03/11/09 - Intermission [pdf]

inside

Harmonics gives unconventional a capella concert... page 3 Intermission proclaims love for “I Love You, Man” and “Colored Girls”... pages 6 Paris Fashion Week designers shows more of the old, some of the mind-blowing... page 8

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WEDNESDAY

3.11.09

stanford’s weekly guide to campus culture

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ISSUE

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a publication of the stanford daily

ONLINE @ WWW.STANFORDDAILY.COM 

WATCHMEN: Intermission reviews the graphic novel turned superhero flick

Get in the ring with WWE champ John Cena ...pages 4-5

panoramio.com

ALSO INSIDE

C O L O R E D

michael rooney

P

A R I S

courtorture.com

G I R L S

F A S H I O N

Blackstage theatre company

The biggest and last of the

produces another thought-

four major fashion weeks

provoking play with Shange

shows a mix of old and new

play “Colored Girls.”

ideas.

...page 6

W E E K

...page 8

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E -H OW OF

obody loves a good deal better the folks over at Intermission. Thankfully, the World Wide Web has made it very possible to find those Marc Jacobs jeans at a much, much lower price. Sure, you can search for your special item on Google and hope for a sale in Nordstrom, but chances are you will find a much better deal if you just use eBay. It’s surprising how few students here on campus utilize this incredible service, though it is one of the largest dot com corporations in the history of the Internet. Why is it that Stanford students are not all savvy deal hunters? Perhaps it’s because they aren’t familiar with the ins and outs of eBay. Intermission guessed as much, so we’re going to help you save lots of money through this eBay tutorial. Just don’t bid on the items we have our eyes on.

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Narrow your search

eBay is home to literally millions of items. If you are desperate for that tshirt with Ron Weasley’s face on it, don’t type “Harry Potter” in the search bar. You will likely be way overwhelmed. Type in exactly what you are looking for, and if your search still doesn’t return any finds, check the box that says “Include title and description.” That will widen your pool. Finding the right item is only the first step. Now, new questions arise: Do I bid right away, even if there are days left on my auction? What does ‘Buy It Now’ entail? What if I am outbid? Calm down and read on.

Buy it now

WEDNESDAY

If you know you want that Ron Weasley shirt and it doesn’t matter to you how much it costs, then the “Buy It Now” button is your best friend. If an item is available with “Buy It Now,” it isn’t really an auction; it’s just a sale. This means that as soon as you click “Buy It Now,” you have committed to purchasing the item and it’s yours — no competition with other bidders, no confusion, just a simple PayPal step away from you and your beloved Ron. However, if you want Ron for cheaper and are willing to fight for him, read on.

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BONE TO PICK?

well then, email us! [email protected]

MANAGING EDITOR

Actually bidding

Most items on eBay are up for auction, but there are certain rules regarding online auctioning that you should know before you start. Do not bid until, at the earliest, the last hour of the auction. If you find your item and the auction has another three days to go, just click “Watch this item” and you can monitor how the bidding is going. Toward the end of the auction, determine just how much you are willing to pay for this item, and write it down. That way, you don’t let the heat of the competition make you spend way more than you intended to. Believe me, it happens way too often. Then prepare yourself to click to the death until you have either won the item or your limit has been reached and outdone by iluvbritney22. Victory is sweet, but only if you spent the amount you were comfortable with.

03.11.09

Joanna Xu If, after reading this tutorial, you become an eBay addict but find that half of your favorite auctions end during class, worry no more; just download an eBay Sniper program. Set in your maximum bid and, if no one bids a higher price, you will surely win the item — the Sniper program will immediately and automatically raise another bidder in the seconds before the auction ends. eBay is definitely not for the faint of heart, but if you are willing to throw down for that obscure meteorite with the best of them, then chances are you will find some great deals on eBay. If you follow the tips above, you will become a much richer, stress-free bidder. Good luck!

