03/06/09 - Intermission [pdf]

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Robber Barons doesn’t do it for Intermission the third time... page 3 Milan Fashion Week sexes things up... pages 4-5 Intermission covers Wondercon, interviews Martin Starr and Adam West... pages 6-7 “BroadwAsian” mashes Broadway with Asian stereotypes... page 8 Stanford singles bump, shake and groove to Beyonce’s tune... page 9 U2 and Kelly Clarkson return to music scene with more of the same... page 10 CoHo livens up with with student’s depiction of Lorca’s poetry in visual form... page 12

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FRIDAY

3.06.09

stanford’s weekly guide to campus culture

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ISSUE

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a publication of the stanford daily

starpulse.com ALSO INSIDE

M I L A N F A S H I O N W E E K

W O N D E R C O N Intermission conducts exclusive interviews with actors Martin

The commercial fashion mecca

Starr and Adam West

sells sex and glamor in third of four major fashion weeks

...pages 6-7

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...pages 4-5

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MULTIPLAYER VIDEO - GAMES

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FRIDAY

03.06.09 BONE TO PICK?

well then, email us! [email protected]

MANAGING EDITOR Joanna Xu

LAYOUT EDITORS Kairen Wong Jin Yu

COPY EDITOR Samantha Lasarow

DESK EDITORS Annika Heinle Kyle Evaldez

PHOTO EDITOR Amanda Zhang

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. FIFA 200X A soccer game at the top of the list? Really? Nobody even likes soccer! Whether or not the real version of soccer is becoming America’s favorite pastime, virtual soccer definitely is. With immense depth of customizability for the soccer buffs, and simple control schemes for videogaming neophytes, FIFA offers something for everyone. Little is more fun, frustrating and rewarding than a four-player soccer match in golden-goal overtime. 2. Halo 2/3 The granddaddy of the XBox franchise, Halo has evolved into every frat guy’s default shooter game. Many fans will argue that Halo 2 was the pinnacle of the multiplayer experience, though others enjoy the added game types, items and improved graphics of Halo 3. Easy to pick up and hard to master, Halo may be one the most addicting videogames out there. 3. Rock Band/Guitar Hero Never quite had the drive to learn real guitar and go homeless in the hopes of becoming a rock star? Well fear no more, for now you can become a rock star in your very own living room — with friends! The Guitar Hero/Rock Band franchises have perfected a wonderful system that is both fun to participate in and watch for lovers of all kinds of music. 4. Mario Kart Wii/64 A classic since the SNES days of our childhoods, the Mario Kart series has become a staple of

competitive party gaming. A go-kart racing game featuring famous characters from the Mario franchise and ridiculous maps and items, Mario Kart can provide endless fun whether in race or battle mode, drunk or sober. 5. Super Smash Brothers Brawl The third in the Super Smash Brothers series, many will argue that Brawl is the best yet. Featuring characters from all over the Nintendo universe, SSBB lets you pick an avatar and then beat the ever-loving crap out of everyone in sight. Items and constantly changing maps add to the fun, making SSBB a consistent fan favorite. 6. Madden/NCAA Football 200X What better way for our inner nerd to live out his or her own athletic dream than by mercilessly hit-sticking their opposition on the muddy gridiron? Whether in the professional or college settings, the Madden/NCAA series provides a dynamic and ever more nuanced football experience. Though this game is not for the easily frustrated, the learning curve has also evolved into quite a formidable one. A beginner is best off playing other beginners else risk seeing a 770 landslide by the end of the first half. 7. Wii Sports Although just a humble add-on that shipped with every Wii system in America, Wii Sports provides surprising depth and re-playability. Though many of the games may not be ideal for a party setting, few games are as fun as four-per-

son tennis or bowling. Nothing is better to settle a drunken bet than a best-of-three Wii tennis match. Period. 8. Left 4 Dead A new XBox 360 release that pits the player as one of four survivors trying to escape the zombie apocalypse, this game is unique in the list in that it’s a game focused on cooperation and not competition. Very tense and fast-paced, L4D will require coordinated teamwork to survive. Not for the faint-hearted. 9. Street Fighter IV The next “true” follow-up to the international mega-hit Street Fighter II, SF4 has just launched to rave appeals. A game with much greater depth, SF4 builds on all the great points of the original while eliminating many of the annoying details. Look for it to slowly creep into dorm rooms everywhere over the next few months. 10. Gears of War 2 A gritty and apocalyptic/futuristic shooter, Gears of War 2 offers both competitive multiplayer and an intensive co-op experience. One of the best-reviewed games of the last year, GoW2 provides a visceral, gory and adrenaline-packed experience whether playing with or against your friends. — mark KOGAN contact mark: [email protected]

THEATRE REViEW

“You can’t get pregnant the first time” didn’t come naturally... ’d first like to say that I’m usually a fan of the Robber Barons — a hilarious, talented and incredibly sexy group of people. There is no comedic group like them on campus, but that being said, I’m a little easy . . . to make laugh. But the Robber Barons’ latest show, “You Can’t Get Pregnant the First Time,” just didn’t do it for me. Maybe it’s just because I’m a woman and, as you’ll learn at the show, “girls can’t orgasm.” Somehow I left the show feeling . . . unsatisfied. Let’s just say the Robber Barons came a little too quickly for my taste. Don’t get me wrong: the Robber Barons’ performance was still quite pleasurable and definitely a must-see for your Friday night entertainment. Opening last night at Campbell Recital Hall, they had the crowd rolling in the aisles. It was just that — well, there were moments in which they were still funny but in an “aww honey, it’s so cute that you’re trying” kind of way. Sometimes when you’re making comedic love, things fall apart; this time, the show lacked a unifying theme like the one that bound the skits

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together in their last performance, “The Robber Barons: IN HIGH-DEF!” But so what if it isn’t all mind-blowingly orgasmic? These kids are working their craft, stretching their limbs and learning and growing. They should be admired for that fact alone. One of my favorites in the show, actor and director Olive Harewood ‘09, says, “I’m really excited about this quarter’s material. Last quarter was only our second show as a group, so I think we were finding our voice, and the response was fantastic. Now we’re expanding on that. I think we’ve grown a lot as writers and performers, and I’m immensely proud of the group.” As she should be. And as am I. The material of the show definitely resonates with student life at Stanford. The skit “Drunk One-Ups,” which plays on the competitive nature of Stanford students and the ultimate question that plagues us all (“Will I party or will I study?”) is subtly brilliant. Also brilliant is the “Librarian” skit, which strikes a personal note with this writer. Who isn’t irritated by the

invasion of personal privacy every time the librarians at Green check your bags and put their hands all up in your business? The Robber Barons are at their best when they tackle the issues that can really make people uncomfortable — such as ugly babies, abortion and euthanasia — and turn them into something hilarious. My favorite skit by far, though, has to be the “Napkin” skit with sophomores Emily Goldwyn and Alex Connolly. So funny. Man! I can’t even . . . yeahh. So go out and see the Robber Barons do their thing on Friday, March 6 at 9 p.m. in Campbell Recital Hall. The show is free for students with a valid SUID, $5 for faculty and staff and $10 for general admission. If you’re up in San Francisco, the Robber Barons are also performing at 8 p.m. on March 7 at The Purple Onion, located at 140 Columbus (between Jackson and Pacific).

