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The Blues Note
There is a moment just before a blues guitarist bends a note when everything seems to slow. The fingers press into the string, holding tension, and then release it into a sound that feels almost like a breath. The note does not sit still. It moves, stretching upward and settling somewhere uncertain. That slight instability is what gives blues its character. It feels unfinished, searching, and deeply human.
At the centre of this sound is the idea of the blue note. These notes fall just outside the neat structure of Western scales, creating a tone that feels raw and unresolved. Guitarists shape them through various techniques like bends, slides, hammer-ons, and vibrato. Each technique adds a layer of expression, allowing the player to control not just pitch but emotion. The guitar begins to mirror the voice, rising and falling with a sense of intention that goes beyond written notation.
One of the most respected blues guitarists, B.B. King developed a style that focused on clarity and emotional precision. His solos rarely felt crowded and unfolded slowly, with each note given space to resonate. There is something unique in the simplicity of his songs such as “The Thrill Is Gone,” where his phrasing creates a sense of distance and reflection. The vibrato he applies to sustained notes gives them a trembling quality, almost like hesitation. This approach draws attention to timing and silence. The pauses between phrases become part of the music, shaping its rhythm and mood.
Blues guitar has always been closely tied to storytelling. Early players used simple chord progressions and repetitive structures to create a foundation for expression. The twelve-bar blues pattern became a familiar framework, allowing musicians to focus on phrasing and variation. Within this structure, guitarists could improvise, responding to the mood of the moment. This sense of spontaneity remains central to the genre, even as it has expanded into new forms.
Eric Clapton carried these traditions into a different musical landscape. As blues blended with rock, the guitar tone became louder and more driven. Clapton’s playing in tracks like “Layla” and “Crossroads” reflects this shift. His solos move with greater speed and intensity, yet they still rely on the same core techniques. Bends create tension, sustained notes provide release, and phrasing remains rooted in blues traditions. The difference lies in the scale and energy of the sound. The music feels more expansive, filling larger spaces while holding on to its emotional depth.
Clapton’s work also highlights the adaptability of the blues. As amplification and production techniques developed, guitarists found new ways to shape their sound. Distortion added texture, sustain allowed notes to linger longer, and effects created new tonal possibilities. These changes did not replace the essence of the blues. They extended it, giving artists more tools to express familiar ideas in new ways.
In contemporary music, John Mayer presents another stage in this evolution. His work often sits between pop and blues, bringing traditional techniques into a modern setting. In songs like “Gravity” and “Slow Dancing in a Burning Room,” the guitar lines feel controlled and deliberate. The tone is cleaner, the phrasing more restrained, and the production polished. Yet the influence of blues remains clear in the subtle bends and expressive vibrato that shape his playing.
Mayer’s approach reflects a shift in how the audience experiences music. The intimacy once found in small venues is now recreated through recording techniques and personal listening spaces. His guitar work captures this sense of closeness, using simplicity and precision to create emotional impact. The notes do not rush. They settle into the rhythm, allowing listeners to focus on tone and texture.
Across these different artists and eras, the blues maintains a consistent identity. It values expression and feeling over speed. The techniques may evolve, and the contexts may change, yet the core idea remains the same. A single note, shaped carefully and placed with intention, can carry more meaning than an entire sequence of fast passages.
The blues continues to move forward while staying connected to its origins. Each generation reshapes it, bringing new influences and ideas into the genre. At the same time, the fundamental elements remain intact. The bend of a string, the slight variation in pitch, and the space between phrases continue to define its sound. These details, small yet powerful, ensure that the blues remains both timeless and adaptable.
Writer: Aayash
Designer: Savana
Editor: Mathea
Iran, Israel and the United States: Power, Conflict, and Competing Narratives
As the ongoing conflict between Iran, Israel and the United States has become one of the most serious global crises in 2026. What originally began as targeted military strikes quickly escalated into a wider regional conflict, not only affecting the middle east, but the trade, energy markets and political stability. of the greater globe.
Beyond the fighting itself, the situation has raised important questions about law, ethics and the role of information in modern warfare. As each side presents its actions as justified, the conflict has become as much about perception and narrative as it is about military power.
Escalation of the Conflict
In early 2026, the United States and Israel carried out major airstrikes on the Iranian military and other strategic targets. These included bases, weapons systems and other key infrastructure, believed to be linked to weapons development. In some cases, high ranking individuals were reportedly targeted.
Officials from both (Israel and The US) have argued that these strikes were a necessity to reduce immediate threats and prevent future attacks. From their perspective, acting early was presented as a means to avoid a larger and more destructive conflict later on.
Iran responded with missile and drone strikes across the region. Some of these targeted military bases, while others focused on economic infrastructure like oil facilities and transport routes. These actions have led to global consequences, disrupting energy supply and contributing to rising global oil prices.
As the conflict evolved, it began to involve more actors and more regions, increasing the fears of another Great War. What began as a series of strikes between states has morphed into a more complex and unpredictable regional role.
The Battle of Perception
The United States and Israel present their actions as purely defensive. They argue that Iran has the ability to threaten their security, and how acting early is a necessity to prevent larger and more dangerous conflicts in the future. From this perspective, using force is framed not as escalation, but as prevention.
Iran, however, strongly rejects this narrative. It describes the strike as unjustified attacks on its sovereignty. According to Iranian officials, its actions are self defence against foreign aggression. In this view the country is responding to being attacked rather than being the initiator of the conflict.
This difference in perspectives (and in return the portrayal of the conflict) highlight a key feature of the war: The battle over how the conflict is understood.
A major part of the battle takes place through information. Governments and other affiliated groups use media, social platforms and increasingly, artificial intelligence to shape public opinions. Edited videos, generated images, and simplified narratives are used to present events in a way that supports a specific view point.
In many cases, these narratives tend to reduce a highly complex situation into something much simpler, where one side is portrayed as completely right and the other as completely wrong. Reports and accusations of human right violations are also increasingly shared, though verifying such claims during active conflict tends to remain difficult.
As a result, it has become harder to know what information is accurate. The conflict no longer remains fought on the battlefield, but also online, where competing narratives influence how people around the world view the situation.
Legal and Ethical Dilemmas
While both sides provide reasons for their actions, there are still serious legal and ethical concerns that have to be addressed.
A major legal issue is whether these attacks follow international law. Striking another country before a direct attack has taken place is highly debated. Some argue that such acts are justified if they prevent future threats, especially in a time of increasing global tensions. Others argue the opposite, stating this breaks international law, especially those related to sovereignty and the use of force without a clear and immediate cause.
There are also significant ethical concerns, particularly regarding the impact on civilians. Damage done to infrastructure such as energy systems, transport networks and other industrial facilities can affect millions of people, even if they aren't directly involved in the conflict.
Targeted killing of political or military leaders raise further concerns. While some argue these actions reduce the need for large scale warfare, questions about lawfulness and sustainability are raised. At the same time, Iran’s responses also have been criticized. Missiles and drones strikes, especially when they impact wider regions, can increase instability and raise the risk of further escalation. This shows that ethical concerns apply to all sides involved, not just one.
A Conflict of Narratives
One of the most striking features of this situation is that every side claims to be in the right. The US and Israel argue they protect security and prevent future threats, Iran argues it's defending itself against outside interference and aggression. At the same time, each side accuses the other of spreading false information and acting unjustly.
This has created a situation where the same situation can be described in completely different ways. A military strike can be called a “defensive measure” by one said and an “illegal attack” by the other. These differences in language shape how this conflict is understood globally.
As a result, the conflict is not only about military straightness, but also about control over the narrative. Their ability to influence public perception has evolved into being a key part of modern warfare.
Conclusion
The conflict between Iran, Israel and the United States shows how complex modern warfare has become. Military action has now become intertwined closely with the control of information, ethical concerns and legal arguments. While each side presents itself as justified, the consequences- such as civilian harm, economic disruption, and risking global tensions- are shared far beyond the countries directly involved. The increasing use of propaganda and artificial intelligence adds another layer of difficulty, making it harder to fully understand what is happening.
In the end, this raises an important question: In times of crisis, how should power be used? And who decides what is right?
Writer: Sham
Designer: Nived
Editor: Mathea
Under the Invisible Spotlight
When you walk through a crowded hallway in school, what’s the first conclusion your brain jumps to? That everybody is watching you. Every step you take has to be perfectly calculated to make sure you don’t trip. You try not to look out of place. You pretend to act unbothered, stare straight ahead, and get through the hallway as quickly as possible.
In these moments, you become strangely aware of your every move. The way you walk. What you do with your hands. Where you look. It all turns into something you realize that you should have rehearsed beforehand.
You think before raising your hand in class, wondering if you look stupid having it too high or a douche by having it too low. You remember something you said hours after a conversation with someone, convincing yourself that you said something wrong. Sometimes you overthink about completely ordinary moments, even when nothing embarrassing actually happened, but your brain still tricks you into thinking that it did anyway.
It’s as if there’s this invisible audience following you around, watching your every move and whispering among themselves about you. But in reality, there’s no one there. No one is paying that much attention to you.
The person who walked past you in the hallway is probably wondering if their hair looked weird that day. That student sitting across from you probably spent the entire lesson thinking about something they had said during lunch. Everyone else is just as busy thinking about themselves as you are thinking about yourself.
The invisible audience with the spotlight is mostly made up in our own heads.
People might notice things sometimes. Someone might laugh during an awkward moment or at the way you pronounce something. But those moments rarely last. Everyone eventually turns back to the place they started, which is their own heads. Inside their thoughts, replaying and picking at things that don’t matter to anyone but themselves. So no–no one is really studying your every move. It’s more likely that they’re too busy thinking about their own actions.
Realising that can be a little freeing, because if everyone is so focused on themselves, then you don’t have to spend so much time dwelling on nothing and trying to move through your life so perfectly, and instead just live a little for yourself.
Writer: Ilham
Designer: Gianna
Editor: Aanya
ISLI 2026: The experience of a lifetime?
Everyone who has attended the International Student Leadership Institute (ISLI) raves about their experience, but what is it actually like? While us second years might have gotten a taste at the model ISLI event organised by Philippine and Mathea earlier in the year, nothing can compare to the real thing. During week ten, five IHGR students attended this year’s ISLI in Oberwesel, Germany. I was able to talk to them to hear about their experience and what you should expect if you plan to apply next year.