LAYOUT EDITORS Kairen Wong Jin Yu

COPY EDITOR Samantha Lasarow

DESK EDITORS Annika Heinle Kyle Evaldez

PHOTO EDITOR Amanda Zhang

Harmonics: out to change what you know about a cappella

FiLM REViEW

kevin huang

all photos courtesy focus features

Film gives voice to those “Sin Nombre” The plot of “Sin Nombre” follows two Sin Nombre,” a film produced by Diego Luna and Gael García Bernal and initially unrelated narrative paths. Willy directed by Cary Fukunga, is the pow- (Edgar Flores) recruits young Smiley erful story of a Honduran teenager, Sayra, as (Kristian Ferrer) into the “Mara she endures the arduous journey from Salvatrucha,” a tough gang in impoverished Honduras to the United States. The storyline Tapalucha, Mexico. Smiley is initiated by may be fictional, but the problems and situ- being kicked and beaten by the other gang members and then ordered to kill a rival in ations are glaringly real. On Sunday night at Cubberley order to prove his loyalty and strength. Auditorium, Fukunaga spoke to an audience Within the gang, Willy acts like a brother of students and answered questions before a towards Smiley, helping him arrange furtive screening of his film. Fukunaga said named encounters with his girlfriend, Marta it “Sin Nombre” (“without a name” in Marlene (Diana García). The other narrative path is the story of Spanish) as a memorial to the many undocumented immigrants who cross the border Sayra (Paulina Gaitan), a teenage girl from a and are voiceless and unrepresented in their poor community in Honduras who joins her previously absent father and uncle on a journey. In preparation for the film, Fukunga hope-filled journey to New Jersey. Their spent two months in Central America to journey through Central America mostly conduct first-hand research. He visited shel- consists of riding freight trains with hunters, stayed in prison, rode freight trains and dreds of other immigrants. The two stories communicated with Honduran gangs. He intersect when Lil’ Mago forces Willy and interviewed people in the places he visited Smiley to help him rob innocent refugees of and also met with local professors and state their money; Willy and Sarya meet and both of their lives are dramatically changed police. Fukunga used these experiences to write through the encounter. The film appropriately balances draand direct a film that would be palpably real. He not only wanted to open people’s eyes to matic plot with glaring realism. The most a different world — he also wanted to share terrifying moments still seem completely the danger himself. He recounted during the natural. The film never feels fake or forced; Q&A the gunshots from bandits on his train instead, it communicates truth as efficiently ride. However, instead of leaving at the as a documentary does. The gang is violent, moment of danger, Fukunaga kept going threatening and realistic — however, Willy because he felt that after such an event, he gives the audience a different insight into gang life, showing his redemption, his tencouldn’t “just leave them.” During the casting, Fukunga empha- derness with Marta and his admirable charsized that he wanted Central American acter with Sayra. At its heart, “Sin Nombre” is an evocaactors who could portray the characters as closely as possible. The cast was a mix of tive film about redemption, faith, romance professional and amateur actors — some of and gang warfare. It delightfully displays the them actual gang members. He assured the contrast between the brutal life in the ghetaudience that there was nothing “made up” tos and the stunning beauty of Central American landscapes. in his movie. At the Sundance Film Festival, “Sin — nicole RODRIGUEZ Nombre” won Best Cinematography, and c o n t a c t n i c o l e : n i c o l e 1 3 @ s t a n f o r d . e d u Fukunga won Best Director. However, the film can be painful for some to watch. The harsh world shown is indeed the reality of many peoples’ struggles; it stirs an array of emotions within the audience, exposing sentiments of love, fear, hatred and hope. If the gripping story is not enough, the images and juxtapositions in the film are beautifully artistic. The gorgeous scenery of Central America is contrasted with the harsh life of its underprivileged sectors. The typical, Central American music throughout the film provides an upbeat and hopeful contrast to the dire and impossible situations of the film.feb. 2009, fashion magazine wednesday march 11 2009 courtesy

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ast Saturday night, I entered Manzanita Dining to find it completely transformed by the eerie glow of blue and green lights and looming digital sound equipment. I found one thing to be certain — this was not your ordinary university a cappella concert. That night, Stanford Harmonics presented “ShamRock,” a show that delivered vocal rock with the intensity and heartpounding exhilaration that Harmonics is well known for. Fresh off of the release of their new album, “Escape Velocity,” along with four nominations for the 2009 Contemporary A Cappella Recording Awards (CARA), the Harmonics were more than ready to rock out. The evening began with a performance from Stanford Taiko, who nearly blew the audience members out of their seats with two ear-splitting, earth-shaking pieces. Not to be outdone, Stanford Harmonics took to the stage and gave a performance worthy of their concert slogan: “Everything you know about a cappella is about to change.” Their first song began with sounds of white noise and radio transmission that was produced by the singers themselves. Equipped with individual micro-