PHOTOS BY NORBERT STUHRMANN

— chelsey LITTLE contact chelsey: [email protected]

“The Waste Land:” a Bharatanatyam dance his weekend the Drama Department presents the fourth of five productions in The Waste Land Project. This production is a modern dance performance titled “Hurry Up It’s Time.” As with other shows in the production, “Hurry Up It’s Time” is an original piece drawing inspiration from T.S. Eliot’s troubling poem on the decay of the modern world, “The Wasteland.” Co-directed by Stanford Dance Division’s Tony Kramer and visiting choreographer Parijat Desai ‘92, an fellow Institute for Diversity in the Arts fellow, the show’s choreography melds elements of Indian classical dance with modern techniques. “The Wasteland” teems with allusions to other literature and quotations in some half-dozen languages, and nearly all of the directors in The Waste Land Project have selected specific references to shape their works. “Hurry Up It’s Time” focuses on the final allusion in the text: “Datta, Dayadvam, Damyata,” a quotation from Hindu scripture the Upanishads which translates to, “Give alms, be compassionate, and have self-discipline.” Kramer says that in comparison with the poem as a whole which is “an odyssey through the fractured modern world,” the Upanishads appear finally as “a prescription for

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unity and peace.” To help express this idea of finding hope in Waste Land shows, which featured dance but also included chaos, much of the choreography for the show derives from actor-delivered dialog. Audiences accustomed to non-experithe Indian style of Bharatanatyam dance, a form that allows mental theater often try to derive meaning principally from dancers to express deep “spiritual devotion” through movedialog, making it frustrating when that dialog is fraught with ment. Movements traditional to Bharatanatyam recur multiple levels of literary allusions and in competition with throughout the piece and provide the jumping-off point for all the other theatrical elements in place. Perhaps by removmodern choreography. ing the burden of verbal storytelling from its performers, Accompanying the beautiful choreography is a spectacle on “Hurry Up It’s Time” allows the audience to create a story par with other performances in The Waste Land Project, all of and derive meaning using other pieces of the performancewhich have been stunning. Haunting, original guitar music the dancers’ movements, Eliot’s narration, the scattered newschanges to suit each scene, ranging from bluesy funk to dispapers and books that litter the stage. When asked to describe torted space-age noise, and clips from T.S. Eliot reading his the show, composer and guitarist Matt Spitz ‘08 calls it half own poem interject periodically. Lights play into the equain-jest, a “vortex of expression.” As it turns out, the epithet tion, too, resulting in a sensory experience that complements may be an appropriate description for the whirlwind of seneach segment of the choreography: as a pair of dancers moves sations offered to the audience, which finally for The Waste together, the stage is dappled in soft circles of blue light as the Land Project, appear to be working not as distractions to one sound of raindrops plays; the tinkling of dancers’ anklet bells another, but in concert. is accompanied by a maelstrom of swirling flashlight beams — monica MIKLAS as dancers run from an explosion. contact monica: [email protected] Though much of the deeper-level meaning of “Hurry Up It’s Time” will be lost on audiences unfamiliar with Eliot, the production manages to seem more accessible than previous courtesy feb. 2009, fashion magazine friday march 6 2009

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Milan fashion week zooms in on SEX n times of economic crisis, fashion designers return to what they know best — the staples that made them famous. Christopher Bailey designed some classic yet beautiful trench coats for Burberry Psorsum, whose signature has always been outerwear, and at Jil Sander, Raf Simons came out with a breathtaking collection with sweeping geometric silhouettes that conveyed the brand’s minimalist aesthetic to the max. And what about the rest? As it happens, what most of Milan knows best is sex. This week, the most commercial fashion city showed runway after runway of tall boots, high heels, metallic colors, tiny skirts, tight pants, and rocker girl dresses — all worn by

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models aggressively strutting to sexy dance songs. Sex as a theme is not new at houses like Gucci, Versace, and Roberto Cavalli. Cavalli featured thigh-high boots, corset details, and sheer fabric in his collection, which critics thought was trying a bit too hard. Gucci also received negative reviews — the overly commercial formula of low-cut v-neck tunics paired with painfully tight leggings and pants got old quickly. Versace was better received. It has always been the place to go for pieces that are gorgeous but not exactly fashion forward. Donatella Versace is also reviving her defunct offshoot line, Versus, by hiring Christopher Kane to design a line of

crystal-studded stilettos, boots, and shiny handbags. Less famously sexy designers still made use of the theme. Bottega Veneta designed clothes that looked like they were cut from bedroom materials, like an uneven silk tshirt and nude-colored dresses with lingerie details. At Emporio Armani, models donned flirty knee socks and skirts with scandalously high slits. Peter Dundas, debuting at Pucci, turned to leather pants, asymmetrical gowns, shiny fabrics, and suede boots to make his mark. Blumarine showed looks with leopard print jackets, sequined dresses, and mesh overlays. Of course, Prada always is the exception

to the rule. The collection was part cavewoman, part gladiator, part forest rangerslash-wildlife explorer. But Prada’s schtick has always been the careful reclamation of fashion ugliness. What seems hideous to us now will be soon plastered over the pages of Vogue, tested out gingerly by the more daring socialites, and finally translated to the high street. The highlights of the week were Marni’s fantastic necklaces, Missoni’s layered knits, and Ter et Bantine’s interesting plays with volume. — amanda ZHANG and joanna XU contact amanda: [email protected] contact joanna: [email protected]

Versace I’ll be honest: I miss the Gianni days at Versace. I’ve never been a fan of Donatella. When I visited the Versace boutique in Milan last summer, I walked out almost puking tacky glitter, silver and shiny. However, the F/W 09-10 surprised me — it’s surprisingly sober luxe. Of course, there’s still plenty of over-sexed glam — that’s the Versace signature — but at least this time around is a lot more appealing and toned-down. Strong distinct details like scars and scales on the dresses really stand out but don’t detract from the tastefulness of the dresses. Sophisticated, elegant, rich — I’m a fan.

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Peter Dundas’ debut collection for Pucci is VersacexBalmain mix. It definitely breaks from Pucci’s usual colorful prints and fun vibe that it had with Matthew Williamson as creative director. Bring back Pucci I say Dundas needs to either realize that he’s not designing for Ungaro anymore or just create his own line.

Foot Fetish If money’s tight, it’s smart to splurge on one statement accessory like a handbag or a shoe to update old clothes, rather than buying a whole new wardrobe. This season in Milan, designers showed modern, interesting, attention-grabbing footwear — all complete with a very skinny high heel. Blumarine’s sexy crystal-studded gladiator sandals, Prada’s coral reef stilettos and the variety of shapes at Marni all stuck in our heads.

GUCCI A polarizing collection. Gucci has already targeted the dark, sexy, glamorous woman; but this collection completely destroyed that image. Almost every piece is either too shimmery, sequined, or patent — the 80’s at its worst. Gucci used to be about a dark unattainable chic and sensuality; now it’s bordering on trashy. And eye-sore polka dots? Really?

Dolce & Gabbana This is Dolce & Gabbana, Spring/Summer 09 Part 2. They need to go back to what they do best: trashy and tacky. When the house tries to make a serious collection it looks sort of silly, especially compared to the similarlythemed collections that other houses have been showcasing. The Marilyn Monroe prints are interesting but seem lazy, and I hate — HATE — the huge pink fur jackets. But I guess it doesn’t matter what I think — whether Dolce & Gabbana sells or not, the government will save them anyway. The U.S. bails out our auto industry, the Italians bail out their fashion houses . . .