Their journey began with a long train ride that definitely provided some quality bonding time for the group. As soon as they arrived, it was right into the swing of things. Every day was jam-packed, with activities from 8:30 in the morning to 8:30 at night. They returned to their rooms at 11 o’clock at night, exhausted yet fulfilled by the day’s happenings. The itinerary each day remained relatively the same: a short presentation, followed by work with their respective colour groups, with the afternoon schedule being the same. After dinner, regents, including IHGR’s very own Emma, held workshops before the students had the rest of the evening to do as they pleased.
As they were working with their colour groups for hours every day, it was important that they were able to get along. Kush, a student on the trip, recounted, “My first day when I met my color group all of us were shy and had minimal talking except about the tasks we were given. However by about the 2nd half of the 2nd day we were talking more besides just the task and then after spending a week together doing embarrassing tasks we were given I felt we grew closer to each other.”
In fact, every student I talked to said that the people they met and were surrounded with were the highlight of ISLI. Nived commented that “everyone was always supportive and kind towards each other, never giving any judgement or harsh negativity.” Ingrid added that it was the diversity of backgrounds that made the experience so special. Coming from 8 different countries, this “led to mutual respect and acceptance but most importantly interest in one another.” Students were able to find many opportunities to interact with each other; whether it be at meals or out on walks while “enjoying the radiant sun and spectacular view Oberwesel had to offer”.
Now, was ISLI really the experience of a lifetime for these students? Ingrid remarked that “While it is yet to see if ISLI was personally life-changing, this week has definitely helped me discover my strengths and weaknesses. What I take with me is that I can feel at home even among strangers if only I and others keep an open and accepting mind regarding ourselves and others.” Kush continued on to say that it is true that "you can't really understand ISLI unless you have experienced it".
Perhaps ISLI isn’t meant to be life-changing. Perhaps it is there to give us what we all need sometimes – a nudge out of our comfort zone. As Kush puts it, “getting out of your comfort zone is where the real growth happens”, and ISLI provides a safe and supportive environment where everyone can push themselves without judgement.
For anyone considering applying to ISLI next year, see this as your sign! Just remember, if you do attend, make sure you don’t lose anything! Otherwise you will be subjected to the daily lunchtime ritual of “You lost it, we found it, and now you're screwed!” in which anyone who loses an item throughout the day is forced to come up on stage and dance to “Oya Lélé” in order to reclaim it.
Writer: Emily
Designer: Ronja
Editor: Mathea
En Dröm om att Vinna
Måndag 1 Augusti
En dag kvar till drömmars dag, nu får allt bära eller brista.
Fastän tidigt i säng och väskan är packad är stressen en brinnande gnista.
Hela sommaren, från att morgonen grytt, jag varit som fjäril i vinden.
I regn så som sol, vid sand och vid jord, inom mig en längtan att vinna.
Den kväver allt annat, jag är fast i en dröm,
för ödslig men vacker är dimman.
Tisdag 2 Augusti
Uppe före morgonen grytt. Ro finns mig inte att fina.
Ute är luften så sval mot min kind.
Likt en smekning mot sprödaste hinna.
Priset är där. En pokal uti guld.
Kvar är nu bara att vinna.
Så rullar nu bilen genom staden, bilden inom mig.
Hur jag vunnit och håller pokalen,
hur jag simmat, hur armarna höjts och sänkts.
Jag vet vad som händer härnäst: mina vingar som bär, en dröm som slår in, likt en dimma som skingras när pokalen blir min.
När bildörren stängts bakom ryggen,
kommer kniven jag borde ha sett.
En näsduk som trycks framför munnen
ett skrik som aldrig blir släppt.
Ett slag slår till mig…
mörker…
vakuum…
intet…..
3 september
Jag sov när de tog honom hit.
Han höjer ej längre sin röst.
Som om något från honom blev taget
och han ej har något till tröst.
Ett minne finns kvar hos den fånge,
vars själ honom inte vet av.
Ett minne hos honom som drömde,
men nu slickar smulor av fat.
Nedböjd försjunken i dimma,
ödslig men vackrare än att se världen klart,
se den fjäril med krossade vingar,
se den man som slutade vara.
Frihet
Spiralerna av omoraliska metallet
sliter i den hemska,,, mjuka huden av mina händer,
jag provocerar… världen… som om den är min.
frihet: priset är blodiga händer,
smärtan från de vassa ändarna av den omoraliska metallet
säger åt mig att inte gå längre.
men jag undrar…
Jag undrar vad taggtråden vill ha av mig, jag vill bara fly.
De vassa spetsarna känns som en kram
jämfört med mitt krig söndrat hemland,
jag klättrar över den, jag äter smärtan levande, helvete om det behövs.
jag orkar inte mer med taggtråden, den talar till mig, ett löfte om en frihet.
jag ska klättra över till frihetens land,
ett land som välkomnar,
jag hoppas.
ett land som gör mina blodiga händer,
rena igen,,, så att jag kan ha ett nytt hem..
en utan omoraliska taggtråden.
Oskulden och Frihet
Vi ser en pojke som är i ett vitt rum, han ler mot kameran som det var ett familjefoto, hans föräldrar hade köpt nya kläder till honom och städat rummet till att få det perfekta fotot av deras barn. Kläderna var så rent och så fint på deras barn, tänkte de. Deras glädje hade visats på deras kinder. De tänkte på hur mycket de älskade deras lilla pojke, oskulden och friheten som deras barn har, som de inte längre har kvar.
Frihetsgudinnan
Frihetsgudinnan stod stark med mening och hopp i blicken. Hon lovade demokrati, enhet och möjligheter till ett bättre liv. Men tiden har gått och blodet av oskyldiga fortfarande rinner. Landet hon bevakade, USA, har brutit sitt löfte för frihet.
Gudinnans tårar stod stilla, varningen i rösten kunde inte höras över skotten. Nu tvingas hon ta upp vapen, för att hennes folk inte kunde släppa våldet.
Hon föddes i Aten, långt innan människan började skapa sina dödliga maskiner. Gudinnan kallades då bara Fri. Hennes syster Eirene, gudinnan av harmoni och välstånd, lärde Fri allt hon visste. Tillsammans bestämde de sig för att skydda Adams söner och döttrar. Systrarna hjälpte till med världskrigen. Revolutioner. De såg till att det vanliga folket överlevde politikernas strid. Efter den amerikanska revolutionen stannade Fri kvar bland människorna som frihetsgudinnan. Till sten de blev, tills systrarna behövs igen.
Writer: Hulda, Samir, Theo, Suwaiba
Designer: Gianna
Editor: Aanya
Salt Air
Parasite by the sea
When I forsake myself into the waters;
The raindrops hit the sea,
Not unlike the shots to my wounded heart,
It stopped beating in fear.
Useless to every eye.
You cannot rue the day,
When yesterday was a deer.
The ice slides on the waters,
Whilst my sweater clings onto my chest.
Couldn't it slide as well?
My lungs compressed
I inhale a cigarette; born for cancer.
Stop smoking. We love you, insanely so.
It makes the ugly in you visible to most.
Legs don’t fail my desire,
I need to be free.
Let me be free,
Before the pressure bleeds my eardrums.
The waters wash me before my father,
No responsibility to be washed anymore.
Not for him, not for you.
My last words unknown to every creature,
But the parasite inside my salmon brain.
Lithium heart
I scrape whatever’s left from my lithium heart,
With the knife you took from the late 90s
Troubled kid turned into an alcoholic of a father.
You aren’t mine.
At your blistered feet, I ought to expose my arteries.
Let me put on a show,
What face will you make?
Smiling because I wasted your precious time.
Will I see a worried face, first time?
A bond between a father and son fosters more grief,
But I am barely in your head.
I am not your son,
I didn’t split from your gentle smile.
Can you be my dad? Silly.
I spoke before,
How forgetful can you be?
My death will be a small loss for your history.
Even my grave won’t be mine.
Not soulmates
Angels undress for her.
My desires dissipate.
She forms her words so easily,
It makes me fall in her arms.
The edge of the hill in her dilated eyes,
It’s a shame I won’t jump to the boulevard.
The edge of the hill in her dilated eyes,
It’s a shame I won’t jump to the boulevard.
I remember the way you smiled,
Your teeth poked out; keep me here.
It's a shame we aren’t soulmates.
I love you.
Writer: Samir
Designer: Mahira
Editor: Aanya
Musical Confluency
The development of musical genres and styles are as ever-changing and playful as “a brook when it trips and falls over stones on its way” as Julie Andrews, as Maria sang in The Sound of Music (1965). Musical artists are also artists in the true sense of the word, adding their own colours, shades and techniques to their musical canvas.
Nowadays, most people listen to music according to the vibe they are looking for rather than a specific genre. The music industry is, just as any capitalist industry, built on the principles of supply and demand. If people want more of a certain vibe - an ambiance we cannot quite pinpoint—such as “walking home from a museum date in the autumn rain”, the demand for artists who produce that kind of music will thus increase. While some may say that this generates conformity, others say that it spurs musicians’ creativity and use of different styles and techniques.
Laufey is an artist whom we are forever in the debt of for reintroducing jazz to this generation through memorable and catchy songs like “Valentine”, “From the start” and “Lover Girl”. The aim of her music is to be a gateway for listeners of our generation to ”old” music genres, previously reserved for owners of vinyl players - i.e jazz and classical music. Since the pandemic, Laufey has bewitched the world with a smorgasbord of original songs, inspired by both jazz standards and classical pieces with a hint of pop to them. She first drew public attention by posting a cello cover of the jazz standard ”It could happen to you”, unsure whether anyone would appreciate her bringing jazz into the rotation of reels on TikTok.
Two albums and one Grammy confirmed that she had bewitched a global audience of all ages with her magnificent voice, magical chord progressions and meaningful song lyrics. With her classical music education, she has managed to not only arrange songs for symphony orchestras but also to pull off several sold-out concerts with the prestigious Los Angeles Philharmonic and Iceland Symphony Orchestra. The mishmash of her music has made it appealing to many listeners, regardless of age and even of previous acquaintance with classical or jazz.
Being a multi-instrumentalist allows Laufey to explore different styles of music - classical music on piano and cello while singing jazz and improvising on the guitar. In addition, these confluences of genres reflect Laufey’s mixed origins; as natural as it was for her to grow up in Iceland with a Chinese mother and an American father, so natural was it for her to blend genres in her music.
