery of by netizens and KSI fans alike, it still charted high on prominent music charts – something many talented yet amateur artists can only dream about. Thick of It was mostly certainly a low-effort cash-grab song, but somehow it was able to garner KSI a larger audience in a matter of days, taking the internet by storm. Whether it be through ego-boosting lyrics boasting his success as a YouTuber, seemingly meaningless lines such as “From the screen to the ring, to the pen, to the king”, or its lackadaisical musical production, Thick of It gained more popularity in a week than Lizzo’s Truth Hurts gained in a year.

Truth Hurts is just one of many examples of good music going unseen; despite its later commercial success, solidifying it as an overall pleasing single to the masses, Lizzo initially struggled to gain a platform despite her emotional, heartfelt, and socially conscious lyrics. Truth Hurts is a relatable, catchy, and emotional ballad that was released in 2017, but was only able to gain traction and propel Lizzo to stardom after its feature in a popular movie. This is a narrative true for thousands of small artists; without help from bigger singers, songwriters, or corporations, it is almost impossible to stand out as a small musical artist among the seemingly endless talent in the field. Given the mockery that Thick of It garnered from the internet, there is no doubt many would argue that Truth Hurts is a better single than Thick of It in production, lyricism, and emotion. However, a combination of numerous factors made Thick of It incredibly successful, including KSI’s platform as a YouTuber, marketing made possible by his deep pockets, and, most importantly, the sheer internet brain rot and superficiality prevalent in the hit debut single.

However, despite the music industry’s reputation for being detached, insensitive, and overly materialistic, in recent years it has slowly become more progressive, with a new wave of musicians spurring a shift towards socially conscious music. This shift is largely due to changing concerns for different demographics. Younger people today are confronted with a multitude of issues. Institutional discrimination, police brutality, poor governance, sexual and gender identity, are just some examples of the issues that Gen Z deal with daily. This amalgamation of complex societal issues leave many craving an outlet to express themselves in order to cope with the trauma these issues can bring. As a result, the music industry has proliferated tens of new artists, all dedicated to surviving the difficulties of the 2020s in their music.

One of the rising stars in this shift towards socially conscious music is pop artist Chappell Roan. Roan is best known for her album The Rise and Fall of a Midwest Princess, an album that delves deep into the intricacies of growing up queer in a society characterized by a climate of anti-LGBTQ+ violence and ostracization. Roan’s music serves as a testament to the challenges LGBTQ+ youth experience daily, especially amidst a growing epidemic of hatred fueled by Trump-era politics and Project 2025. 

One of the most notable examples of this is Roan’s hit song Naked in Manhattan, which explores Roan’s experiences with her first girlfriend as she grapples with her newfound identity and all the feelings it brings about. Nevertheless, Roan manages to portray this heavy topic with ease while making the track vivid, fun, and energetic. It’s a stark contrast from years past, where socially conscious artists have had their music rejected by the public for being too real or overly depressing. Roan effortlessly balances making songs that are fun to dance to while also staying socially conscious, spurring mainstream success of music that would otherwise be deemed too “sad,” to warrant being played at clubs and supermarkets nationwide. 

“Music is music,” Dhiya Reddy ‘27 said. “If it makes you happy, then it’s a good song. You could like a song that others don’t like, and your songs can be considered shallow. You could consider their song shallow. It depends on what you’re looking for. Obviously, I think deep songs should have more merit but that doesn’t mean that we should not enjoy fun songs.”

In addition to songs about sexual identity, artists like Doechii have achieved massive success for their songs about mental health. Doechii’s album Alligator Bites Never Heal has been lauded for its vulnerability and focus on mental issues that plague younger generations. Most notably, her song Denial is a River investigates substance abuse, the stress placed upon her by the music industry, and issues with insecurity and self esteem all to the tune of a fast-paced hip-hop beat. It’s this ability to make music that balances sheer vulnerability and honesty with energetic, vibrant production that won Doechii a Grammy award for Best New Artist and Best Rap Album of the year. 