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Marni Marni has gotten great reviews for their new line, which consists of giant jeweled accessories, oversized mittens/gloves, beautifully printed dresses, flattering coats, and gorgeous textures. Marni is usually known for shapeless, severe and artistic clothing, but this season took that concept into a whole different level. Many in the fashion community have commented that it looks very Prada from a few seasons ago, but to me this is a younger version. This Marni collection proves that women can be sexy even with a lot of clothes one.

Prada Prada is usually the queen of Milan Fashion Week: it’s always the most innovative, the biggest event with the most fanfare — not to mention they essentially determine future famous supermodels. Last season, the theme was wrinkle and crinkle — and shoes so tall and paired with satin socks so slippery that at least three models fell. This Prada season, however, focuses on an out-door theme — full of tweed shorts, knit sweaters, tall rubber waders usually seen on fishermen, hints of fur, and riding coats with side-splits — yet also warrior-glam, with appearances of leather fringe/flapper dresses, red crystal studs and shoes inspired by Trojan helmet/headgear. Too many collections this season has been about punk-rock glamour, and Prada is F/W 09-10 is exactly the opposite. Even if it’s not affordable, at least it remotely looks it.

Model Profile: Jac onika Jagaciak, who prefers the nickname “Jac,” is a remarkably versatile, delicate-featured new model. She booked pretty much every major name in Milan — amazing for a new girl — and surely is the sign of the next great star. She closed Marni, Missoni and Pollini, and walked for Prada, Gucci, Fendi, Versace, Dolce & Gabbana and more. In the past, she has stirred controversy by exposing most of her breasts in a beach photo shoot at the age of 14. Nonetheless, she is a veritable chameleon, and her look can range from commercial pretty to strikingly exotic to gothically editorial. Milan’s catwalks were disappointingly whitewashed, however, especially compared to New York’s this season — few ethnic models were seen on the runway. While Jac deserves the work she’s been getting, and surely will be beautifully featured in future campaigns, she also signifies the Milanese casting directors’ return to a safer look.

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Comic nerds, sci-fi geeks, costume crazies: it must be WonderCon 2009 San Francisco is generally very accepting of oddballs. Public nudity is legal, and no one will give you a second glance on the street if you dress somewhat out of the ordinary. This past weekend, however, even the regularly unfazed San Franciscan may have done a double-take at seeing some of the people gathered at the Moscone Center to attend the 23rd annual WonderCon. People wearing costumes of all kinds, ranging from simple kitty ears to elaborate getups, could be spotted interspersed within the thousands of convention attendees who flocked to San Francisco for the three-day event. In case you don’t know, WonderCon is a comic book, science fiction and motion picture convention that brings together fans to celebrate pop culture on a grand scale. Like most conventions, WonderCon offers a wide variety of events and opportunities about a specialized topic. The exhibition floor was packed with vendors selling everything from original art to Golden and Silver Age comics, plush toys to costume accessories. Throughout the three days, the schedule also boasted a broad range of panels, aimed at both large and small audiences, covering topics from comic storytelling to R2D2 droid-building — probably the reason behind the handful of real-size droids scattered about the floor that day. On Saturday, the events hosted at the Moscone Center included spotlights on comic book artists and writers such as Jill Thompson, Alex Robinson, Mark Evanier and Sergio Aragonés. For those less familiar with specific artists, WonderCon also hosted general panels about comics, including one where several artists collaborated together to create original art live in front of an audience.

While smaller events were usually held in smaller conference rooms, larger high-profile events (usually centered around upcoming motion-picture films) were held at the vast Esplanade Ballroom. Keeping in line with the theme of the convention, most of the movies featured throughout the weekend were related to comics, animation or science fiction. For the highly anticipated panel about the upcoming film

excitement surrounding the film’s upcoming release on March 6. The “Watchmen” panel included director Zack Snyder (“300,” “Dawn of the Dead”), several members of the cast and original graphic novel artist Dave Gibbons. They joked about the casting process, the uncomfortable costumes and producers’ incessant questions about a sequel (a project Snyder refuses to undertake). The cast, which includes both smaller names and more famous stars such as Jackie Earle Haley and Jeffrey Dean Morgan, discussed their experiences adapting such a seminal work of comic literature into a film. Snyder also covered logistical details of the film, such as the controversy about the film’s decision to drop from the film the “Tales of the Black Freighter,” a pirate story embedded within the original graphic novel. Although the production company made an animated version of the “Black Freighter,” it won’t be included with the theatrical release of the film — which is already a staggering two hours and 40 minutes. Instead, it will be added on to the DVD. Next, the panel showed an exclusive clip from the upcoming film. WonderCon, known for its motion picture exclusives, treated the panel attendees to an early peek at the first eight minutes of “Watchmen,” which included a montage of pictures to establish the alternate universe. The first few scenes quickly established “Watchmen” as a movie that was both true to the graphic novel and utterly thrilling on its own — and the audience greeted the sneak peak with uproarious applause. The other movie panels of the day were equally grand in scale — “Star Trek,” a film to be released May 8, is a re-imag-

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“Watchmen,” the line stretched out the doors and eager fans filled every seat. “Watchmen” is based on the legendary 1987 graphic novel of the same title which tells the story of outlawed freelance costumed vigilantes who discover a plot to stave off nuclear war by killing millions of innocent people. Since its publication, the graphic novel has gained renown and a fierce cult following. Presently, there is great mystery and

with Executive Producer Michael Uslan lifepop.com

he name “Adam West” has instant associations with every generation. For our parents, he is the man who brought Batman into their living rooms in the 1960’s popular television series. To anyone who has seen “Family Guy,” he represents the hilarious, paranoid mayor. Your younger siblings will recognize his voice as a character in “The Fairly Oddparents.” No matter which generation you ask, “Adam West” means something. On a rainy Sunday afternoon at Wondercon 2009 in San Francisco, Mr. West promoted his new film “SuperCapers” and entertained members of the press and many fans, whom he charmed with his self-deprecating, down to earth attitude. “SuperCapers” is a spoof on superhero films that will be released March 20th.

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with Executive Producer Martin Starr

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Martin Starr (MS): He’s definitely well thought out — very neurotic with very low self-esteem, which is somewhat related to the poverty stricken circumstances in which he grew up. But it’s so easy because he feels similar to “Freaks and Geeks” and Bill — he’s the everyman. He’s a good guy but you find your-

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i: How much did you prepare for this role, or how much of this were you playing yourself or were you playing a character? MS: I feel like you’re always playing some part of yourself in order to do it in the first place. You read a script and you get a feel for a character. I listen to a lot of ‘80s music, but I love that anyway, so it’s not different from a normal day, I guess. When I auditioned for Greg, I thought it was horrible. I thought it was the worst audition, and he liked it, so I said, okay, I’m onto something. I ended up getting the part, which I had two days to prepare for. That was the foundation for what ended up on film. i: What in particular attracted you to this script?