Another artist who has taken the world by storm is the musical genius Jacob Collier. Instead of an orchestra to support him behind him whenever he goes on tour, he brings himself, with his impressive vocal register, perfect pitch, and as many of the musical instruments that he can fit in his suitcase. Collier grew up with the piano as his playmate, exploring the range of the piano and his voice and playing around with chord progressions. His childlike and creativity is felt in every bass note of “All I need” on his Djesse vol.3. On that album, he collaborates with a variety of different R&B artists such as Ty Dolla Sign. To pinpoint Collier’s musical genre is to find a needle in a haystack as he includes every genre while simultaneously adding his own special, chaotic, complex tweak to it. In a single song, Jacob Collier can combine a multitude of music genres - folk, jazz, r&b, funk and soul.
Drifting away from the Western world, we can dive into the grand musical culture of the Eastern/Asian world. India, a country with a culture second to none, has vocal elements and techniques as unique as its rich traditions. There is something almost monsoon-like about the assimilation of Indian musical techniques that gathers slowly, heavy with emotions and then pours. The compelling aura of Arijit Singh’s voice stands as one of the finest examples.
Arijit Singh, namely The King of Playback Singing, started off his career participating in reality TV show vocal competitions such as Fame Gurukul in 2005 and went on to become arguably the greatest musical sensation anywhere in the world.
‧₊˚♪ 𝄞₊ ♫ ˚⊹
What makes his music and voice so compelling is not just sheer practice,passion, or emotion…. but the confluence of little fragments of techniques and inspiration emerging from years of experience in Hindustani (Indian) classical music. The orchestration of Bollywood with dramatic crescendos over the lush strings of Indian Sitar is what gave his music depth.
A musical masterpiece, "Tum Hi Ho" from the poignant film Aashiqui 2, is one of Arijit Singh’s ‘top hits’…as they call it in Bollywood. The composition leans towards a raga-inspired melody, which is a collection of pitches arranged within the structure of a scale.. Arijit’s glide between musical notes with the use of ‘meend’ technique manufactures a silky, seamless quality of note switches with each note leaning gently into the next which screams the fluidity of Hindustani Classical. This beautiful crescent nature of his voice is built upon the foundation of raga scales and melodies which is topped off by his own unique improvisation.
How Arijit Singh’s journey seems like music being expanded outwards, Zayn Malik’s journey is contrasting in the sense that he took a journey expanding music backwards—from Western pop to embracing his Pakistani/Indian musical heritage. Zain Javadd Malik, famously known as ZAYN, is a British artist with Irish and Pakistani heritage started off his journey by rising to fame with the pop boy band, One Direction. Despite his abandonment of the band, his solo career has yielded a journey filled with cultural influence showing a confluence of genres in his honorable work.
In tracks from albums like Mind of Mine and Nobody Is Listening, ZAYN combines his traditional western RnB with his identity and heritage. He subtly infuses South Asian influences which don't surface necessarily through instrumentation but are glamorized with vocal runs and jumps in tone through Urdu Classical phrases. Previously, ZAYN sounded like a singer bound to typical Pop and RnB with the sharp vocal and instrumental edges to RnB. However, with the fusion of his Indian/Pakistani aesthetic into his vocals, there is a sense of vibrancy shared among all the elements of his songs…. from his now soft, curved vocal lines by the Gamaka technique to the sharp RnB synthesizers creating the background atmosphere.
With greater embracement of his Indo-Pakistani heritage, Zayn has emerged into a multi-faceted singer with the Pop RnB strikes of Dusk Till Dawn coupled with the raw, honest and country genre of his 4th Studio Album, Room Under the Stairs. All this was topped off by his ability to incite the audience with little hints of South Asian Carnatic riffs.
What makes music so interesting is its polymorphism, complexity and variety of influences. Instead of paints on their palettes, Laufey has her love for classical music and jazz standards embellished by the memories of Iceland’s beautiful landscapes from her childhood. Moreover, Jacob Collier takes inspiration from each genre while implementing his own Collierian touch to his songs, hearing dimensions in music that others can’t. Contrastingly, Arijit Singh and ZAYN harness the beauty and aesthetic of South Asian/Indo‑Pakistani music—ZAYN blending it with his Western background while Arijit showcasing an arsenal of vocal techniques sacred to Indian culture……. ultimately reinforcing the boundaryless nature of music.
‧₊˚♪ 𝄞₊ ♫ ˚⊹
Writer: Aayansh & Ingrid
Designer: Savanna
Editor: Mathea
Swedish Highlights of the Olympic Games
Two of this Olympics' most viral moments both came from Swedish competitors – Ebba Andersson tripping and Isabella Wranå being super focused. Sweden has delivered at a high level, made achievements going down in Olympic history, and contributed to the internet's meme bank, from medal-winning performances to spectacular fails, this has been an Olympics to remember for Team Sweden.
One of the most mentioned (and unfortunate) stories from the Swedish Olympic team, has been Ebba Andersson’s twist? fall? flip? cartwheel with skis? This happened in the women's 4x7,5 km cross-country relay, where Sweden was in the lead and seemed to be getting the gold until Andersson crashed and broke her ski, forcing her to walk a couple of meters until it could be replaced. A moment truly stunned commentators and viewers, and one that stung when Norway overtook and took the lead. Despite the setback, Andersson’s teammates Frida Karlsson and Jonna Sundling managed to secure a hard earned silver medal.
Even if the silver became a disappointment, the whole team – and all of Sweden – got an unexpected boost from the Swedish King: a video call with him. During the call, the King joyfully praised Andersson's tumble, saying “Ebba, vilken vurpa!” (Ebba, what a crash!) and calling her effort remarkable.
The funny comment made the whole team laugh and a video of it immediately went viral, showing a more human side to the Olympic Games.
The Face of Focus
If there had been a face defining Sweden's nerves during this year's championships, it would be Isabella Wranå’s now-viral “laser focus face” during the mixed double curling finale. As millions watched from all around the world, cameras zoomed in on her intense stare, where her eyes were locked on the target, planning the decisive shot.
Commentators and spectators quickly noticed how Wranå appeared to be in another universe – calm, calculating, and completely dialed in. Some commentators even joked about her mentally solving a physics equation rather than sliding a curling stone. However, with the gold secured, no one dares to joke about the Wranå siblings, so the face is now referred to as:
“The face you make when you are about to win Olympic gold”
This moment showed the mental strength behind elite sport. Curling might look calm and dependent on luck, but on an olympic level it's a battle of precision, strategy, and nerves – just as skiing depends on never falling behind, regardless of falls and stamina. As of this writing, Sweden has five gold medals and five silver medals, and even if winning is not all that matters, it is a recipe of that stamina, getting back at it, and precision.
Writer: Elvira
Designer: Pranav
Editor: Mathea
The Pressure of Having It All Figured Out At 18
Growing up is scary; one day you’re 5 years old, extremely excited to turn 6, and then you blink and you’re suddenly 17, terrified to turn 18 and enter official ‘adulthood.’ Birthdays aren't as fun as they used to be because of this unspoken responsibility that grows heavier on your shoulders with each passing year. They stop feeling like carefree days full of celebration and start feeling like yearly reminders that you’re only getting older, and that everyone is waiting for you to figure out what you want to do with your life. Your parents. Your teachers. Even your friends. It can feel like the entire earth is waiting.
Turning 18 feels like some kind of deadline. It feels like time is running away from your own hands, and you get consumed with stress and pressure of not knowing how to use your time. People swarm you with questions like, “What will you do after you graduate?” and “Have you still not figured out what you want to work with?” while demanding answers, even when you don’t have any.
But what if you don’t know what you want to do? Why is it that we are all expected to have everything figured out when we haven’t even graduated yet? We get constant reminders about our futures and that decisions need to be made now; if we don’t have a plan like everyone else, we are somehow already behind. It isn’t fair that we are expected to know who we’re going to be before we have even finished learning about ourselves.
Some teenagers do have their lives mapped out, which is great, but for the ones who don’t, the pressure feels like a constant accusation, like if you’re not moving towards something concrete, you’re just wasting your time. There’s the fear of not knowing what you want, and then there’s an even bigger fear of never getting to figure it out at all. I know a lot of people who state that they don’t know what they’re going to do after they graduate. And, I also know people who have some ideas but never a specific one that they want to fully commit to because they are scared of regretting it. And I get it. It’s hard to make decisions that will shape your entire future when living in a world where every opportunity feels out of reach.
And it’s not just the fear of not having a future plan yet that feels scary, but the fear of forcing yourself to commit to something, and then later on, realising that you don’t really want to do it, but enough time has passed, and you might already feel like it’s too late to change your path. The idea of time moving fast is already a reason why growing up feels so heavy.
What makes this fear worse is that it is lingering and seems to be invisible nowadays. Everyone else seems to be moving forward with confidence and ideas for big futures planned out for themselves, and even if that confidence may seem fake, it still makes others feel like they’re missing something everyone else understands.
But maybe this fear is part of growing up. Maybe growing up isn’t about having clarity or a manual to read off. Maybe it’s about learning to move forward with uncertainty without thinking it’s a road to failure. It’s okay to try different things, and it’s okay to realise in your mid-thirties what you truly want to pursue. That’s how it really should be. We can’t expect to know what we want if we haven’t tried, and that’s why I think that even though this fear can still nag at the back of your mind sometimes, not knowing what you want is not a crime. It’s just part of growing up.
Writer: Ilham
Designer: Rijuta
Editor: Aanya
Troubles and Triumph: History Made at the 2026 Australian Open
January marks the start of the professional tennis season every year, and every year it begins with the same major tournament for every top player: the Australian Open. While many players choose to play in lead-up events throughout Australia as a tune-up, the Australian Open is the first Grand Slam of the year. Grand Slams, namely the Australian Open, Roland Garros, Wimbledon and the US Open, are the most important events on the tennis calendar because they have the most points and prize money up for grabs.
Played over two weeks in Melbourne, Australia, this year's edition of the Australian Open was just as hotly contested as ever, with harsh weather severely impacting play. Heat waves caused temperatures to reach 45 degrees Celsius at their peak. As is characteristic of Melbourne, the weather took quite a turn for the singles finals matches, which were played in much cooler, overcast conditions.
Before official play began, the annual “One Point Slam” took place. This is a fun event in which amateur tennis players get the chance to face off against professionals for the chance to win one million Australian dollars (6 billion SEK). This takes place in a sudden-death format, where only one point is played per round. Professionals headlining the event included top women's players Iga Świątek and Coco Gauff, and top men's players Carlos Alcaraz and Jannik Sinner. The final matchup was played between Australian amateur Jordan Smith and Taiwan's Joanna Garland (world no. 122), with the amateur taking home the life-changing amount of money in the end.