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phones, the singers then launched into full vocal harmonies complemented by beat-boxing. Harmonics is known throughout the a cappella community for their impressively accurate emulation of musical instruments, especially the pulsating bass and the vibrato of the electric guitar. Harmonics also make no short use of technical equipment; they installed booming amps on either side of the stage and a soundboard at the back of the room. In additional to the sound equipment, there was also remarkable lighting (including lasers!) in the background. Throughout the concert, these effects greatly enhanced the mood of the pieces, highlighting certain areas of stage choreography and adding that extra touch of drama that the audience went wild for. Certain crowd pleasers included a cover of Kevin Rudolf ’s “Let It Rock” and a mash-up of Aerosmith’s “Dream On” and Eminem’s “Sing for the Moment.” At times, the atmosphere became like that of a rock concert, with audience members dancing and cheering loudly. Kate McGrath ‘10 brought down the house | continued on page 7 |

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? Q&A intermission

Intermission gets an attitude adjustment from John Cena ign.com

with wrestling champion John Cena

ohn Cena, it seems, is everywhere — except the Stanford campus. Cena, the World Wrestling Entertainment (WWE) Superstar and star of the upcoming film “12 Rounds,” is one of the most recognizable faces in a wildly popular entertainment company. His weekly showcase, WWE Monday Night Raw, is seen in over 100 countries by millions of fans each week, yet he is virtually unknown at a school where books, for better or for worse, always seem to come before body-slams. For the 12-year-old Midwest wrestling fanatic in me, though, interviewing Cena was a dream — a chance to ask someone from inside the pantheon of largerthan-life heroes I worshiped in junior high anything and everything I’d always wanted to know about “the Business,” where they don’t call them pro wrestlers but instead use an even more accurate moniker: Superstars.

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Cena recently sat down with Intermission to discuss his new film, life on the road and where he sees pro wrestling — and himself — in the future. Intermission (i): Well, first off, let’s talk about your film. What can fans of your last film [2007’s “The Marine”] get excited for in “12 Rounds”? John Cena (JC): They can get excited for a completely different movie. The Marine was great for what it was — it was certainly in-your-face, superhero, this-guy-can-never-be-stopped kind of action. 12 Rounds is an everyman’s kind of action picture. Now, there’s certainly no denying the fact that I’m six feet, 250 pounds [side note: he’s right, there absolutely isn’t], but in the same sense, I’m put into a very believable action scenario. I, as a character, really doubt I can do all this stuff — you see weakness for the first time in Danny Fisher. It’s not like in The Marine, where I knew I could never be stopped. In [12 Rounds], the circumstances seem so insurmountable that I really don’t even know if I can do it. i: How was training for the role with the New Orleans Police Department? JC: It was awesome, man. Those guys were great, and I got to follow them around during Mardi Gras. I got to see them work, and they’ve got a tough gig, man — they’ve got a very busy city to patrol and a city that never shuts down. It’s tough work. i: So, this being your second feature film and a wider release than The Marine, do you ever see yourself leaving wrestling to focus solely on acting? Do you think it’s possible to balance the commitments? JC: Totally possible. I think they work hand in hand. The WWE Universe is so big — we have so many fans worldwide — that I would be foolish to ignore that. I’m glad that I love my job as a WWE Superstar, and I only think that it can help any film that I come out with. I know a large amount of the WWE fan base is going to go see 12 Rounds just to

see a WWE Superstar in the movie, but I also know that with FOX on board and the great promotional team that they have on things, a lot of moviegoers will come in just to see a great movie. Maybe then afterward they’ll say, “Maybe I’ll check him out on Monday Night Raw.” i: Talking more about the WWE — when I started watching, it was in the late ‘90s, when the WWE was going from having just its niche market to really becoming more of a global company. Now that the WWE seems to be everywhere, where do you see things going in the next 10 years? JC: Well, hopefully I personally can hang around for as long as they’ll let me. I think as a company, global expansion has been incredible. Even in the late ‘90s, when domestic business was fantastic, the only overseas markets that existed were in Japan and Europe. We, since then, have added every market except Russia — we are literally everywhere. Not only just talking about global expansion touring-wise, but global expansion network-wise. We have number-one rated shows in [dozens of] international markets, and on top of that, we’re now starting to see pay-per-view revenue from these places as well, so international expansion definitely seems to be the future of this company.