Both Doechii and Roan have received praise for breaking norms, and redefining what it means to be a popstar. Both artists have been instrumental in reshaping the music space to make it more inclusive for different types of people with different types of struggles, something that was a pipe dream just years ago.

“[In the modern day, artists] love breaking norms,” Deetyaa Shah ‘27 said. “I think it’s awesome because in the past, a lot of [artists] in pop would be the most [problematic] people because they could not recognize the fact that despite being in a competitive setting, they don’t have to push [toxic] values onto younger audiences.”

However, this isn’t the first instance of the music industry making a broad shift towards making more socially conscious music. If anything, the current music scene heavily mirrors that of the 1960s, characterized by the counterculture’s disdain for conservative warmongering in Vietnam, and a broad cultural shift for society. Festivals like Woodstock showcased how a generation of people were seeking grand societal change, and challenging the norms of society all through catchy songs. Songs like Creedence Clearwater Revival’s Fortunate Son and Country Joe’s I-Feel-Like-I’m-Fixin’-To-Die Rag confronted the harsh realities of the Vietnam War and the failures of the government, similar to the way modern artists like Chappell Roan confront sociocultural norms and heteronormativity.

Despite recent strides in the quality and emotion of mainstream music, there are still problems with genres such as pop, hip-hop, and rap normalizing degradation of women, ableism, and homophobia. In an effort to be edgy, many lyricists attempt to casually speak about sensitive and mature topics, often with the intention to portray the artist as strong – which many correlate with hypermasculinity. Controlling women and having a strong finesse over discriminatory vocabulary can often portray an artist as edgy and tough, a vision that has driven many rappers to success. 

A prime example of this is The Weeknd’s popular song Lost In The Fire. This song features lyrics that a few have callen out for being objectifying and homophobic. In his lyrics, he implies that a girl who is seemingly bisexual is just “going through a phase” and that he can turn her straight. This is deeply homophobic, and the lyrics objectify women solely for the purpose of cultivating a hypermasculine persona to appeal to an audience. In addition, it further contributes to bisexual erasure, which can be deeply harmful for questioning individuals who want to see themselves represented well in mainstream media. Nonetheless, his status as a popular male musician has given him immunity to claims of discrimination; the excuse of “it’s just music” or “everyone else makes music like that” is shockingly prevalent.

In many music genres, female artists have been attacked on social media for singing about their own intimate experiences in a benign way, including Ariana Grande’s infamous hit 34+35. Despite many of these artists’ lyrics barely coming close to the level of objectification in many hip-hop and rap tracks, they garner hate. However, it is clear in recent years that this trend is shifting. With artists like Sabrina Carpenter, Doechii, Chappell Roan, Charli XCX, and Taylor Swift detailing their intimate experiences in various tracks, their Grammys nominations are proof that society is beginning to become more accepting of female artists expressing their sexuality and identity the same way male artists have for decades.

“I like Sabrina Carpenter,” Reddy said. “I think her lyrics are very good because [they don’t] defame women. They kind of show womens’ perspective and her lyrics are really fresh. Her concept’s really fresh [too]. Her voice is a voice that deserves to be recognized [and] I think she genuinely has good musical talent.”

Furthermore, it’s important to recognize that this spread of socially conscious music isn’t solely because the music industry itself has shifted to push better music, but because listeners have grown tired with the current state of music, and crave something fresh. There are still a litany of problematic songs and artists who enjoy considerable success, despite their lyrics being morally questionable. Though any change is good change, it’s important to recognize that past issues with the music industry are far from fixed.

“I think that [it’s] fans [who mainly] influence what music comes about,” Curtis ‘26 said. “Each time that someone from a less mainstream background [releases] a hit, it opens [up] the [music industry] even more, which is definitely a result of the fans because they do all the listening”

 However, this recent increase in more socially conscious music serves as a watershed moment not just for the music industry, but American culture as a whole. We’re in the same boat as we were in the 1960s – society’s shifting, and music will be the first to shift with it. 