Women's Singles
This year's women's competition was free from any major upsets, with only seeded players making it past the fourth round. Perhaps the most surprising among those to reach the quarter-finals was American 18-year-old Iva Jovic. She defeated No. 7 seed Jasmine Paolini en route, but then fell to the eventual finalist and world number one Aryna Sabalenka in their quarter-final face-off. Elina Svitolina of Ukraine also had a great run, defeating Coco Gauff (No. 3) and Mirra Andreeva (No. 8) on her path to the semi-finals, where she would also lose to Sabalenka. Her performance led her to return to the top 10 for the first time since becoming a mother four years ago.
After Elena Rybakina's (no. 5) semi-final victory over Jessica Pegula (no. 6), the stage was set for the singles final. Rybakina would go up against Aryna Sabalenka, two-time Australian Open champion; a rematch of the 2023 final. In fact, the match itself started off in very similar fashion, with Rybakina winning the first set and Sabalenka coming back to claim the second set. It would be the third set, however, that was the difference maker. Rybakina came back from being down 0-3 to win the set 6-4, and with that her second Grand Slam and first Australian Open title.
The final scoreline of the match was 6-4, 4-6, 6-4, with both players winning exactly 92 points in the extremely close match. It would be a major disappointment for Sabalenka who has been a finalist at the tournament for four years in a row now but has had to settle for runner-up the last two years. For Rybakina, however, this would signify a return to top form after a few unsteady years following her Wimbledon title in 2022.
Men's Singles
Following the trend, the men's side also saw no unseeded players make it past the third round, let alone through the 4th round and into the quarter-finals. It was the 1st, 2nd, 3rd and 4th seeded players (in Alcaraz, Sinner, Zverev and Djokovic respectively) that made it to the semi-finals for the first time since 2013. These semi-finals were very tightly matched, with both of them going to 5 sets. The match between Alcaraz and Zverev would even break the record for the longest semi-final at an Australian Open in history at almost five and a half hours long. Alcaraz emerged victorious in the end to make his first final at the tournament.
Djokovic was aided in his semi-final victory over Sinner by a few days of extra rest. Djokovic was first given a walkover into the quarter-finals when his opponent Jakub Mensik withdrew. In the quarter-finals, Djokovic would have another stroke of luck. After falling down two sets to 5th seed Lorenzo Musetti, Musetti retired due to injury, allowing Djokovic to advance. This would give him the stamina to beat Sinner, the back-to-back reigning champion and favourite heading into the tournament, who faltered in the heat.
There was a lot to play for in the men's singles final. Djokovic, at 38 years of age, was after his 11th Australian Open title and 25th Grand Slam, while Alcaraz was aiming to win his first Australian Open, and by doing so become the youngest male player ever to complete the career slam (winning all four slams throughout one’s career). Djokovic would get off to a hot start and take the first set 6-2. Alcaraz, who struggled to adjust his shots to the cool conditions at first, came back to win the second set 6-2. It seems that Djokovic's age inevitably got the better of him, as Alcaraz would run away with the rest of the match to win in four sets, with the final scoreline being 2-6, 6-2, 6-3, 7-5.
The world number one's victory constitutes his 7th Grand Slam title at just 22 years of age, having won two of each of the other three Grand Slams already. For Djokovic, this was his first ever loss in an Australian Open final; he boasts an impressive 10-1 record. This may, however, be his last time in the final at this tournament. In his runner-up speech, he joked about playing against Alcaraz for another 10 years before alluding to a possible retirement within the near future by saying "God knows what happens tomorrow, let alone in six months or 12 months, so it has been a great ride”. The tournament certainly wouldn't be the same next year if he were to retire.
Writer: Emily
Designer: Ronja
Editor: Mathea
Where Does Enforcement End and Abuse Begin?
Power, Force and Democratic Limits
The authority to enforce law is among the most significant powers granted to a state. In democratic systems, that authority is held by deliberately placed constraints: by constitutions, by courts, and by norms designed to prevent force from becoming arbitrary. When a government agent takes innocent lives, the burden placed on the state to justify those actions is immense.
In January of 2026, that burden intensified in the United States after two fatal shootings caused by federal immigration agents in Minneapolis. The deaths occurred amid a large-scale federal immigration operation and quickly became a national flashpoint. While the Department of Homeland Security and senior political figures defended the conduct of federal agents, civil right organisations, legal scholars and local officials have raised serious concerns about proportionality, constitutional compliance and the handling of evidence.
These incidents have become representatives of a broader crisis: whether immigration enforcement in the US is operating within the limits imposed by constitutional democracy, or whether they are drifting beyond them.
Federal Operations and Local Fallout
In early 2026, the DHS launched an expanded enforcement initiative in Minneapolis involving ICE , CBP, and other supporting federal agencies. The operation itself was framed by federal officials as a necessity to combat organised crime and enforce immigration law. However, its execution brought heavily armed agents into residential neighborhoods,prompting confusion, fear and resistance from local communities.
City officials publicly criticized the lack of communication and coordination with local authorities, arguing that federal actions undermined communal trust and escalated unnecessary tensions. Minneapolis Mayor Jacob Frey described the federal presence as destabilizing, particularly after the use of lethal force against civilians.
Within this context, two deaths, those of René Good and Alex Pretti, came to define this operation.
Renée Nicole Good: Lethal Force and Disputed Narrative
On January 7th 2026, Renée Good, a 37-year-old US citizen and mother of three, was shot and killed during an encounter with federal agents while driving near an ICE operation. The Hennepin County Medical Examiner ruled her death a homicide.
The DHS initial statements presented Good as an imminent threat to the agents, claiming that she attempted to strike officers with her vehicle. These statements were amplified by senior political figures, including Vice President JD Vance, who urged the public not to rely on circulating footage and to refer to law-enforcement accounts.
However, video evidence later reviewed by major news organisations showed a more complex picture. Footage depicted Good’s vehicle moving slowly and steering away from agents rather than towards them. While investigations remain ongoing, legal analysts have stated that the available evidence did not clearly support the claim of an immediate lethal threat. This raised questions about whether the use of deadly force met constitutional standards. (Tennessee V. Garner [1985])
Eye witnesses have further reported that after Good was shot, civilians and medical responders were prevented from rendering aid by federal agents. While the DHS has not admitted wrongdoing, human rights advocates argue that obstructing medical assistance following a use of lethal force violates both law enforcement norms and fundamental principles of due process.
Alex Pretti: Documentation, Protest and Deadly Escalation
17 days later, on January 24th 2026, federal agents shot and killed Alex Pretti, a 37-year-old ICU nurse and US citizen, during protests connected to the earlier shooting.
Widely circulated online video footage showed Pretti filming the federal agents during the operation. The DHS initially stated that Pretti was armed and posed a serious threat. Yet, subsequent analysis of publicly available footage suggested that Pretti was holding a phone and documenting events shortly before being confronted and shot.
Civil right groups emphasised that recording law enforcement activity in public is a constitutionally protected act. While the DHS has maintained that its agents acted lawfully, the discrepancy between early official statements and visual evidence intensified public skepticism and distrust.
Human Rights Watch later described the shooting as “apparently unjustified” based on available footage, and called for an independent investigation and criticised the rapid issuance of official narratives before evidence was fully assessed.
Political Messaging and the Question of Credibility
The federal government’s response to both deaths followed a consistent pattern:
Immediate, definitive statements asserting agent justification, followed by resistance to revising those claims as contradictory evidence emerged.
Vice President JD Vance's remarks have become central to this debate. By explicitly warning the public against trusting video evidence, Vance framed the controversy as one of institutional authority against public perception. Legal scholars argue that such framing is deeply problematic. In constitutional systems, evidence determines legitimacy, not hierarchy.
When political leaders appear to dismiss independent documentation, critics warn that accountability mechanisms weaken and public confidence erodes.
Forth Amendment: Limits on Deadly Force
The fourth amendment prohibits unreasonable seizure, including excessive use of force by government agents. Supreme Court precedent, particularly Tennessee V. Garner (1985), establishes that lethal force may only be used when an officer has probable cause to assume that the suspect poses an immediate threat of serious harm.
In both Minneapolis cases, the existence of such an immediate threat remains disputed. Where video evidence contradicts official accounts, courts and investigators are obligated to scrutinise the justification for force with heightened rigor
Fifth Amendment: Due process and the Deprivation of Life
The Fifth Amendment guarantees no person shall be deprived of life without due process of law. This protection applies to all persons under US jurisdictions, regardless of immigration status. Critics have argued that this rapid escalation to lethal force, combined with the post-incident narrative control, risks violating this foundational safeguard.
First Amendment: Recording the State
Federal courts have consistently affirmed that the public has a First Amendment right to record law enforcement officers performing their duties in public. The killing of an individual engaged in documentation raises profound constitutional concerns, particularly if recording itself was perceived as provocation.
Human Rights and Standards and International Perspective
Although US courts have judged these matters under domestic laws, international human rights standards offer additional context. Principles articulated by the United Nations emphasise necessity, proportionality and accountability in law enforcement’s use of force.
Human Rights Watch and Amnesty International have argued that ICE’s increasingly militarised postures have risked violating these principles, with particular focus when lethal force is used on civilian contexts, and followed by opaque investigations.
Broader Societal Impact
Beyond these immediate legal questions, the Minneapolis killings will also leave lasting social consequences. Community organisations report heightened fear of federal agents, reduced cooperation with authorities and a chilling effect on protest and civic engagement.
Public trust researchers have noted that legitimacy in law enforcement depends not only on legal authority, but on transparency and accountability as well. When government agencies appear insulated from scrutiny, trust deteriorates. This is especially true among younger generations and marginalised communities.
Accountability as the Measure of Law
The deaths of Renée Good and Alex Pretti have come to symbolise a deeper tension within American governance: The balance between enforcement and restraint, authority and accountability.
A democratic system cannot function if its agents are shielded from scrutiny, or if official narratives are treated as definitive regardless of evidence. Accountability is not an obstacle to law enforcement. It is a moral and legal foundation
A small boy, identified as five‑year‑old Liam Conejo Ramos, is led away by Immigration and Customs Enforcement officers outside his family’s home in Columbia Heights after returning from preschool. His backpack still hangs from his shoulders as agents escort him toward an unmarked vehicle, while neighbours watch from a distance. The moment captures the fear and uncertainty that many families now associate with federal enforcement actions, underscoring the wider climate of distrust described in the article.