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supercapers.com collage amanda zhang MS: Greg is an amazing storyteller. He has such compassion in directing and writing that all of his characters have here — even Frigo in the movie, who’s kind of a total douche bag. The person that he cast, Matt Bush, who is immensely talented, brought so much heart to him because he’s such a genuinely nice guy; it’s hard to think that’s the guy he picked to be the asshole. You kind of want someone you’re going to hate initially, so that the film all makes sense, but because he had such heart, it made it work so much better. There’s so much history and backstory between the two characters that it works so much better if he’s a human being and not just a complete asshole. I think that’s an immense talent that Greg has: to write and cast and direct people that brings out compassion — he’s such a compassionate director.

i: Your character is very similar to some of the other roles that you’ve played that have made you famous. Are you afraid of being typecast or have you ever tried to actively seek out different roles? MS: I definitely like trying new things, but I feel like people told me that right after I did “Freaks and Geeks” ten years ago. I didn’t really know what it meant and I was so young. I think I worried about it then, but at this point, I’m so fortunate to be able to do this anyway. These are characters that I loved playing, so I’m not worried about it. I definitely try to avoid small details that are identical. I don’t want to say the same line that I said in something else because I don’t like it. miramax.com

i: You mentioned what you envisioned in your future? What does that entail? MS: At this point, I’ve been writing a lot more and tak-

ing control of my own career. As an actor, it’s very easy to sit back and wait and hope that things happen. They either do or they don’t and it’s not based on talent as is obvious because there are a lot of immensely famous people that I don’t think are talented. Well, I wouldn’t say a lot; there are a few. I think that’s reasonable in that way. i: We won’t ask who they are. MS: (Laughing) I’m not going to go and list them all. They all must have some good qualities or they wouldn’t have made it as far as they have — and they’re probably amazing business people. But I wanted to take control of where my future is, and I found out how much I enjoyed the writing process, so I’ve been writing with my writing partner Charlene Yi for the last two years. We’ll have our first project finished probably in a couple of months, so that’s exciting. That’s part of what keeps me going.

i: Do you keep any memorabilia from your movies? AW: Would you like to buy some? (laughs) I’ve got maybe three warehouses full of stuff and someday it will all be sold on eBay.

AW: Well, we turned the Batmobile into a taxi with air conditioning. i: I think your character on “Family Guy” is one of the funniest parts of the show. AW: Mayor We? Two of the letters slipped off the name thing on my desk. All I can say is, please vote for me. It’s a very funny show, so absurd, cutting edge. We make fun of anyone and everyone; it is not politically correct. Which I like, I think we’re all too politically correct now — we can have fun with each other.

i: How do you feel about today’s Batman?

i: Since your debut as Batman, which portrayal of the character has been your

ranch, so I got to be fairly coordinated and strong. I was able to handle those things pretty well. But martial arts, no. I left that to Burt Reynolds, who thought he was pretty good at the stuff until he met Bruce Lee (laughs).

i: In your new movie, “Super Capers,” you play a taxi driver. What kind of car are you driving?

Adam West (AW): I’m the classic batman. You’ve heard of the Dark Knight? I’m the Bright Knight. It was forty years ago that I started playing Batman and wearing that cape. I still have my batman jammies!

AW: Well I’m so jealous . . . it’s hard to talk about it (laughs). It has become so different from ours. Ours was comedy, adventure for the whole family with some social commentary and a bit of irony here and there. But the new one is, you know, considerably more grim, nihilistic, dark, foreboding . . . I like me better (laughs).

self to be more awkward around him, especially with his attitude, which is just a guy, sitting there, watching everything unfold, just wanting to be a part of it and not having the self-control to do it or the self-respect to just go up and do the things that you want to do. You’re so scared of living almost, so it’s easy. I don’t know. It’s easy.

AW: You know it’s difficult for me to answer because I really haven’t seen the movies. I was really upset about not getting the $20 million (laughs). But I think I like the last one with Christian Bale, It’s humanized a little more, and the relationships are a little stronger. There is talk that Christian Bale and I are going to do a project . . . he will be playing my father (laughs).

Intermission (i): You’re the original batman.

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anta-Monica native actor Martin Starr is a geek by trade. He played Bill Haverchuck on the short-lived NBC comedy-drama “Freaks and Geeks,” and since then has played a number of smaller roles in comedy films “Knocked Up” and “Superbad.” Intermission snatched an exclusive interview with Starr at Wondercon 2009 in San Francisco. Intermission (i): Thank you so much for meeting with us. I’m very excited to get to talk to you about your new movie “Adventureland,” in theaters March 27. In the film, you play a “pipe-smoking, Russian literature loving, drolly philosophical gamebooth worker.” In what ways do you identify with this character?

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i: How did you decide to appear on “Family Guy”?

i: Did you have to learn any kind of martial arts to do those fight scenes in Batman? AW: No. Let me tell you, that’s kind of amusing because I was kind of a jock in school and I grew up on a

AW: Like Madonna . . . I am constantly reinventing myself. i: Tell us about your experience with Stanford. AW: Stanford? Um, I like to tell people that I | continued on page 8 |

I’ve gone through droughts in my life and probably just due to my own growth as a human being. I’ve had years of horrible auditions and feeling so bad about myself as a person and allowing this business to have such an effect on me, but now I feel like I’ve taken a lot more control over the last two years and it doesn’t phase me anymore if I have a bad audition, because I know that I’m my own creator — or whatever that line is. I’m in charge of my own destiny. i: Do you consider yourself a geek in real life or do you just play one on TV? MS: (Laughing) I definitely am a gamer geek. I would love to call myself a comic book geek but I don’t know enough about comic books to classify as one — but I would love to say it. My favorite at the moment is Straczynski. I read anything he’s written. I have the new Thor, which I haven’t read yet — but he’s crazy talented. I probably am a bit of a geek. Proud to say it. i: Thank you for giving us an exclusive interview. — gloria JOHNSON contact gloria: [email protected]

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Gaiman Wins Newberry, revives spirit his year’s Newbery Medal — the most prestigious award in children’s literature — went to the acclaimed author Neil Gaiman for his most recent work “The Graveyard Book.” The story, according to Gaiman, is that of “this two-year-old whose family is killed and who is adopted and brought up by dead people — and taught all the things that dead people know.” (Any echoes of Kipling’s The Jungle Book are entirely intentional.) As thousands of readers fell in love with the orphaned protagonist, Nobody Owens, “The Graveyard Book” rapidly rose to number one on The New York Times’s children’s bestsellers list — where it has remained for twenty-one weeks and counting. While appearing on the bestsellers list is not out of the ordinary for the likes of Neil Gaiman, it is the first time in five years that the Newbery winner has even appeared on the list. The author himself commented that that “there are books that are best sellers and books that are winners. Librarians, too, have in recent years observed a disheartening trend in Newbery picks that tend towards more literary merit at the expense of accessibility. They have argued that the Newbery, by virtue of its committee’s annual selections, has done more to dissuade children from reading than encourage them. Recent winning titles have all been laden with somber, mature, and frankly depressing themes, not to mention prose edging well into adult territory. Critics of the Newbery panel have accused it of losing sight of its original goals and the population it was created to serve, deviating from the original goal of selecting the finest of each year’s children’s literature to choosing books that the judges themselves, as adults, find most artistic and enjoyable. This year’s selection temporary ends that debate — Gaiman’s “The Graveyard Book” is a favorite amongst children and adults alike. Librarians, too, rejoice over a winner that — at long last — hast both literary merit and is engaging. As “The Guardian” said when it released news of the winning book in the U.K.: “Gaiman’s Newbery win is a vote for populism — and for excellenc.”