unique scenario and I love what I do, and that’s why I stick around. i: Getting back to acting — who is an actor you would really want to work with? JC: Kind of a strange answer, actually, but Robert Duvall. That guy is hilarious in everything he’s in when he wants to be, but also such an accomplished, wellrounded actor. i: How about a director? JC: Another unexpected answer here, I think — George Lucas.

i: I have also read you’ve been to Iraq to entertain the troops.

i: Really?

JC: Yeah, I’ve been to Iraq twice and Afghanistan once. As long as there’s military out there to be entertained, we’re going to go out there and entertain them. I’ve been out there a bunch and met thousands of soldiers; we spend four or five days with the soldiers and then set up a ring and perform, and we film a Christmas special over there as well.

JC: Yeah, I’ve been a huge Star

Wars fan my whole life; it’s just so different. I’d really love to work with him. i: What about action stars you really admire? JC: Well, the obvious ones, Schwarzenegger and Stallone. Jason Statham has done some pretty incredible stuff lately. Matt Damon, too — people say we look a lot alike — maybe I can be in a movie where I play some jacked-up version of him [laughs]. At this point, Mr. Cena has more or less answered every question I prepared for the interview. What I anticipated as being well over the amount of material needed for the 15 minute time slot has taken nine minutes and 39 seconds. For the rest of our time together, I did the only thing I could think of: I turned my Stanford brain off, turned my adolescent Midwestern brain on and asked every single question my 7th grade self would have died to know

the answer to. Hopefully the seven to eight wrestling fans at Stanford will be happy with what I got. i: Besides your own finishing moves [the FU and more recently the Attitude Adjustment], what’s your favorite all-time finishing move?

take that thing anywhere but out to the ring. You’d be in a fight in five seconds if you tried to take that thing into a bar or something. i: Last question — what would you see yourself doing after you retire from the WWE?

i: Dream tag team partner, any wrestler, alive or dead.

JC: Well, when the sports entertainment thing is done and the movie thing is done, I certainly wouldn’t mind going back to West Newbury [Cena’s hometown] and being a high school football coach.

JC: Again, Stone Cold.

I: I really don’t know which team would be more terrified.

i: Your opinion: top three Royal Rumblers of all time?

12 Rounds opens nationwide March 27, and John Cena will be featured at Wrestlemania XXV on Sunday, April 5.

JC: Without question, the Stone Cold [Steve Austin] Stunner. That thing made arenas explode.

JC: Stone Cold Steve Austin, “The Rock” Dwayne Johnson and Hulk Hogan.

— matt GILLESPIE Contact matt: [email protected]

i: Your favorite all-time match? JC: Oh, without a doubt, Wrestlemania III, Hogan versus Andre the Giant [the iconic match in which Hogan picked up and body slammed the 7 feet 4 inches, 500pound Giant]. i: What kind of specialty match would [you] most want to wrestle in that you haven’t yet? JC: Hell in a Cell, absolutely [Hell in a Cell being a match in which the ring is surrounded by a 20to 30-foot fence, and the winner is the first to climb out and escape].

i: Most people don’t realize how many nights you guys are on the road. In reality, you’re doing 250 shows a year, not just the stuff that ends up on TV.

i: I can’t believe you’ve never been in one of those.

JC: Right, and it is 250 cities a year too, not like a baseball team where you play the same place three or four times in a row. It is very taxing, but it certainly is worth it.

JC: I’ve been in a ton of crazy matches, but never a Hell in a Cell. Hell in a Cell is kind of the gold standard — the one that every wrestler wants to do at some point in their career.

i: So what’s the hardest part about being on the road that much?

i: So, I know that when hockey players win the Stanley Cup, each guy takes the Cup for a day and brings it around with him anywhere he wants — hunting, to bars, to restaurants. Have you ever done that with your championship belt [Cena famously re-designed the WWE World Heavyweight Championship belt as a “spinner” belt, with more flashy jewelry and a spinning faceplate similar to the platinum jewelry you’d see in rap videos]?