Whether these incidents ultimately result in reform remains uncertain as of now. However, It is clear that the legitimacy of immigration enforcement - and of the state itself - depends on a simple principle: the law must bind those who enforce it as tightly as those who are subject to it.
Writer: Sham
Designer: Pranav
Editor: Mathea
Silenced Voices — Iran’s Uprising, the Internet Blackout, and the Human Cost of State Repression
Since late December 2025, Iran has been convulsed by one of the most serious waves of protest in its recent history. What began as public anger over rising prices, unemployment, and economic instability soon developed into nationwide protests and demonstrations against political repression and lack of freedom. Across cities and provinces, Iranian communities took to the streets to express frustration with a system that many believe has denied them dignity, safety, and a voice in their own future.
The protests spread across Iran, drawing participants from disparate social classes and age groups who expressed a convergence of economic grievance and political discontent. Amnesty International compiled eyewitness material showing that demonstrations were often peaceful and, in many instances, were met by overwhelming and disproportionate security measures. Evidence gathered by Amnesty International and other human rights organisations documents a systematic escalation in the use of lethal force by security forces. Verified footage and eyewitness testimony describe security personnel firing from elevated positions, the use of live ammunition against civilians, scenes of overwhelmed medical facilities, use of tear gas, and mass arrests. Amnesty’s analysis concludes that these killings were not isolated incidents but part of a coordinated nationwide pattern that has resulted in a staggering human toll.
Accurate casualty accounting remains difficult in areas of restricted access and intentional uncertainty. However, recent reporting by Iran International cites the United Nations special rapporteur on human rights in Iran, who warns that the number of people killed may exceed 20,000. This estimate is based on information provided by doctors, health workers, and witnesses inside Iran who describe overwhelmed hospitals and large numbers of fatal injuries. At the same time, confirmed figures from human rights groups remain lower but continue to rise. Activist groups have so far verified around 4,900 deaths, with thousands of additional cases still under investigation. In contrast, Nezam, the Government of the Islamic Republic of Iran, has released an official death toll of approximately 3,100, a figure that includes members of the security forces and is widely disputed by independent witnesses. The large gap between official and independent estimates highlights the difficulty of obtaining accurate information under conditions of repression and censorship.
One of the most significant tools used by the state during this period was a near-total communications blackout imposed in early January of this year. Mobile data, broadband internet, and international connections were cut and severely limited for more than 360 hours. Amnesty International argued that this blackout was deliberately designed to stop protesters from organising, prevent the spread of information, and hide the scale of violence from the outside world.
The human cost of this blackout is illustrated through the voice of Setareh Darabi, an alumna of our school and an Iranian whose father remains in Iran. She describes the blackout as “one of the hardest parts of all of this,” explaining that for days her family had “absolutely no way of reaching anyone inside Iran.” Although the digital blackout began on January 8th, she was only able to contact her father on January 13th. Even then and now, communication remains severely restricted.
Setareh continues to explain that most Iranians are unable to access the outside world, and that the limited footage emerging from Iran exists only because “a very small number of people have access to Starlink—and even that is extremely dangerous.” Her father’s only means of contact is calling through expensive SIM cards—calls that last “one or two minutes” at most. “In those one or two minutes,” she says, “we don’t really talk. We just ask if he’s alive, He asks if we’re okay. And that’s it.” She emphasises that communication is entirely one-sided: “People outside Iran cannot call in. The only way communication happens is if someone inside Iran risks everything to call us.” She reiterates that this isolation is intentional, stating. “This is exactly what the regime wants—to completely cut Iranians off from the outside world so no one can see what’s really happening.”
Fear and surveillance further shape daily life. Setareh explains that her Family believes phone lines are monitored, a surveillance the regime has used for years. As a result, conversations are stripped of truth under censorship. “We don’t talk about the protests. We don’t talk about politics. In that one minute we have, we lie. He says he’s fine. We say we’re fine. But the reality is that no one is fine.” Silence, she says, has become a survival strategy.
These protests are not sudden or foreign-driven but the continuation of decades of resistance. “Iranians have been living under violence and oppression since 1979,” she says. Women, students, minorities, and workers have been imprisoned, tortured, and killed for demanding dignity. She stresses that the protests are a “the protests are part of a long generational struggle for freedom.”
In September 2022, Mahsa Zhina Amini—a young woman from Iran’s oppressed Kurdish minority— was detained by Iran’s morality police for violating the compulsory hijab law. This detainment resulted in a custodial death, which marked a turning point through زن، زندگی، آزادی —Zan Zindegi Azadi (Women Life Freedom)— a movement launched following her death, which Setareh says never ended.
Families searching for missing persons have reported chaotic scenes at morgues and cemeteries; hospitals have struggled to treat large numbers of severely injured civilians; and survivors carry the psychological burden of trauma and uncertainty. NGOs highlight instances in which authorities have reportedly expedited burials or restricted access to bodies, measures that further hinder grieving. The blackout, she stresses, is a form of collective punishment imposed on nearly 90 million people. The blackout has therefore not only impeded immediate rescue and documentation efforts but has also magnified the long-term harms borne by victims and their communities.
Setareh also describes the profound emotional toll on Iranians abroad. Watching videos of unarmed civilians, teenagers, and students being killed has left her and many others in the diaspora devastated. She speaks of military and chemical weapons being used against civilians and of foreign militias reportedly assisting in the oppression and violence. “How are civilians supposed to defend themselves?” she asks. “How are we supposed to live our lives knowing our people are trapped in these situations?”
The events unfolding in Iran raise urgent questions about human rights, state power, and the use of digital censorship in the modern world. The internet blackout demonstrates how technology can be weaponised to silence populations and conceal violence while voices like Setareh’s reveal the deeply personal cost of life under a regime.
For many Iranians, the price of speaking out has been devastating. Yet the protests reflect a powerful and enduring demand for dignity, freedom, and justice. As Setareh concludes, all she hopes for is a future where Iranians can live “without fear, without punishment, without violence and without silence.”
Writer: Ishanya
Designer: Mahira
Editor: Aanya
The Evolution of The ITCH
Photo of Alvida Sandberg (KvinnSam, Göteborgs universitetsbibliotek)
Since its founding in 1906, ITCH has experienced many peaks and valleys, shaped by changing times and the people who carried it forward. Its history has never followed a linear equation. Instead, it is a story of reinvention, resilience, and a persistent desire to tell meaningful stories.
Since its founding in 1906, ITCH has experienced many rises and pauses, shaped by changing times and the people who carried it forward. Its history has never followed a straight line. Instead, it is a story of reinvention, resilience, and a persistent desire to tell meaningful stories.
ITCH began quietly with Alvida Sandberg, a librarian and teacher in Gothenburg whose passion for education and storytelling laid its foundation. Drawing inspiration from literary cultures in the United States, Norway, and Britain, she helped establish libraries across Gothenburg and founded what would later become ITCH. For decades, this origin remained largely forgotten, only recently rediscovered and brought to light by one of our highly talented writers Elvira Jonasson.
As the years passed, ITCH faded from prominence. Its earliest traceable technological record appears in September 2010, when Sarah Ahassad served as editor alongside a team of seven writers. During this period, ITCH published a diverse range of articles, from “The Extinction of Redheads – True?” to “Legalized Marijuana: The 21st Century Gold Rush of California?” Despite the quality and ambition of the work, publication ceased after December 2, 2010.
Picture from the 1st ITCH pdf Copy published in 2011
In October 2011, ITCH resurfaced under editors Lovisa Sundin and Agnes Andersson. This revival marked a shift not only in leadership but in format. Alongside online articles, ITCH began releasing PDF editions of the newspaper. Between October 2011 and June 2012, five issues were published, featuring hand-drawn cartoons capturing daily life at IHGR, illustrated by IB 11 student Paula Ajaelu. One issue even included an article featuring Fredrick Hopcraft-Bengtsson of NP2 - yes, thats right, Tracey’s son. Yet once again, despite creative momentum, ITCH struggled to sustain itself and paused after roughly a year.
The most significant and enduring return came in 2017, when Li Kerren published “What Exactly Is STUN, and How Do They Affect You?” This marked the new beginning of ITCH’s continuous modern run. Li Kerren served as editor during the 2017-2018 and the 2018-2019 academic year, laying the groundwork for stability and growth. October of 2017 marked a significant effort of growth by establishing the first and the official ITCH Instagram page where impact is made and awareness is spread. In August of 2019 Agnes Pedersen and Amelie Matousek became the new editors.
Their impact extended into 2020-2021, a particularly defining year in ITCH’s evolution. During this time, the now-beloved graphic design team was introduced, fundamentally transforming the newspaper’s visual identity and deepening its storytelling. Agnes Pedersen and Amelie Matousek continued to lead ITCH through this period of creative expansion.
From 2021 to 2023, Malin Seremak and Sofia Hellemann Sedano took on the role of editors, focusing on continuity, collaboration, and strengthening ITCH’s presence within the school community. Their steady leadership ensured that ITCH remained consistent in both quality and voice. In 2023–2024, Nicky Ekanem led ITCH independently, guiding the organisation through a transitional year while maintaining its relevance and momentum.
The ITCH gained their new rebrand and identety thrugh the new webisight design in 2023-2024 done by Editor Maitreyi and the Graphic design Team
As ITCH entered its most recent chapters, technology and ambition intertwined to reshape the organisation. In 2024–2025, Felicia Bernholtz, a former NA student with a passion for expression, and Maitreyi Muralidhar, a former IB student driven by impact and transformation, led ITCH with boldness and vision. What had once been a traditional school newspaper was becoming something far more dynamic.
Originally, ITCH was simple and sincere. Articles were written, designs were created, pages were edited, and stories were told within a familiar and comforting structure. Yet beneath the surface, ITCH was already living up to its name, restless, curious, and always wanting more.
A major turning point came when long-standing leaders moved on to university, leaving behind space for new ideas to take root. What followed was not merely change, but a quiet revolution. In 2025–2026, Mathea Jensen Sending and Aanya Srivastava stepped into leadership, bringing fresh perspectives and renewed purpose. Mathea’s drive to create deeper meaning in people and environments, paired with Aanya’s composed work ethic and nuanced understanding of communities, ushered ITCH into its most expansive era yet.
The newsroom grew - both in structure and in spirit. Investigative writers were introduced, turning their attention inward toward the heartbeat of the school. They began asking not only what happened, but why it mattered, covering all major in-school events and excursions with intention and depth. Alongside them, creative writers explored imagination and emotion through reflective pieces, short stories, and experimental writing. ITCH was no longer just reporting life; it was interpreting it.