As students rushed home to enjoy their Spring Break, the JV Orange and White baseball teams were hard at work on the field, playing exciting games against tough opponents. Experiencing a lot of hardship through the day, the Warriors managed to pull off some successes, most notably an 8-3 victory over the McNeil Mavericks by the JV white team on Friday, Mar. 14. Beginning the game with a lead, scoring runs quickly, the Warriors ultimately secured a 3-0 lead in the first inning. Another big influence over the game was good pitches by Alex McArville ‘28 helped the Warriors gain a series of small, in-game, victories against the Mavericks. Furthermore, a few caught pop-flys  limited the Mavericks from scoring.

“[We] felt good going into this game,” Dylan Galvez ‘27 said. “I knew that me and me team were going to be able to complete the McNeil series.”

By the end of the third inning, the Warriors were ahead by a comfortable 5-2 margin, with both pitching and batting tightening up to help shut out the Mavericks. The Warriors ultimately gave up no runs in the fifth and sixth innings, while also scoring three of their own, to make the margin of victory even more insurmountable, ultimately winning 8-3.

“The whole team played really well,” Owen Neill ‘28 said. “It was a great defensive effort, [we] pitched really well, [and] hit really well.”

However, the Warriors also experienced a few hardships as well, as The JV Orange team lost to McNeil in an 10-0 finish, and proceeded to lose again to Cedar Ridge in a hard-fought 11-2 loss. In this,, the Warriors started off close, with accurate, precise pitching from both sides keeping the first innings against the Mavericks scoreless. Yet, pitching began to loosen up at the start of the second innings, with pitcher Collin Potts ‘27 giving up eight runs, despite his best efforts. It would ultimately be this innings that would lose the Warriors the game. Despite the team giving up couple of runs after substituting Potts for Benjamin Gant ‘27. This change did affect the defense as only a few more runs slipped through before the end of the game, however, the Warriors ultimately could not score any runs of their own for the rest of the game, and ended up finishing 10-0.

“I felt pretty confident, felt like we were going to win. I’m a little down right now but we’ll come back to fight [after this],” Owen Kearsey ‘27 said. 

The next game against Cedar Ridge on Saturday, Mar. 15, proved to be equally as difficult. Errors in the outfield and a strong batting lineup resulted in the first innings ended as the Warriors trailed 7-0, despite his best efforts. To try and mitigate the Raiders’ run with the lead, the Warriors substituted in Sterling Woodley ’27 pitching to help fight back against the Raiders. The same solution provided the same fix as, like the last game, the shift ultimately tightened up pitching, as the Warriors gave up few runs in the rest of the game. However, the Warriors also failed to score many runs of their own, resulting in another loss against the Raiders.

“I think [I have] some mixed thoughts on how I played,” Shoenfelt said. “I think I need to look at my pitches and strikes a little bit better, and I think good things will happen.”

In addition to the JV Orange team experiencing some difficulties, the JV White team also suffered a crushing 4-18 defeat against Cedar Ridge the same day.

The game started off strong, with both sides jumping on the board, with the Raiders in a significant, not yet insurmountable 4-1 lead. However, despite the Warriors’ strong batting efforts, pitching ultimately loosened up and gave the Raiders a few easy runs. Then came the fourth inning, despite the Warriors’ valiant fight on and off the mound, the Warriors still gave up three runs, and ultimately finished the game 10-2.

‘“I could’ve pitched better. I didn’t throw many strikes, I threw too many balls, I let up too many walks and too many hits,” Owen Neill ‘28 said. 

Despite attempts at a comeback, the Warriors struggled, giving up three more runs in the sixth inning after substituting Dylan Galvez ‘27 at pitcher. The lead eventually began piling up, with the warriors ending the game in a tough 18-4 finish.

“We have [Cedar Ridge] again Tuesday, so we need to come ready to play, ready to pitch, and [just] go back to the fundamentals, and I think we’ll win,” Neill said. 

The JV Orange team will play their next game, Tuesday, Mar. 18 against the McNeil Mavericks, while the JV White team will play their next game, Tuesday, Mar. 18 against the Cedar Ridge Raiders. Both teams will be playing tough redemption matches in an attempt to prove the team’s power.