THEATRE REViEW

Make way for “BroadwAsian” his weekend, drama major Ellie Wen ‘09 will debut her senior project, entitled “BroadwAsian,” at the Prosser Studio Theater. “BroadwAsian” is not your average musical; instead, it’s a compilation of Broadway numbers and monologues. But “BroadwAsian” is not just a fun show to watch with music from Broadway and charming monologues — there is a moral behind the story. “BroadwAsian” is specifically about the role of Asian performers on Broadway. Typecasting and stereotypes are only two of the number of subjects that the show touches upon — the cast urges the audience to think about the broader spectrum of Asian influence. Interspersed between music from the modern day (“Mulan”) going back to the fifties (“Miss Saigon”) are personal monologues from the actors. The mostly Asian cast uses the stereotypes introduced to ask questions about aspects of Asian-American culture not typically discussed. The show begins with a light-hearted yet pithy song from “Avenue Q” — “Everyone’s a Little Bit Racist” to introduce the touchy subject of racism. The song is happy enough, though, to inspire a communal relationship between the audience and players, immediately free of negativity — and that is what Wen is trying to do. Through the song and dance, she shares some of her own doubts about theatre and her expected role in it. Her worries about typecasting, stereotypes into which Asians are forced, and the limited mobility of Asian actors are vented to the audience in order to foster the recognition of inequality. However, the

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PHOTOS BY NORBERT STUHRMANN

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— sarah GUAN contact sarah: [email protected]

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musical is not meant to bludgeon morality onto the audience by any means. It is simply a clever showcase of talent meant to unearth an unthought-of issue. Wen does not do it alone, though — a talented four-piece band led by music director Nick Hersh performs against the back wall. Songs from “Miss Saigon,” “South Pacific” and “Flower Drum Song” promote the musical’s Asian aura. All the music is played by a band consisting of cello, drums, brass and piano, lending a professional air to the entire performance. The cast and ensemble also dip into the strengths of Talisman, Ram’s Head theatre group and the Stanford Symphony Orchestra — who all come together to create a great performance. The staging is simple and the set is plain, but the actors move about as if the stage were their bedroom. During their monologues, they are comfortable in their space and inspire the audience to invent a greater set for them. The most important part of “BroadwAsian,” however, is the sensitivity with which Wen wrote the monologues. You may agree with her ideas, or you may find yourself arguing silently with her — but that’s the point. Wen inspires thought. Either way, you won’t look at Broadway the same again. “BroadwAsian” will play March 5, 6, and 7 at 8 p.m., with a special 2 p.m. showing on March 7. All performances are in Prosser Studio Theater in Memorial Hall.

CONTINUED FROM “WONDERCON” PAGE 6

ining of the saga’s beginnings with an all-new cast. Convention attendees flooded in expecting the panel to consist of only the cast members, but were instead presented with the cast and the visionary director J. J. Abrams — because oh, by the way, WonderCon is also known for its surprise guests. Abrams showed the audience a brand-new trailer and opened up the panel for question and answer. The panel discussed everything from the “daunting” idea of pleasing such a dedicated fan base to Leonard Nimoy’s involvement with the film production. Abrams assured audiences that the film was made with Star Trek fans in mind but also with the goal of reintroducing the franchise to a new generation. Other motion picture panels on Saturday included Disney/Pixar’s “Up,” Warner Brothers’ “Terminator Salvation,”

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Focus Features’ “9” and “Alien Trespass.” In addition to the panels and events, convention attendees also came for the unique atmosphere and the exhibition floor, both of which pulsated with science fiction and comic fan energy. Spotted walking around: several people dressed as Poison Ivy, six different Batmans, Jokers of all kinds, Captain Han Solo and Chewbacca, several appearances of Watchmen characters (especially Rorschach) and a good handful of V impersonators (from V for Vendetta). Cartoons also made their appearance with a pack of Teen Titans, an Optimus Prime and a wide variety of anime characters. The exhibition floor also housed hundreds of booths selling all kinds of comics and paraphernalia from Serenity action figures to Japanese swords, as well as

the “Artists’ Alley,” where comic artists held appearances and signings. Additional famous faces in the crowd up for autographs included Carrie Fisher, Mark Hamill and Adam West. A side room even housed a small gaming competition with tournaments for “Magic: The Gathering” and 16 other game titles. WonderCon, if nothing else, is a chance for people to celebrate all that is nerdy and wonderful. Where else will you see someone in a Princess Leia outfit waiting in line to talk to an independent comic artist? Within the doors of the Moscone center, the wondrous and fantastic become absolutely commonplace — at least for one weekend. — ellen HUET contact ellen: [email protected]

— e r i c WA L K E R contact eric: [email protected] CONTINUED FROM “ADAM SWIFT” PAGE 7

went to Stanford. I went to like five universities, but I did go to Stanford. I lasted six weeks. It was a bit of a renegade. What happened was, I was doing postgraduate work at Stanford, and it was a year during which there were few jobs. Then there were auditions, and I got a job! And I said, “Bye bye, Stanford.” (laughs) i: Any advice for up and coming superheroes? AW: Don’t sit on the toilet while wearing your cape and flush it. —meghan BERMAN contact meghan: [email protected]

FiLM REVIEW

Harvey Milk: the original hero

all photoes courtesy tellingpictures.com

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n Feb. 28, the Stanford Film and Media Studies Department screened a newly restored version of the 1984 Academy-Award winning documentary “The Times of Harvey Milk” at Cubberley Auditorium. Afterward, the film’s cinematographer, Frances Reid, and editor, Deborah Hoffman, answered questions from the audience. “As President of the Board of Supervisors, it is my duty to announce that Mayor George Moscone and Supervisor Harvey Milk have been shot and killed. The suspect is supervisor Dan White.” Dianne Feinstein’s grave comment, accompanied by the crowd’s screams of anger and disbelief, marks the beginning of the film. Thus is how the audience immediately learns of the tragic 1977 assassination of the first openly gay San Francisco supervisor Harvey Milk, whose dazzling political career and gay rights activism inspired the film’s director, Rob Epstein. “We decided to start the movie with Dianne Feinstein’s announcement because we wanted to let our audience know that Harvey would get killed eventually” said Deborah Hoffman, the documentary’s editor. “The hardest task, however, was to make the audience fall in love with Harvey during the movie and mourn his death through showing his successful election as a supervisor and his efforts in battling Proposition 6 [the ban on gay teachers in California, initiated by John Briggs in 1978].” In light of the success of California’s Proposition 8, which banned same-sex marriage, “The Times of Harvey Milk” is an eye-opening documentary which makes one realize the amount of effort that was put into achieving equality for gay citizens and just how fragile and relatively new these rights are. For audiences, even long after the movie ends, the image of Harvey Milk, a charismatic gay businessman from the Castro district who had to wait four years before finally winning elections to the Board of Supervisors, remains with the audience. In addition to relating the message of Milk’s ground-breaking social activism, the filmmakers were also revolutionaries in their own right; in the early ‘80s, when the film was made, it was considered out-