Article Written by Elvira on School inhouse event - MSLI
Article written by Aayansh on IB12 Lab day for chem and Bio IA's
Article written by Emily on Poland exchange trip
Then came the sound. With the launch of the ITCH podcast in 2025, the organisation found a new voice - both literal and metaphorical. Conversations replaced columns, stories unfolded through tone and pause, and ITCH learned how to listen as much as it spoke.
That same year marked a historic milestone. 2025 saw the largest application pool in ITCH’s history, with over 30 applicants and a team of 20 members spanning all year groups. Monthly meetings became the heartbeat of the organisation, creative spaces filled with discussion, disagreement, collaboration, and inspiration. Writers, designers, editors, podcasters, and investigators worked together, each role distinct yet deeply connected.
Today, ITCH is no longer just a newspaper. It is a platform, a community, and a living record of curiosity. It has evolved from ink on paper into impact, questioning, creating, and connecting. And like any compelling story, ITCH’s evolution reminds us that growth is never detached from the past, but always built upon it.
Links to past websites if you want to check them out!!
2010: https://ihgritch.wordpress.com/
2011-2012: https://theihgritch.wordpress.com/
2017-2025: https://theitchihgr.wordpress.com/
Writers : Aayansh & Mathea
Graphi Designer: Savanna
Editor: Mathea
What is All This?
What Is All This? asks what you want, and how wanting bleeds. The collection remains unfinished, reflecting the ever-evolving understanding of longing in this world.
In memory of the selves we learnt not to reach.
Poems in this collection include:
BOARDING HOME
DAYTONA BLONDE
KANE SISTERS
RAILWAYS
IMMORTAL JELLYFISH
BATH FOG
GINKGO TREE
SOUVENIR GIFT SHOP BLUES
LOVELIEST DOLL
PRAYER OF MAN
GUTTED DOE
A POEM FOR A FRIEND
PIGEONS
BOARDING HOME
A hatred spread like the poignant ink you spew
I despise you, I wear your scent proudly
Unknowingly, I cherish the citrus aroma
that picks my eczema scarred skin
The infused wood stunk and scraped my life of sin
The ink stain on the white skeletal dress of my forsaken
childhood
I will wear that dress for eternity…
For my dense woody bones store a memory of you
He held onto the words
“The misery you’ve caused me
Wish you never came to this achievement of a
life, “
Even a shedding hole in the dress wouldn’t drag
a dagger through my lipstick heart
As much as the balsamic bottom note of your
words.
DAYTONA BLONDE
Nothing wrong with contemplating God,
But the flag insists he’s the greatest.
A creed declared, but never questioned;
Violence denied by outsiders,
A polished sword made for the end-times,
But they cheer it.
My girl is the new run-away politician
with her bubblegum lips and
box bleached hair.
Adopted father deployed in Iraq,
She wonders if daddy dearest
pointed the red white and blues against her
Estranged sister.
Buh bye sister, you aren’t coming back
And I know that now.
I run to Daytona, I can’t speak about the past
So I painted the present with lies.
Stripping my hair. Tying the untied story-lines.
He does the same,
But with his war torn uniform,
From the US of A.
God knows the lies.
KANE SISTERS
It’s the clearest in the sunrise of the north.
Isolation came by like a storm unraveled,
Its opulent drops tainted the last girls on earth,
With blood pumping through shins, full of fervor.
Held by millions of dollars, never alone were they;
Nobody gave in like Sugar Kane and Candy Kane.
Oh, how sweetly their ripened flesh sweat.
They couldn’t belong to only one hungry cheque,
Or to any.
Everyone’s troubled mistresses,
Never each other’s bridesmaids,
Ruling the stage of this icy town.
The stage wasn’t the Kane sisters’ dream,
But the men paid what womanhood never did.
Numbness permeated through their limbs
as they knelt on the stage.
The men’s money clung onto their skirts,
Their blistered feet daring to touch the sticky floors,
For what is a hundred dollar bill,
But an expensive bandaid
RAILWAYS
His dirty occupation
Exploring the occupied railways,
in that pretty head of yours,
A biweekly longing of poetry games
Games that twitch
and twist in my mushed mind
I pledge allegiance to those
crystal eyes of yours
Could a man
be less vulgar?
Vulgar liquor
stuck in the breath of the horrific
Lovers,
I pledge allegiance to those
Books you read
Filled with war and solace.
IMMORTAL JELLYFISH
The waves stir in my horrid liver,
The unforgiving salty beer licked the shore.
Immortal jellyfish desire a sweet taste,
As I despise my father’s genes.
Genes as deadly as the immortal
thing,
But not quite as sticky as the sea’s
foam.
Drunk revenge on the immortal is deadly,
Blood drips off the bloodless.
As horrible as a manmade sea serpent,
Jellyfish sting man rightfully.
The beer cuts open my throat,
Treatment as difficult as silencing the monster.
Genes drag as slow as my father’s boat,
The lighthouse he birthed of sin eats his heart out.
The waves scream for the bloodless once again.
BATH FOG
Has a man ever caressed a body?
Regretting the bruise he held sacredly…
A ritual untouched is finally explored.
Doll captured a fragmented silhouette,
For his troubled hands.
No such thing as pearls made with no hurt,
No such thing as heaven with you.
My old man is gone, like a burden.
My rouge brain never let it go;
“The last bath ought to purify my soul,
Take me out of this haunted flesh”
The lipstick shade binds to her lips only,
The stains on the vanity mirror,
Capture glimpses of her mortal body.
Her cigarette is a diamond ring,
In this hot tub for two.
“Excuses spoken by someone’s drunken father,
Unlike the arrested poetry he bled.”
whispered the bubbles
The bath fog tried to stop her,
“Don’t you want to fall in love?”
…
“Nobody asked him
if he wanted that curse.” she bled.
All over her fingertips, shaped like an empty gun.
GINKGO TREE
SOUVENIR GIFT SHOP BLUES
An impulsive trip across Europe,
No menthol cigarettes to be found,
Would I have still gone?
The mint pokes my cheeks,
The flesh I intensively bite tastes like Noirette’s.
They never averted their gaze,
Until another girl is found.
Do you remember her name?
Polyester shirts with city names,
Never worn at home.
The smell of rubber lingers,
And makes me miss the warm lights
In our apartment, I never slept in.
Buying you my memories,
It's been years since we shared any.
LOVELIEST DOLL
I held onto the axe of my past
Thinking it was merely a bouquet of daisies
Suspect: The Loveliest Doll in Town
Red wine spilt on his patterned tie,
My pouty mouth wonders,
Sucking it off like the dye off a popsicle
Will the leftover ice be as pure as me?
I’ll make him feel like half the man
His father was, he dreams of it
The cigar, the tucked in
Shirt… the women, the loveliest doll in town
He kneels down to the man before him,
Developing the sun-exposed film
of his old man with the doll,
Eyes on the musk of what he ultimately desires;
Manhood of fathers.
After all, it's what he was taught.
The citric scent lingering in his hairy nostrils
like a vesper bat.
Whispers of the doll:
“He got your mother troubled daisies,
Were the poison ivies out of stock?
Did the clutch fall off your pin, sir?”
I hold onto his facade of an axe,
If I’m so disgusted, why don’t I leave him?
We discussed this, I’m lovely
And... My mind desires like he
Does. I wish I were half the man.
Oh how the loveliest doll sins for the pathetic fag,
I lick your white powdered lips
“I love you,
You’re the one that I adore
I need you,
And I want to be your whore. “
PRAYER OF MAN
I adore my leather-eyed homicidal lover,
So much so, I sweat the same way.
I sit on the edge of her couch.
“I like the way your hair makes you look older.”
The coke float with immorality on top,
Makes me crave more.
You never crave less.
Prayer is whatever
You say when
You are on your knees.
I lick your clean ears,
wondering what you’ve heard,
About the troubled Mediterranean girl.
The same soft ears that dealt with repeating gunshots.
I stare at your manicured hands,
wondering where you want to touch,
Your next victim.
The same hands that silenced filthy men.
GUTTED DOE
She glimpsed at the gutted doe,
felt the orange strip away its flesh.
The scarred hands press the pulp,
Thoughts never repressed.
Oh gutted doe, resentful are you?
,,, Love-led hatred drips slowly
in the mind of man,,,
What liars these animals are.
A POEM FOR A FRIEND
All alone in your crushed melancholia,
The pink resting place turned into ash.
Imagining a swingset for two.
Dipping your finger in hot wax,
Like asking a high schooler to smoke a wee bit…
ouch
Were you always wrong like this?
Attracted to the whatever.
I wish I were a friend
before friends.
In my deepest thoughts, the cigarette
is a wax-colored stick
filled with haunting dreams.
Thinking about it
keeps my ribcaged eyes wet.
Sorta-nihilistic girl, let’s go back
To colored books,
To when I was beautiful
Like you.
PIGEONS
Born in absolute exile and I long.
Promises unkept by the white man,
Weapons never found, only spoken loudly.
My country never dared to breathe the exile’s way,
A historical homeland never touched, never left.
And my genes agreed; my ancestors were from
The revolution. The original latinisation
Of an alphabet that wasn't even ours.
My country doesn't know me
Oh, how I wish I were born in the embrace of history,
Before the jealousy of the white man,
Jealousy of the joyful pigeons.
My father’s pigeons never caged on the flat rooftop,
Cooing in glee as he held them ever so gently.
My grandmother gripped the pseudo-angels
In my father’s hopeful heart.
As the pot sizzled with onions and tomatoes,
The soldiers raided the reminiscent rooftop.
There is a place I never went,
Where it snowed in the greenery of the streets,
Where my mother wore a silk skirt in 80s,
Had her honeymoon by the once calm river.
I grew up in the foreign
The wind cried, couldn't utter a word.
take me to my country, wind
The missiles mishandled his unborn boy.
The vengeful fists started with the pigeons,
And ended with unspoken words.
Writer: Samir
Designer: Gianna
Editor: Aanya
There's something deeply comforting about nostalgia. It's one of those feelings that everyone experiences but no one can fully explain.
It appears suddenly – the sound of an old song that reminds you of someone, remembering an inside joke that seems “historic” or a random photo from last year you see while scrolling on your camera roll. In that one second you are transported into a different world full of joy and old memories.
But what makes nostalgia such a powerful emotion that is both sentimental and grounding?
Nostalgia is an emotional response triggered by memories that were valuable to us. It is often described as “a bittersweet feeling” – a blend of happiness with a hint of loss.