JC: I guess just not being able to lead a normal life. I talk to all my close friends that are my age and they’re already settled down, having kids, doing the stereotypical thing. I guess there’s always a portion of you that wants that, but I know this is a

JC: [laughs] No way, man. They don’t let me

ashvegas.squarespace.com

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intermission

newsblaze.com ign.com

wednesday march 11 2009

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MOViE REViEW

“I Love You, Man:” I love you, indeed has no male friends. the vital stats. Peter has always been a “I Love You, Man” girlfriend’s man, movR ing from one romantic Comedy/Romance relationship to the Friendless groom-to-be finally makes next. This realization best friend... but at what cost? launches Peter in a quest for a best man and, most importantly, for a real best friend. His attempts to find a male friend lead him to some incredibly awkward encounters, which include online dating with the elderly and an uncomfortable kiss with one of his man-dates. Just as he is about to give up, Peter meets Sydney Fife (Segel) at one of his open houses and they immediately bond. Here, the film turns into a romantic comedy — but the twist is that in this case Peter and Zooey’s relationship takes a backseat to Peter’s entanglements with Sydney. The slightly implausible premise of the film does a disservice to this fantastically entertaining movie because it makes the film seem derivative and stale. Nevertheless, the script’s laughper-minute dialogue moves the story along naturally while finding the right balance between crude humor and vulnerability in its characters. The writing is, in turn, hilarious and cringe-worthy. A scene during the engagement party in which Sydney asks Zooey in a not-too-subtle manner to perform fellatio on her soon-to-be husband captures this mix perfectly. In addition, every character is utilized to maximum effect. As a matter of fact, in several occasions the supporting players end up stealing scenes from the movie’s leads. Case in point: the married couple played by Jamie Pressley and John Favreau serve not only as comedic relief (Pressley’s sailor-mouthed wife and Favreau’s typical man’s man define the very line between love ON

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However, the one ingredient missing from the mix is Apatow himself. “I Love You, Man” was written and directed by John Hamburg (“Along Came Polly”) and while it owes much to the Apatow brand, it benefits from his absence by giving the audience a new, refreshing, and almost-always original take on issues that Apatow has tackled before. In “I Love You, Man”, Peter Klaven (Rudd) becomes engaged to Zooey (“The Office’s” Rashida Jones), the woman of his dreams. Everything goes smoothly with the engagement; however, it suddenly becomes apparent to Zooey that Peter

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“Colored Girls” experience common to us all ’ve heard that Ntozake Shange’s play, “For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf,” was an amazing piece of poetry, and after seeing the play, I can’t help but agree. Blackstage Theatre Company’s production of this powerful piece of dramatic literature captured the play’s nuances and inspired both spiritual and physical emotions within the audience. Directed by A-lan Holt ‘11 and produced by Gabby Randle ‘09 and Cassaundra Vergel ‘10, “Colored Girls” played on March 9 and 10 to packed houses and enthusiastic audiences. In its history, Blackstage has consistently brought relevant and thought-provoking theatre to the Stanford stage. In a similar vein, this production showcases the issues faced by black women and universalizes them so that women and empathetic men, of all races, can understand and relate to the issues. First-time director Holt articulated this sentiment beautifully in her note in the program: “This play is for all of us who have considered giving up but instead are moving, dancing, singing, creating — doing anything but stopping.” Utilizing the professional talents of choreographer and Stanford Drama Lecturer Aleta Hayes, student choreographers Tiffany James ‘09 and Ama Thrasher ‘10 worked to arrange lyrical movement and visual com-

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plexity to the stage. Under their direction, the actors executed vibrant ensemble work that carried forth the message of the play — that one should move through one’s sorrows. “We gotta dance to keep from crying . . . we gotta dance to keep from dying . . . “ The connection and energy of the ensemble hooked the audience into the rhythm of the play, bringing them to climactic moments of tension and cathartic sighs of relief. Individually, the actresses shined too. Yaa Gyasi ‘11, playing Lady in Brown, embodied the dance-like sounds of the play with the poetic lilt of her voice. The physical commitment and strength of Candace Jones ‘09, playing Lady in Orange, made the audience laugh and applaud. Delivering her lines with a wistful and light-hearted air, Lady in Yellow Faradia Pierre ‘12 maintained her character’s innocent yet alluring demeanor. Each girl’s story will break your heart, but something in particular about senior Ariella Tai’s delivery of Lady in Blue’s monologue, in which she waxed poetic about entrapment and fear of the danger of one’s own beauty when living in a big city, was especially moving. Lady in Purple Sara Silberstein ‘12 also had some poignant and moving moments; when expressing her character’s desire to be with someone who didn’t realize how great her love was, she said,