rageous to be shooting a movie about homosexuals. “We couldn’t tell people outside of San Francisco what we were working on — the theme was so shocking for the majority of Americans,” Hoffman said. The creators of “The Times of Harvey Milk” didn’t want to produce a one-dimensional eulogy to Milk. Instead they brought together the results of significant archival research and interviews to illuminate Harvey’s complex personality, good and bad, and reconstruct the feeling of that time. “We didn’t use the archival news footage in order to announce news in the story line but to show how Harvey’s contemporaries received the news, so that the movie audience could better understand those people’s reactions, emotions, what kind of time they were living in,” Hoffman explained. Understanding the title of the documentary is the key to understanding the idea behind the film and the reason for this documentary’s refusal to put Milk’s personal relationships at the center of the film (as the recent new film “Milk” starring Sean Penn does). The original 1984 movie tells a story that is larger than Milk’s biography in order to demonstrate the political and social situation in America of the ‘70s — a time when the country was reluctant to accept the existence of openly gay citizens. Both Hoffman and Reid attributed the relative absence of stories about Harvey’s partners on their insistence to relate the story of Milk in the context of his time, and stressed their desire to not simply produce a biography of the talented politician. Considering the current increased attention to Harvey Milk’s life in light of the Oscar-winning feature film, “The Times of Harvey Milk” is a must-see for those who want to know how the movie “Milk” was born. Epstein’s documentary is a skeleton for the later “Milk” — a fact that becomes clear after watching both films. The screenwriter of “Milk,” Dustin Lance Black, had been fascinated by the documentary ever since college when he started thinking of ways of bringing Harvey’s story to the wider public. Many of the ways in which the documentarians frame their story are curiously used by Black in his script. In response to what she thought of “Milk,” cinematographer Frances Reid added, “I came out of this movie and thought to myself: ‘That’s why I love documentary films.’” Despite its purely brief mention of Milk’s personal life, “The Times of Harvey Milk” is far more convincing and authentic in its effort to make the audience fall in love with the politician. The documentary offers something that Sean Penn could not replicate — the real Harvey, not the overly flamboyant, effeminate and fake Sean Penn version but rather an intelligent, at times obnoxious yet charismatic coalition builder who galvanized not only the gay voters but also senior citizens and the working class into forming an effective voting bloc. — ksenia GALOUCHKO

All the single ladies, put your hands up

steve lesser

“All you other girls, go ahead and stick ‘em up. Boys? Hey, go for it. We’re not judging you.” f you don’t know what I’m talking about, you clearly are not familiar with the viral hit music video, “Single Ladies (Put a Ring On It)” by Beyoncé — or Sasha Fierce, if you buy into her new alter ego. Rather than creating a typically tasteless music video featuring naked women writhing in saunas (Britney Spears, I’m looking at you), Beyoncé created a full, three-and-a-halfminute-long choreographed routine. The Fosse-inspired dance routine is so catchy and appealing that many of Beyoncé’s fans have taken it upon themselves to learn it. There’s a plethora of YouTube videos featuring Beyoncé fans of every color and gender shaking their hips, sashaying fiercely and kick-ballchain-ing for all they’re worth. As all good things do, this trend has come to Stanford. Half of Urban Styles and about 50 wannabe Beyoncés gathered in Eliot Program Center Thursday night to learn the “Single Ladies” dance. The workshop was led by a fantastic team from Urban Styles and headed by a woman named Anna Maria. The event was organized by Natie Ermyas, a program coordinator for the Black Community Services Center. Although he had originally considered getting a professional choreographer to come in and hold a workshop, he ended up partnering with Urban Styles to lead the event — an excellent choice. The students leading the workshop were drastically more excited than any paid choreographer could be, and learning from fellow students was far less imposing than a master class with a professional dancer. Ermyas conceived of the workshop as a comfortable space to turn the popular trend into a party. “Everyone does this in their room,” he said. “So I thought, make a space for it!” Considering the diversity of the group who wanted to learn Beyoncé’s dance, this idea was exactly on the money. The attendees included a large following from the Black Community Services Center, a quarter of the women’s Ultimate Frisbee team and one Intermission reporter rockin’ out in the back. Although the crowd was mostly female, a pleasantly surprising number of men turned out too. We ranged in ability from me, the groove-less girl, up to Anna Maria, who apparently does not have any bones. Despite the apparently random sampling of students, we all danced and had a great time together. The crowd was riotous, hollering at the more suggestive moves and occasionally jokingly talking back to the instructors; when Anna Maria asked us if we felt warmed up and ready to dance, one man yelled back, “Warm like biscuits!” When we split the group in half and performed for each other, the audience catcalled and cheered for the other dancers. Ermyas achieved his goal: We all learned and danced in a comfortable space with each other’s support. I’m not sure what everybody else at the workshop will be doing with their newfound knowledge, but I’m planning on hitting the Row this weekend to try out my new moves. Single ladies? Anyone with me?

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contact ksenia: [email protected]

—molly THOMAS contact molly: [email protected]

friday march 6 2009

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MUSiC REViEW

MUSiC REViEW

U2: good, but not revolutionary Kelly Clarkson: back to the original winning formula the vital stats.

u2ol.net

contact ellen: [email protected]

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— ellen HUET

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anthem one might expect from the global activist. To the band’s credit, however, this isn’t just a revisiting of their two previous albums. U2 mixes up some slower, more experimental ballads with sampling, synthesizers and seven-minute epic pieces. A couple fall short of what they could have been, especially “White as Snow.” “Moment of Surrender,” however, is a success with ponderous lyrics: “It’s not if I believe in love / But if love believes in me.” But “punching numbers into the ATM machine”? Come on, Bono, we all know the “M” already stands for machine. Otherwise, the meditative and sparse sound highlights the inner turmoil of the lyrics and provides a welcome breather in an energetic album. The rest of “No Line” wastes no time giving the fans what they’ve come to love and expect from the Dublin band. “I’ll Go Crazy if I Don’t Go Crazy Tonight” is your typical U2 pop song, with spoken-word poetry lyrics and those soaring melodic lines that feel as though they should be sung from the top of a mountain. “Magnificent” and “Breathe” are also quintessential U2 pieces — with catchy riffs and idealistic lyrics about “Only love/Only love can heal such a scar,” “Magnificent” is especially theatrical with Bono putting naysayers to shame with his still-strong vocal stylings. In the end, these are the tracks where the band really seems to fall into place; although their experimentation paid off at times, this is the kind of music they were made to play, familiar as it might sound. “No Line,” on the whole, is a comforting and inspiring foray into U2’s already established sound. The pace, with a few exceptions, is relentless; tiring but tiresome. For a band that once completely overturned expectations with innovative albums such as “Achtung Baby,” it’s somewhat sad to see them producing more of the same and claiming, as they do each time, that the album is something completely new. If you were a fan already (and not one of the fans who refuses to listen to anything post”Joshua Tree”) then there’s no reason not to enjoy this album. “No Line” is another fine album in a vast and respectable discography — but it probably won’t be winning over new hearts anytime soon.

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or a band that prides itself on reinvention and relevance, U2 seems to be struggling to find something new after almost 30 years in the music business. Not that there’s anything wrong with that — the style they’ve settled on suits them perfectly, and their rousing rock ballads make “No Line” a guaranteed commercial success. But to say that U2 is “not staying where it is,” as Bono claimed it would with its newest album, is being a little too generous and detracts from the album’s positive qualities. The opening track, also called “No Line on the Horizon,” sets the tone for most of the album: heavy, Edge-driven rhythms (the iconic sound that so many young bands strive to imitate), Bono alternating between rasping and impassioned cries and plenty of “oh, oh, oh” riffs. With this song and a handful of others on the album, the lyrics aren’t the carrying force here; in fact, looking at them too closely just highlights their haphazard quality. Instead, it’s better to consider them as vessels for the sound of the music. Most of “No Line” falls into two categories: songs that attempt, with varying degrees of success, to push the boundaries of U2’s sound for something fresher, and songs that capitalize on the epic, larger-than-life style that U2 has used to great effect for almost a decade. In the middle of the album, however, a few songs break outside the boundaries of these categories. “Unknown Caller” opens with intriguing birdsong but quickly shifts into technology-laden lyrics (“Force quit and move to trash / Restart and re-boot yourself ”) in a monotone chant — a heavy-handed attempt at relevance to an information age that distances the listener from the band. “Get On Your Boots” was chosen as the album’s first single, to the dismay of many U2 fans. “Boots” is not only a disjointed overlyeager mess catered for radio play, but it’s also far from representative of the album — so for those who were worried that “No Line” would play out like a rehash of “Vertigo,” rest assured. “ This does make for a bit of a jolt when “Boots” comes on after five soaring and meditative tracks, as Bono announces “I don’t want to talk about wars between nations / Not right now” and goes on to extol the virtues of sexy boots — not exactly the