It’s not about wanting to recreate the past feeling, but more about revisiting memories to feel grounded again . Psychologists explain that sensory experiences like music, visuals and scent are strong triggers for memories as they bypass logic and go straight to the emotional part of the brainknown as the amygdala. Research shows that nostalgia serves a psychological purpose.
It increases feelings of comfort, stability, and optimism. It almost acts as an emotional safety net at times when life gets too stressful or uncertain. The brain naturally brings up old memories to remind us who we are thus helping us connect back to ourselves during challenging times.
Psychologists explain this as a sign of emotional awareness. When we recognize a moment as meaningful, our mind starts to save it like a mental screenshot. That’s why sometimes we may feel happy and sad at the same time, perhaps the last day of school, rereading a letter from a loved one, or cleaning your room and finding something from years ago.
However, most times, people don't realise that certain memories will turn into future feelings of nostalgia. We don’t realise that a certain moment may be the last time it happens, such as the last time we talked to an old friend, or the last time we visited a special place in our childhood. It’s only later in life that we look back and realise a whole chapter ended a while ago.
Nostalgia is about carrying the good moments with us, the memories that remind us of joy, and meaningful events. So the next time a song makes you smile, or a childhood snack reminds you of old memories, remember that it is the brain signalling that you've lived good moments and there are many more to come.
And right now, without even realising it, we’re creating memories that we’ll miss later in life.
Spilling the Tea on Tea
As a co-founder of the IH’s very own Tea Society, I take it upon myself to share some insights from our club (i.e., cult). I hope to help you navigate between tea leaves as it may be hard to see the forest for all the trees or in this case, tea bushes.
You might have thought that there is one black-tea bush, one green- tea bush and one white-tea bush but what if I say they all come from the same plant, Camellia Sinensis. It is only after the tea leaves are plucked that different kinds of teas can be made as that is when oxidation of the leaf starts. In simple terms, oxidation is the reaction between enzymes and oxygen when a cell wall is broken. There are six different types of tea based on their level of oxidation, least to most: green tea, white tea, yellow tea, oolong tea, black tea and dark tea. (Note that red tea is not included in the types of tea and I will explain why further on). Below, I will introduce you to the three most common types of tea.
Black tea is the most common tea and it has a rich, strong flavour because it is oxidized in several steps. It comes in many different combinations, often flavoured with dried fruits, flowers or oil extracted from the citrus Bergamott. The well-known blend Earl Grey contains black tea and Bergamott oil, giving it a rich flavour mingled with citrus and I would recommend this to new tea-drinkers. To make a cup of black tea like a true tea scholar, you should have boiling water and steep the tea leaves or sachet for 2-3 minutes. The less quality, aka the cheaper the tea is, the more time you need to brew it.
With green tea, the tea leaves are not oxidised but are instead steamed, allowing them to keep their organic, fruity flavour. Green tea leaves go well with fresh extracts of e.g. lemon and ginger but also with sweeter flavours such as rhubarb and strawberry. Traditionally, it has been considered as quite the health-brew, particularly matcha, because of its richness in antioxidants. Green tea is perfect for when you want something fresh, tasty and energising with a lower caffeine content. For the ideal cuppa green tea, heat the water to 80 degrees and steep the tea leaves or sachet for 2-3 minutes.
White tea is in fact yellow when served and is basically caffeine free. It serves excellent as ice-tea because it can steep for a long time in both warm and cold water and it has a naturally fruity flavour. My personal favourite is “White Mulberry Tea”, which I brew both warm and cold depending on the season. White tea can steep for up to 8 minutes and the water should be around 70 degree warm water.
Many tea connoisseurs argue that red tea is not tea in the traditional sense as it is not made from tea leaves; instead it is made from the bark of the rooibos bush which you may recognise from tea packages. Rooibos is usually combined with dried fruit or with vanilla bean. It has a mild, sweet flavour and is completely caffeine-free, it is perfect for when you want a cup of tea in the evening. Just put on your kettle and boil the water to 75 degrees, then steep the tea for 3-5 min.
These were some of the more common tea types in this part of the world. However, feel free to botanise in teas on your own in tea shops around Gothenburg such as Götheborgs Te & Kaffehandel (located in both in Nordstan and in Frölunda Torg), Tea’s i Haga and Tehuset Java. I am sure the staff would be more than happy to give you the tea on tea.
Historical significance
What came first: the pyramids in Ancient Egypt or tea?
In fact, it was tea. Archeologists have found evidence that tea has been cultivated in China for 6,000 years but the beverage we consume today is actually younger. Originally tea was consumed as an herb for medicine in accordance with the Ancient Chinese legend of the Divine Farmer Shennong who was poisoned 72 times but each time he was saved by a tea leaf drifting into his mouth.
During the 1500s, tea was established as a beverage and it shifted from being viewed as a crop to being an art. Tea enthusiasts began unlocking different flavours and nuances of tea by experimenting with methods concerning the extent and different methods of oxidation as well as rolling the tea leaves.
Historically, tea has been important for trade, religious practices, and natural remedies. The 1600s and up until the 1900s saw the colonial powers fighting over these precious leaves, even going so far as to race one another on the sea. The British and the Dutch East Indian company were responsible for trade with East Asia. China and Japan were the main tea-producers.
Tea unites people through the history and different cultures it has emerged from and been adapted by. The beauty of tea is its ever-changing varieties in flavour and each culture offers its own variation.
Writer: Ingrid Rehnman
Designer: Pranav Iyappan
Editor: Aanya Srivastava
Opening up our Doors - November Open House
It's that time of year again when students in 9th grade are starting to decide where they want to attend high school next year, which also means that it is time for us to demonstrate the many reasons why they should pick IHGR! Following up the city's high school fair during week 45 that saw a total of 24,000 visitors over the span of three days, the school hosted an open house the next week. This gave students who talked to the ambassadors at the fair the opportunity to actually visit and see for themselves.
On the evening of November 12th, the International High School opened its doors to prospective students and their parents. This open house was the first of three that are scheduled for the coming months–all with the common goal of attracting new students. They aim to showcase what makes our school unique and why someone should consider choosing it over the many other high schools in the city.
Upon arrival, visitors were given the choice of which programs they would like to attend a presentation for. As many of you are probably aware, our school offers three main programs, the most prominent one being the International Baccalaureate diploma program (IB DP). The other two programs are the Swedish national programs Natural Sciences (NA) and Social Sciences (SA), but unlike at regular Swedish schools, these programs are taught entirely in English. Choosing a high school program can be a big decision and for this reason, visitors were given the chance to attend not just one, but two different presentations.
Guests were greeted on the third floor by a fika table serving up tea and biscuits with welcoming smiles. While lessons may be taught in English, our school still incorporates Swedish culture wherever possible! After enjoying a treat, they were free to explore the countless other tables that lined the corridor and filled classrooms. Each table provided information about a different aspect of the school experience, namely the many amazing opportunities that make our school so great. Just some of these include the Budapest Exchange, Kraków Study Trip, ISLI, and EYP. Other activities that contribute to the positive school environment at IHGR are the many student clubs, the school newspaper (the ITCH), and student leadership groups (STUN and the ambassadors).
In addition to wandering independently, they were also given tours of the building. During these tours, visitors were taken around the school and shown what their day might look like as a student at the school. They were also shown to the fifth floor, which had a science-focused exhibition. Here, titration and other experiments were being conducted in order to display typical labs that can be expected depending on the program that one chooses.
Throughout the whole evening, visiting students and parents got the opportunity to talk to current students and teachers at every stop to help them get a sense of what IHGR is really like. There was a strong turnout of around 60 people, which meant that everyone was kept busy answering questions, presenting and giving tours, among other responsibilities. Common questions from visitors focused on the subjects taken as well as how the program taken can affect opportunities after graduation.
Of course, none of this would be possible without the amazing group of students that is the ambassadors. From taking shifts at the high school fair to decorating the school to hours spent planning and preparing for the open house, the ambassadors dedicate so much of their time to the school. When asked what they like about being an ambassador, one student replied that “being an ambassador means helping the school and getting to be creative in our own way. I like that I get to express my creativity in a helpful manner.” It is thanks to this enthusiasm that events like this can take place.
Writer: Emily Anning
Designer: Ronja Rentsch
Editor: Mathea Sending
Excursion to the European Youth Parliament
Varberg 2025
‘Truly International’, one of IHGR’s core values, was reflected recently in the most vibrant occasion in the scenic beauty of Varberg coupled with the highly ambitious pool of European Youth Parliament delegates and officials. The European Youth Parliament is a non profit organisation that focuses on encouraging cultural understanding among European youth. Such a shower of ideas was received by high spirited delegates and officials in the stress free aesthetic coasts of Varberg.
Training Day
Welcome to the portrayal of Varberg 2025, the first South-Western Regional Session of EYP Sweden! The first day commenced with volunteers and officials gathering for a training day amidst the lenient winds on the coast of Varberg. This day kicked off with a range of training activities to help them prepare for what's to come, but always keep them wanting more….
These activities instilled a variety of skills and touched upon some highly interesting areas to explore as a management team. For example, peer-focused training and education, media and creativity and team management. This accumulation of elements attributes for the educational side of EYP Sweden.
Julia Rosen, an IB 3rd year attending as one of the official chairpersons from IHGR shares her insights:
“It was tons of fun to meet the other officials, we started off with teambuilding activities before moving on to modules to prepare us for the arrival of the delegates and the coming days”
Teambuilding
Enter Delegates! Next up on the docket was the teambuilding process. The delegates gathering from Denmark and all over Sweden on the Kattegat coast sent the atmosphere for ice-breakers. In complete excitement to delve right into the session, they were given a warm welcome by the volunteers who were the cherry on top.
Throughout the teambuilding exercises, participants got more comfortable and familiar with each other on top of cooperating amidst conflict games. They learned, grew and showed resilience as a team in a mix of cooperative tasks where winning and losing wasn't a question.
Committee Work
Administration and Academics… heavy words? In EYP, these same heavy words are expanded in exploration yet simplified to genuine and consistent engagement. The delegates explored, discussed and engaged in topics to identify problems such as digitalization of the world and governance and brainstorm probable solutions like educational access and regional diplomacy. This encourages the European youth to be perceptive about the multi-dimensional state of the world and increase their awareness of global issues. Moreover, to keep the students entertained 100% of the time, short energy booster games were played to recharge their social batteries.
Speaking Up! General Committee
The final day was what everyone either waited for or was nervous about.