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“I want to dance with you and I want to love you.” The characteristic tying all the women in the play is that they all loved too well, too easily and too much. Lady in Green, played by freshman Monzi Oni, gave a monologue that captured this sentiment perfectly: “I want my stuff back. This is mine and he don’t know he got it,” she proclaims, alluding to the obliviousness of a man who does not realize how much she loves him. The play proves its ability to transcend race and connect women of all colors — these issues are every woman’s, and if being moved by the world is what makes these women colored, then I don’t know a single woman who isn’t. Senior Tiffany James, as Lady in Red, is in particular an amazing story-teller; she seamlessly flows from one character’s point of view to another with dynamic vocal and physical presence. Hats off to Blackstage, hands together for the young women who brought the play to life and hearts and hands together for every woman who loves fiercely. If you missed the play, read it. It is one that should not be overlooked. — chelsey LITTLE contact chelsey: [email protected]

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he art of the buddy comedy has been perfected over the past couple of years by the once-unknown, now a brand himself Judd Apatow. “I Love You, Man” has everything you would expect from an Apatow movie — the raunchy humor, the odd yet effective combination of grossout jokes and sentimentality, the slightly hom-oerotic — but not quite romance — between male characters, and two of his most frequent collaborators, Paul Rudd (“Role Models”) and Jason Segel (“Forgetting Sarah Marshall” and TV’s “How I Met Your Mother”).

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9 LINEUP

3.11.0 F 8pm Groove Approval CoHo come listen to some great jazz

Sa 8pm Stacy*Clark CoHo check out this almost famous, super cute indie chick

Su 4pm Start Studying everywhere start cramming, baby

M all week finals everywhere don’t give up hope...

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W 8pm Organ Recital MemChu because maybe you would rather hear an organ than study

Th THURSDAY all day almost done... everywhere you’re gonna make it...fucking spring break!

Put some spring in your mattress this break oxy has two regrets about dead week: First, that she already used up her “raise the dead” pun last week. Second, that she’s covered with finals — and Roxy never likes to be covered. Ms. Sass fortunately sees a light at the end of the tunnel. Just thinking about spring break turns her on faster than Michael Jackson in a McDonald’s playpen. That’s right, readers: Finals are hard, but if things go right, you will be as well. To make sure of that, you need to find the right spring break spot. While Hewlett 200 may generally get you hot and heavy, it’s probably not where you want to spend those nine or so days of freedom. This is where Roxy, well, comes in. She has some tips for you, whether you want to be wet or hot, or best of all, hot and wet.

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A Cruise Roxy like the idea of any vacation that has her constantly rocking back and forth. A cruise presents a vast array of seduction spots. Gambling? Tell a fellow sailor that your slot machine has great returns. In for a massage? Tell your masseuse just where to put that hot stone. Swimming? Ask a gentleman if he’d like a blowfish in the pool. Don’t forget Roxy’s cruise motto: Make like the Titanic and go down. Best of all, a cruise is the only vacation on which you can say that you, in the words of TPain, “engaged in fornication with a finned parthuman female.”

Mexico The Vice Provost for Student Affairs recently sent out an email warning students not to travel to Mexico over break. But how are you supposed to have any fun without going down south, Roxy asks? The incidents of crime make it all the more exciting. If someone is pick pocketing you, just say, “Oh, that feels nice. Move your hand a little to the left.” Perhaps you are worried about a car-jacking, but Roxy thinks that anything with the word “jacking” in it can’t be that bad. Ms. Sass believes the State Department needs to calm down with their warnings and lay off the “if Hillary’s not getting any, no one can” policy.