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firmly believe that people who say they don’t like Kelly Clarkson are definitely not telling the truth. She captured our hearts as the first KELLY CLARKSON American Idol (back when the show was still pop good) and proceeded to become a very successful artist on her own. In fact, she became so popular that people even forgot she made her name on American Idol. Then, two years ago, “My December” happened. Kelly’s third album, which was very badly received and did very poorly in sales, hurt her reputation so much that she ended up having to cancel her tour and fire her manager. “My December” was a foray into a completely different sound; that album wanted to proclaim that the Kelly who sang uplifting ballads or girly pop-rock anthems was gone. However, the new Kelly sang rock songs that completely wasted her incredible vocals and made a fool out of an otherwise reputable artist. This time around, however, Intermission predicts that Kelly Clarkson’s fourth album, “All I Ever photos courtesy of clarksonfan.com Wanted,” will be a smash success. Everything about this album screams mainstream, but this fact is pulled off so perfectly that the album still sounds entirely new and different. It’s just the sort of catchy, spunky, artful pop that will translate into healthy album sales. For all of the ladies — single or otherwise — there are plenty of ‘Since U Been Gone’-esque anthems on this album. If the album’s first single, “My Life Would Suck Without You,” was not to your liking, do not fret. That single’s purpose was to finally get Kelly back on to the radio airwaves. The rest of the album shows Kelly trying on a number of different sounds — though all pop sounds (she won’t test any other waters anymore). Singing two songs originally written and performed by Katy Perry, Kelly manages to make them completely her own. “I Do Not Hook Up” is one such example, where Kelly’s vocals shine throughout the fun anthem. However, not every song is a success on this album. In “Whyyouwannabringmedown,” Kelly again goes into an awkward attempt at a mix of rock, rap and whine. In Intermission’s opinion, she should stay away from this kind of sound at all costs; this is the kind of song that will be skipped in the tracklist. The rest of the material is all solid, though. “All I Ever Wanted” is exactly the album Kelly needs at this stage in her career. After the disaster that was “My December” — leaving her with zero self-confidence and a thinner following — this new album is a surefire comeback for her. While “All I Ever Wanted” is nothing groundbreaking or particularly deep and soulful, it will nonetheless be a treat for those who have always liked Kelly Clarkson — which, face it, is all of us.

All I Ever Wanted

— annika HEINLE contact annika: [email protected]

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7pm Battle of the Bay 2009 Kresge Aud. compete in spoken word, dance, freestyle rapping 9pm You Can’t Get Pregnant the First Time Campbell Recital Hall Robber Barons perform another hysterical comedy

Sa ShamROCK! Manzanita harmonix and taiko team up for an incredible concert 8pm Spoken Word Poetry Slam CoHo watch them get their word on

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M 8pm Jazz Jams: Student Combos CoHo come relax and chill out

T 8pm The Milk Straws CoHo listen to some sweet barbershop quartet

W 7pm Tango Dancing CoHo learn it for the ladies

Th 8pm Stanford Concert Network Presents... CoHo it’s a surprise...!

Looking back at Parents’ Weekend oxy doesn’t fail a lot. She’s never failed a test (especially a French test). She’s never failed to get a guy — Roxy once saw a hot guy in a coma, and well, let’s just say she can raise the dead. She’s never even failed to get a job (details not necessary). But, dear reader, Roxy failed you last week. While Ms. Sass discussed how the economic crisis might dampen your spirits but not your underwear, she overlooked a very important event happening on campus: Parents’ Weekend. Roxy looks at Parents’ Weekend like whale does a school of fish — lots to nibble on, and everything’s wet. She spent last weekend rattling headboards harder than an 8.0 earthquake, and deeply (very deeply) regretted not sharing some valuable tips with her readers. Never fear, loyal readers. Parents’ Weekend comes every year, and you can too. True, twelve months will pass before you get a chance to move the parents’ welcome out of MemAud and into your bedroom. But you’ll also have ample opportunities throughout the year to scam on a visiting MILF, DILF or even GILF, so Roxy hopes her tips come in, well, “handy.” Roxy found a lot of different locations to scope out parents, but there’s none more convenient location than your own room. Your roommates’ parents will probably drop by for a visit, so

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TRIVIA The first 5 people to answer questions correctly will win a FREE “ROLE MODELS” DVD! Submit your answers to [email protected] 1) In the film Role Models, the coffee shop where Danny argues about a large coffee with the Clerk in the same shop, called “Bean-NGone Coffee Shop” in which other film? 2) What is the name of the energy drink company that Wheeler (Sean William Scot) and Danny Donahue (Paul Rudd) work for?

try to make sure your roommate is out of the room at that time. (Maybe they’re into weird stuff, but even Roxy has her boundaries.) Suggestively leave your thongs on the floor. Ask your roommates’ parents if they’d like to feel how firm your mattress is. Then ask them if they’d like to feel how firm something else is. You will also find hordes of parents in the dining halls. The food is always better on Parents’ Weekend, so you may already be close to orgasm to begin with. Plus, the dining staff always serves hot fudge on Parents’ Weekend, and Roxy thinks they’re looking out for her needs. Sit down at a table full of parents, suggestively eat your hot dog, and you, too, can be full of parents before the hour is over. Don’t forget classes, however. Loads of parents go to classes with their children, and a lecture hall is a good place to make a move. Let’s face it: parents are no more interested in hearing about cell division than you are, so use that as an opportunity to replicate some DNA of your own. Use a “reach for your pen” as an opportunity to make a move. If things go right, you don’t even have to

worry about the other parents noticing — they’re all asleep anyway. Last but not least, try to use those structured Parents’ Weekend activities to your advantage. In particular, Stanford offers guided campus tours for parents. Pretend to be a tour guide and lead parents around campus. While at the Rodin Sculpture Garden, try stroking the statues in “new” places until a parent of your liking crumbles to his or her knees. Don’t take them to the traditional tourist spots of the Stanford Libraries — it’s all about the stacks. And the “Natural Wonders Tour” oozes with sexuality, so no one would be surprised if you display some of your own natural wonders. Parents may think they’re going to see the Cactus Garden, but they’ll be getting a tour of you instead. I know what you’re thinking: Roxy, why didn’t you tell me this a week ago? How could you have let me miss out on all that hot lovin’ from those balding, middle-aged Silicon Valley dads? At least you’re now prepared for the 2010 festivities. So when the next Parents’ Weekend rolls around, you can do some rolling around of your own.