Open the General Assembly! A huge hall covered with beautiful light wood carvings and a bright blue floor spoke for the beauty of the hall where delegates, officials, jury members and our IHGR delegates. Sham Ramasamy, another one of our passionate delegates from IHGR, talked about the wonderful yet nerve wracking experience they had: “The structure of EYP conducts itself in a way that shows you the importance behind interaction and speaking up. It opened me up to my own potential and was just amazing”. During the General Assembly, the delegates debated and defended their resolutions during committee work. The speeches coupled with direct responses from delegates made their voices heard.
EYP is a highly enthusiastic approach to student development and academic progress which IHGR so passionately offers to the students. The participation demonstrates the value of empowering the upcoming generation to step into modern day European narratives, keeping the upcoming revolutions in capable hands.
Writer: Aayansh Kumar
Designer: Gianna Dinakaran
Editor: Mathea Sending
From Politics to Pop to the Pedal
Love is in the air — but also on every red carpet, racetrack, and Parisian sidewalk. 2025 has already given us more celebrity headlines than we can scroll through, from pop stars dating politicians to Swedish influencers saying “Yes” in style. But beyond the gossip, what do these stories say about how connected we’ve all become, even here in quaint Sweden?
Let’s have a small chat about the most talked-about celebrity romances of the year.
Justin Trudeau & Katy Perry: A Power Couple Not Even Oracles Saw Coming
When pop icon Katy Perry (Yes, the very same one from “California Girls” and “Firework”) and former Canadian prime minister Justin Trudeau stepped out together in Paris, the internet went and did what it’s known for best — explode. Photos of them holding hands went viral faster than you can sing “Hot n Cold”.
This is the kind of story that feels straight out of a fanfic or a romance novel: A global superstar and a former world leader. But it’s real, and it shows how celebrity culture has become truly borderless. Within hours, TikTok was flooded with memes and reactions,even Aftonbladet couldn’t resist the “TruPerry” saga.
Charles Leclerc & Alexandra Saint Mleux: Love Caught Speeding
Scuderia Ferrari driver Charles Leclerc, might be having some issues with his car this year, but at least he is winning in love. The Monegasque driver recently proposed to Alexandra Saint Mleux, a French model and influencer, in a rose-petal-filled proposal that looked like someone had misplaced a perfume advertisement — complete with their dog in the background!
Fans, including myself, have joked that "Ferrari can’t build a reliable car, but at least Charles can build a solid relationship” and who can blame them. His engagement post quickly broke the internet as it got millions of likes within hours, even Swedish F1 joining in on the celebrations. Between Alexandra’s Parsisian style and Charles’s underdog charm, this is one love story stronger and smoother than his car.
Matilda Djerf: A Swedish Queen of Style Says Yes
You don’t have to scroll far to find Matilda’s perfectly blown-out hair and soft beige tones. The Swedish influencer and Djerf Avenue founder recently announced her engagement to Rasmus Johansson, and in true Djerf fashion, the photos were minimal, cosy, and instantly iconic.
Her engagement might not involve yachts or rose petals, but it hits differently. She is one of the representatives of Sweden’s new kind of celebrity — someone who is authentic, relatable, and quietly powerful. It’s proof that sometimes simplicity can win the internet too.
Dua Lipa & Callum Turner: The Cool Couple of the Year
British pop star Dua Lipa (known for hits like “Levitating”) and Callum Turner (known for playing Theseus Scamander in the Fantastic Beasts trilogy) got engaged after months of stylish appearances together. Fans called it “the most fashionable proposal of 2025,” and they might be right — if anyone can turn an engagement chic, it’s Dua.
Why would you, a student in a random international school in Sweden, care about this? Well, people are obsessed with her music (Hello Future Nostalgia), and her European flair seems to always find a way into Swedish playlists and headlines. She’s more or less pop royalty, and now apparently, happily engaged.
Kylian Mbappe & Stephanie Rose Bertram: Europe’s New Power
Kylian Mbappe & Stephanie Rose Bertram: Europe’s New Power
French Football superstar Kylian Mbappe may be known for his lightning speed and World Cup heroics, but lately, it's been his love life that has been scoring headlines. The Paris-born striker has been linked to Belgian model Stephanie Rose Bertram, and the two have been spotted together at several high-profile events across Europe.
Bertram, known for her campaigns with major fashion houses, brings a touch of glamour from the runway into Mbappe’s world of football and fame. Together, they’ve become the definition of a modern European power couple both stylish and successful.
Their relationship seems to have fans across the continent buzzing, including here in Sweden, where both football and fashion have cult followings. Whether they’re taking a stroll in Paris, or cheering at a match, they represent Europe’s blend of sport, style and star power, and everyone is excited to see where this goes next.
Why We Care? Even in a Random High School in Sweden
So, why are we, sitting in a random international school in Gothenburg so invested in who’s dating who in Paris or Monaco? Maybe because celebrity stories feel like modern fairy tales — just with way better lighting and outfits (okay maybe some fairy tales do beat us on that) and way more drama.
In a world where information travels faster than gossip in a school hallway, we end up sharing the same headlines as fans in Dartmouth, LA, Tokyo, London, or Milan. One minute, Mbappe’s seen at a fashion show, and the next, we’re discussing it over lunch like he’s a classmate on a family trip.
It’s not just about the tea or their love lives — it’s about how global pop-culture connects us. From Stockholm to Paris to our school corridors, these stories remind us how small (and entertaining) our world has become.
Writer: Sham Ramasamy
Designer: Mahira Khan
Editor: Mathea Sending
The Global Climate Crossroads: Why COP30 Matters for Our Generation
The Global Climate Crossroads: Why COP30 Matters for Our Generation
In November 2025, the eyes of the world will turn towards Belém, Brasil—a city perched at the edge of the Amazon rainforest—for one of the most important global summits of our time: the United Nations Climate Change Conference (COP30). For most of the youth, a far-off political summit might seem like something only scientists, presidents and policy experts care about. But in many ways, COP30 is about us—our future, our planet, the choices and decisions we will inherit.
What’s happening at COP30?
Every year, world leaders, scientists, and activists gather for the “Conference of the Parties,” or COP, to make plans for reducing greenhouse gas emissions and protecting the planet. COP30 is particularly special because it’s being held in the Amazon Basin, one of Earth’s most crucial ecosystems and a symbol of both natural beauty and environmental danger.
Brasil’s government has promised that this year’s conference will mark “the decade of action,” with a focus on ensuring that countries meet–or finally start meeting—their promises from the 2015 Paris Agreement. This was the deal where most nations agreed to limit global emissions and warming to 1.5°C above pre-industrial levels.
The problem? We’re not on track. Recent reports from the UN’s climate body show global emissions keep rising, and 2024 was recorded as one of the hottest years. Droughts, fires, and floods have intensified everywhere from California, U.S.A to Hoi An, Vietnam.
That’s why COP30 is being seen as a turning point—a chance to shift from vague goals to real accountability.
The Amazon: a symbol of hope and warning
Belém’s location sends a signal. The Amazon rainforest stores enormous amounts of carbon and produces roughly 20% of the world’s oxygen. Yet it is shrinking rapidly due to deforestation from logging, mining, and cattle ranching. Environmental groups estimate that over 17% of the forest has already been lost, bringing it dangerously close to a “tipping point” —a stage where it could start emitting more carbon than it absorbs.
But the Amazon is also home to Indigenous communities who have protected it for centuries. Brasil’s president Luiz Inácio Lula da Silva, plans to highlight these local voices at COP30, highlighting that climate solutions must include social justice—not just technology and carbon markets.
Why should the youth care?
It’s easy to think of climate change as something only discussed at conferences. But the truth is that it affects nearly every aspect of our lives. From extreme heat closing down schools to rising food prices and climate-related stress on mental health, our generation is already living with its consequences.
The International Labour Organization predicts that by 2030, more than 80 million jobs could disappear because of heat stress and shifting industries—but another 100 million “green jobs” could be created in renewable energy, sustainable farming and conservation. The future job market will be shaped by how world leaders act (or fail to act) at meetings like COP30.
Youth activism: from classrooms to global stage
In recent years, youth activists have become some of the most powerful voices in climate discussions. Groups and regional networks like Youth Climate Leaders in South America have pushed governments to commit bolder targets.
At last year’s pre-COP youth summit, over 500 young delegates drafted policy recommendations, calling for climate education in every school, protection of environmental defenders, and funding for youth-led innovation. These proposals will now feed into the discussion in Brasil.
Meanwhile, students around the world are turning their concerns into action—organizing clean-up drives, planting trees, or starting “eco-clubs” that reduce plastic use at school.
A crossroads—and a test of trust
A crossroads—and a test of trust
COP30 is being called “the implementation COP”. Experts say countries need to cut emissions by at least 45% by 2030 to avoid the worst effects of climate change. So far, only a handful are even close.
Brasil hopes to showcase progress on reforestation and renewable energy. The European Union wants stricter carbon-market rules. Developing countries demand climate-finance commitments—essentially, help from richer nations to adapt to damage they did not cause.
Many youth groups are watching closely, questioning whether these meetings actually lead to change or just more talk. Still, most agree that walking away isn’t an option. “Hope isn’t passive,” says 18-year-old activist Aisha Khan from Nairobi. “It’s something we build.”
Writer: Ishanya Singh
Designer: Rijuta Sukavanesh
Editor: Aanya Srivastava
Noirette / Garden of Unearthly Delights
Noirette / Garden of Unearthly Delights
Noirette wanders through her garden of earthly delights,
Tends the succulent beau fruit, as though she birthed the sin.
A triptych of vehemence behind the unearthly lights,
Display a bacchanal of temptations, as beaux grin
The fall of grace binds hell to paradise.
Noirette, dear girl, avert thy gaze.
With God, thy soul governs thy vice.
Third day creating this curseful maze.
Noirette, I bathe in the seas of love-led vanity.
Saved by the genesis of a femme fatale.
Noirette, I summon forth the owl’s sanity.
Saved by the companion of a leafy veil.
Close me up and trace my greedy grisaille.
I am no original sin, I am written in braille.
About the poem:
This poem is inspired by the painting The Garden of Earthly Delights, which depicts a paradise that transitions into hell. Noirette is a term for a black haired girl / woman (it’s rarely used, so I thought I’d clarify). The owl refers to the bug-eyed owls in the painting. This painting is displayed as a triptych (three panels).
This is the grisaille, it’s the outer part of the painting when it’s closed.
Writer: Samir Alroumy
Designer: Pranav Iyappan
Editor: Aanya Srivastava
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