Disneyland I know what you’re thinking: Mickey Mouse doesn’t really turn you on. (Actually, if he does, remind me not to be with you when you watch Fantasia.) But Disneyland is fully of sexual possibility, and no, not in a Michael Jackson in a playpen kind of way. Suggest that your lover

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brandish his sword on Pirates of the Caribbean, or just imagine that he looks a lot more like Johnny Depp and a lot less like the Cracken. Men, if you’re traveling with a new significant other, hint that those elephants on the Dumbo ride “remind you of something.” Or just make sex noises when you scream on Space Mountain to whet your lover’s appetite. Roxy, however, would suggest you forego making a move on It’s a Small World — neither the word “small” or miniature Dutch children are likely to get your libido moving. The Old Chem Building Let’s say you can’t afford that trip to Old Europe. Never fear — the Old Chem Building is a steady (actually, rather unsteady) backup. The castles of old might be too far away for a week’s vacation, but if you have a creative mind, the Old Chem building can provide you with a better tower than you ever imagined. Scale the fence, and pretend the cops are dragons. Bust down the door and ravish your maiden on a wooden desk with the word “ass” carved into it. (Mmm, romantic.) You’ll be heaving for sure, though that might be just because of the asbestos.

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and hate), but they also serve the purpose of highlighting Zooey’s supportiveness and Peter’s commitment to his fiancée. Credit goes to Hamburg for making the execution of the premise both original and refreshing. From the beginning of the movie the audience knows that Peter will find a friend to stand by him on the day of his wedding — yet the predictable ending can be excused because the journey there is unexpected and enjoyable. Hamburg also deserves praise for his inspired casting and direction. Paul Rudd (who is finally shining in the lead roles he deserves) never strikes a false note while portraying Peter. His “girlfriend’s guy” act could have become stale in the hands of a less talented actor, but Rudd’s perfect comedic timing and expressions make the audience root for Peter even as he is failing miserably. On the other hand, Jason Segel (another usual supporting player) injects his character with the right amount of wackiness, mysteriousness, and vulnerability expected from someone who would be compatible with Peter. The scenes with Rudd and Segel are the best of the movie. Their exchanges range from the ethics of masturbation to the virtues of the band “Rush,” but they never feel forced or scripted. On the contrary, their interactions feel so natural that it seems as if the actors ad-libbed much of their dialogue. Everyone else in the cast seems to be giving it their all, no matter how small their role. Rashida Jones makes Zooey adorably sweet, yet strong enough to makes us believe her when she is angry at Peter for spending too much time with Sydney. As mentioned before, Jamie Pressley and John Favreau are standouts in the small scenes they share and so are the alwaysreliable J.K. Simmons (“Juno”) and SNL’s Andy Samberg as Peter’s father and gay brother, respectively. Despite its many accomplishments during the first two acts, the movie suffers in its closing moments both in pace and originality. “I Love You, Man” spends the first three quarters of its running time separating itself from every other romantic comedy in the market — yet it sadly ends like many of most other romantic comedies. However, the overall experience is tremendously entertaining. “I Love You, Man” avoids many of the trappings of the male-buddy comedy (mainly the slightly-misogynist portrayal of female characters), so it feels like a completely new experience. Hopefully it will receive as much love as it deserves. — kristhian MORALES

kevin huang

with her powerful belt in Evanescence’s “Whisper,” while Erica Lozoya ‘10 wowed the audience with her soulful alto voice. Even with his voice enhanced by the use of a synthesizer, the musicality and stage presence of sophomore Davey Feder was unmistakable. The group sound was blended extremely well, and it’s easy to tell that the members of the Stanford Harmonics make up a tight-knit group that knows how to have fun together on stage. This was especially apparent during the gospel-influenced “A Change in My Life,” when a handful of past members, decked in St. Patrick’s attire, climbed onstage, exchanged some greetings and hugs and proceeded to back up soloist Robbie Ruelas ‘11 with an alumni song. The Harmonics wrapped up the night with “Sound of Silence,” nominated for Best Song and Arrangement by the CARA — and deservingly so. Simon and Garfunkel’s soft, acoustic piece was brilliantly transformed into a rocking, show-stopping number that retained the haunting tones of the original song. Although the show ended with a collective exhaling whisper, the powerful force of “ShamRock” will certainly linger. — nina DUONG contact nina: [email protected]

contact kristhian: [email protected]