Words spoken to the parents

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here are many reasons I have always loved Spoken Word — there is just something magical about getting together and reading good poetry. It reminds me of home and the “Dead Poets Society,” which are both awesome. For that reason, I was very excited to attend the winter show of the Stanford Spoken Word Collective this past Saturday. The show took place at the Hillel House — a surprisingly fitting venue for the performance. Spoken Word requires an audience, but is a lot more intimate then many other public shows. The lighting of the Hillel House, the fact that the location was large enough to house a good sized audience — but small enough that almost none of the poets needed to use the microphone — all enhanced the performance of the material Spoken Word was working with. Spoken Word also did an outstanding job in choosing the order of poets, especially since its headliner went in the middle instead of the end. Chinaka, a Def Jam poet, is a tough act to follow, so Spoken Word made a good choice in line-up by placing Brian Yoo, whose tone is very different, after her. The show itself had mixed materials: some poems were meant to raise social consciousness in the classic style of lyrical poetry while others focused

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on the nature of writing or art. Unsurprisingly, sexuality and gender were consistent themes, with multiple poems focusing on the relationship between gays in society and the definition of femininity — the most successful of which, titled “Womanhood,” managed to simultaneously acknowledge the unique struggles of women while celebrating the discovery of a whole person in which gender is a part but not the sum of that identity. There were many parents in the audience, which made the dynamic of the show rather interesting, especially since much of the work focused on parental relationships. One poem entitled “Beautiful Depression” was deeply personal and changed the tone for the rest of

the night for me; I could no longer find things to be as funny as they were before that poem, even though Lyla’s work about Sarah Palin’s cleavage and unicorns was outstanding. However, Lyla’s poem and Max Hare’s poem “Perfect Writing” were the best possible closing and opening acts, respectively, that Spoken Word could have chosen; those pieces set the tone and provided the needed structure to the show. Spoken Word Collective’s shows at its best are a good forum to talk about issues, but they can also be painful to watch for that same reason. I think that Stanford could probably use more spaces to talk about the themes that came up in the show, such as gender, class, race, mental challenges, what it means to be an artist or intellectual and social consciousness. For that reason I applaud Spoken Word Collective’s work and highly encourage others to attend their shows. It might make you depressed for about an hour afterward — but sometimes we need to be reminded of the greater issues in life.

friday march 6 2009

— heather BUCKELEW contact heather: [email protected]

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FiLM REVIEW

Send out an S.O.S... to get me out of this movie! ’m warning you right now: if you love the musical trio that is the Jonas Brothers, then stop reading this review right now. What I’m going to say will upset you into seeing this movie for yourself. On the other hand, if you have no feelings toward the threesome, or absolutely despise them, read on. For those of you who are clueless of the pre-teen sensation “High School Musical,” let me explain: the Jonas Brothers are composed of three curly-haired (though one straightens his), earnest, virginal pop stars. Kevin, the oldest, is stuck playing the guitar in the back, while Joe, the heartthrob middle son, is the lead singer of the band. Nick, the baby-faced youngest, is the sensitive one, playing both the piano, guitar and drums — proving that he may have some real talent. The money-making machine Disney has made these boys incredibly famous, and “The Jonas Brothers 3-D Concert Experience” is designed simply to prove just how many young girls are absolutely obsessed with them. The movie opens with Big Rob, their bodyguard, waking them up obscenely early to go over their schedule. This expository scene introduces each personality — Joe, the clown with charisma, won’t stop playing with the table and interrupting the business-like and older Kevin, who has a calendar on his Blackberry. Nick, the youngest, sits there sleepily, contributing nothing to the conversation.

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allmoviephoto.com The boys are then filmed stuck in rush hour traffic, trying to get to Madison Square Garden in time for their sold-out concert. Their Escalade can’t move — so naturally they climb out of the sunroof and run toward a helicopter atop a building . . . with thousands of girls chasing and screaming after them. This is the extent of the plot for this particular film; it is by no means a “movie.” Rather, the entire movie is simply footage of their Madison Square Garden concert with guest appearances by Disney sweetheart Demi Lovato and Joe’s then-girlfriend Taylor Swift. “But wait,” you say, “it’s in 3-D! That should

equate for fun and exciting viewing pleasure!” With the Jonas Brother at least, this is totally untrue. The main camera is placed at the foot of the stage amid screaming tween girls whose cameras and cell phone lights mix with the haze of glow stick haze. The 3-D aspect is created by glow stick lights, Joe’s tambourine (because he has zero other musical talent) and sometimes the guitar picks Kevin throws into the audience, which instead look like they are heading straight for your face. The 3-D aspect was created simply to provide an excuse for this “movie” to go to movie theatres, as opposed to straight for the Disney Channel.

After a few songs at the concert, there is a silly transition into another ridiculous scene showing that the Jonas Brothers are indeed incredibly famous. These parts are so pathetic at times — you can’t help but feel sorry for the brain-washed, sobbing twelve-year-old girl who touched Kevin’s hand while he was on the way to the stage for Good Morning America . . . she waited in line for 72 hours for that moment. This being said, you may enjoy this movie if you are a Jonas Brothers fan — though you may want to re-evaluate exactly why you are a fan in the first place. If you have never heard of the Jonas Brothers or couldn’t care less one way or the other, stay away from this movie, for you will get nothing out of it except perhaps the knowledge that these brothers are potentially the most overrated musicians since KISS. Despite the short length (the movie is only seventy minutes), you will find yourself checking your watch the entire time. Leave the Jonas Brothers to the people who love them the most: girls under the age of 13. —annika HEINLE contact annika: [email protected]

Coho: Spanish poet Lorca displayed in visual form

photos by amanda zhang

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onday night found the CoHo buzzing with people enjoying live jazz, pastries and the artwork of Stanford undergraduate Jessica Cornwell. Her exhibition entitled “The Illustrated Lorca Project” was on display on the walls of the CoHo for the evening. Cornwell’s work was inspired by “Poema del Cante Jondo,” a collection of poetry by prominent Spanish author Federico Garcia Lorca. Cornwell had received a grant to spend time last summer in Spain, where she created these pieces. As part of her project, Cornwell traveled to Andalusia, the region where Lorca grew up, and spent a year at the University of Salamanca in Spain. Lorca’s “Poema del Cante Jondo (Cante Jondo)” took the

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tradition of gypsy songs and translated them into poetry. Cornwell converts “Cante Jondo” into yet another form: visual art. The beauty of “Cante Jondo” lies in how it captures the vitality of the gypsy culture as well as the themes of anguish and love. Cornwell’s personal interpretation of the poem is successful in that it conveys these themes in a creative and thought-provoking manner. Cornwell’s painting “Song of the Beaten Gypsy” depicts a lifelike hand against a backdrop of greenish leaves, with water (or tears?) running through the fingers. Observing the painting, which is done in acrylic on canvas, one does not immediately think “Ah, inspired by Lorca!” However, the work subtly invokes the sense of pain against a natural backdrop in a manner very reminiscent of “Cante Jondo.” “Riddle of the Guitar” is a painting done in watercolor. A man’s face is outlined in blue. His expression is pained, pensive. Although the painting is a relatively abstract vision of Lorca’s poem by the same name, it is possible that the man’s expression reflects his pondering of the riddle in the title. The exhibition also includes two paintings entitled “Dos Muchachas.” Lorca’s poem of the same title describes two passionate women, Lola and Amparo. Cornwell’s “Dos Muchachas” is a work done in bold colors. The original poem is filled with references to color — for example, Lola’s “voice of violet” or “the weak yellow trill of the canary.” The paintings’ vibrancy not only makes them pop from the off-white

walls of the CoHo, but, more importantly, reflects the vivacity found in Lorca’s poetry. As an avid fan of Federico Garcia Lorca, I personally own a copy of “Poema del Cante Jondo.” The cover of my copy depicts a giant pink flower against a dark background, which I have always disliked. It is a joy to see Cornwell’s interpretations of his work, which relate to the poems without using overly literal illustrations. Cornwell’s paintings are visually intriguing and appealing; in that way, they are an excellent homage to Lorca’s poems — but they also definitely stand out in their own merit. “The Illustrated Lorca Project” exhibition was established with the support of the Student Organizing Committee for the Arts. — meghan BERMAN contact meghan: [email protected]