wednesday march 11 2009

7

Paris FW: really old or really new Model Profile: Natasha Poly

he designers at Paris Fashion Week — the most avant-garde and fashion forward week — can be categorized into two sets this season: those that offered more of the same old, same old, and those that completely surprised us with collections seemingly out of the blue. Not surprisingly, Balmain offered us more sequined minidresses, buckled boots, and rock ‘n roll attitude. Trashy chic is awesome for a while, but Christophe Decarnin needs to take his aesthetic one step further and not offer last season’s dresses in different colors. Dior was theatrical as usual, with models wearing dresses that featured Oriental designs on the front and buttocks covered by sheer gauzy fabric on the back. Stefano Pilati at Yves Saint Laurent did what YSL is known for — masculine tuxedo suits fit for a woman’s body. The tailoring was exquisite, and the styles are timeless, so we can’t complain about not seeing anything new. The clothes at Dries Van Noten embodied effortless style and careless shapes combined with fearless color, but they seem a bit redundant after the phenomenal, fan-favorite collection last season. Isabel Marant came out with yet another collection meant for those seeking casual streetwear with a cool French girl vibe. Sonia Rykiel’s collection was as cheeky and rhinestone-covered as always. Other designers took a completely different direction — and sometimes not for the better. Rumors of Martin Margiela retiring and leaving his house to his

T Model Profile: Liya Kebede Liya Kebede was one of the few ethnic models in Paris this week. It’s not a surprise that the casting agents made an exception for her — as much a veteran as Poly, her absolutely stunning features have given her lasting power in a very flighty industry. As of Monday, she has opened Balenciaga and walked for Viktor & Rolf, Lanvin, Stella McCartney, and Givenchy, among others. Unlike Natasha Poly, she announced that she would only be appearing in Paris this season. With a reputation such as hers (and a third US Vogue cover coming in May), she could easily afford to skip out on the lesser fashion weeks and still expect to walk for the big names in Paris.

apprentices have been abuzz, and this season’s collection seems to hint at that possibility. It was gimmicky rather than brilliant and revolutionary. Nicolas Ghesquierre stepped Balenciaga away from the futuristic approach of the past season and instead focused on tulip skirts, colorful draped dresses, and satin wrap belts; it’s definitely not the edgy Balenciaga we expected. Hussein Chalayan was another big surprise: he stunned everyone with his aerodynamic, sculpted, wing tipped, art-inspired dresses — they seemed like clothing from 3000 AD. He has a tendency to make his creations with rubber, paper, LED light, and lasers rather than with cloth. This season, he turned to the sleek and sexy instead: we saw bustiers, mini-dresses, and thigh-high leather boots. I loved it all — Chalayan left a bit of the old him in the synthetic fabrics and unusual colors. Still, it was an unusually wearable and less conceptual collection coming from him. Does this have something to do with news that he is teaming up with denim label J Brand for a capsule collection? Olivier Threyskens came out with an amazing (and supposedly final) collection for Nina Ricci. His unsellable Victorian gowns turned into sexy dresses with volume and some super cool jumpsuits. What a welcome (and potentially profitable) change!

— amanda ZHANG contact amanda: [email protected]

Trend: the broad shoulders are still in I’m personally sick of the pronounced shoulders trend, but it’s still ubiquitous on the runways. Balmain, who spurred the rage last fall, kept it going this season, along with Margiela’s interesting, transparent take on the trend. Balenciaga dresses had particularly sharp shoulders that pointed upwards and looked out of place with the paintsplattered prints. The weirdest manifestation of the shoulder trend was at Manish Arora, where one model walked down with lion heads peeking out from each shoulder.

8

intermission

all photos courtesy courtorture.com

Paris followed Milan in model casting trends — safe, pretty, and not very diverse. Model veteran Natasha Poly has been everywhere this season. Poly is known for her super bad-ass walk and her runway composure (her shoe slipped out at the Victoria’s Secret Fashion Show once, and she continued strutting down the runway on tiptoe without a flinch). With razor sharp cheekbones that keep her from being too generic-looking and an ultra slim figure, Poly can pretty much book any show she wants. It leaves me wondering if she’s a bit overexposed: she doesn’t need to walk the runways to book ad campaigns anymore — she could take a lesson from the supermodels that came before her and take a break from the catwalks.