Robber Barons doesn’t do it for Intermission the third time...

page 3
inside
Milan Fashion Week sexes things up... pages 4-5
Intermission covers Wondercon, interviews Martin Starr and Adam West... pages 6-7 FRIDAY
“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
3.06.09
CoHo livens up with with student’s depiction of Lorca’s poetry in visual form... page 12

ntermission
stanford’s weekly guide to campus culture
VO LU M E 235 . ISSUE 5
a publication of the stanford daily

starpulse.com
ALSO INSIDE

W O N D E R C O N M I L A N
F A S H I O N
Intermission conducts exclusive W E E K
interviews with actors Martin
Starr and Adam West The commercial fashion mecca
sells sex and glamor in third of
four major fashion weeks

...pages 6-7 MIRAMAX.Com ...pages 4-5 all photos style.it

PAGE 2
fifa4fans.de
TOP
dlbnetwork.com
. FIFA 200X
A soccer game at the top of the list? Really?
FRIDAY Nobody even likes soccer! Whether or not the
real version of soccer is becoming America’s
03.06.09 favorite pastime, virtual soccer definitely is. With
immense depth of customizability for the soccer
buffs, and simple control schemes for video-
BONE TO PICK? gaming 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
well then, email us! The granddaddy of the XBox franchise, Halo has
intermission@daily.stanford.edu evolved into every frat guy’s default shooter
game. Many fans will argue that Halo 2 was the
pinnacle of the multiplayer experience, though
MANAGING EDITOR others enjoy the added game types, items and
Joanna Xu improved graphics of Halo 3. Easy to pick up
and hard to master, Halo may be one the most
LAYOUT EDITORS
addicting videogames out there.
Kairen Wong
Jin Yu 3. Rock Band/Guitar Hero
COPY EDITOR Never quite had the drive to learn real guitar
Samantha Lasarow and go homeless in the hopes of becoming a
rock star? Well fear no more, for now you can
DESK EDITORS become a rock star in your very own living
Annika Heinle room — with friends! The Guitar Hero/Rock
Kyle Evaldez Band franchises have perfected a wonderful sys-
PHOTO EDITOR tem that is both fun to participate in and watch
Amanda Zhang 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
10 MULTIPLAYER VIDEO - GAMES
wiids.nl
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 merciless-
ly 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 expe-
rience. 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 77-
0 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-
vgfive.com
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 zom-
bie 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 multi-
player 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:
mkogan@stanford.edu
THEATRE REViEW

“You can’t get pregnant the first time” didn’t come naturally...
’d first like to say that I’m usually a together in their last performance, invasion of personal privacy every

I
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
“The Robber Barons: IN HIGH-DEF!”
But so what if it isn’t all mind-blow-
ingly orgasmic? These kids are work-
ing 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 bril-
liant. Also brilliant is the “Librarian”
skit, which strikes a personal note with
this writer. Who isn’t irritated by the
PHOTOS BY NORBERT STUHRMANN
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).
— chelsey LITTLE
contact chelsey:
cdlittle@stanford.edu

“The Waste Land:” a Bharatanatyam dance

unity and peace.” To help express this idea of finding hope in Waste Land shows, which featured dance but also included
his weekend the Drama Department presents the chaos, much of the choreography for the show derives from

T
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 ref-
erences 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 trans-
lates to, “Give alms, be compassionate, and have self-disci-
pline.” 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
actor-delivered dialog. Audiences accustomed to non-experi-
the 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 move- dialog, 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 remov-
modern 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 performance-
which have been stunning. Haunting, original guitar music the dancers’ movements, Eliot’s narration, the scattered news-
changes to suit each scene, ranging from bluesy funk to dis- papers 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 equa- in-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 sen-
each 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: mmiklas@stanford.edu
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 3
 Milan fashion week zooms in on SEX
n times of economic crisis, fashion
I 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 hap-
pens, 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
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.
4 intermission
6
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 crit-
ics 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
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.
PUCCI
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.
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 t-
shirt and nude-colored dresses with lingerie
details. At Emporio Armani, models donned
flirty knee socks and skirts with scandalous-
ly 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
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?
to the rule. The collection was part cave-
woman, part gladiator, part forest ranger-
slash-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 dar-
ing 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: amandaz@stanford.edu
contact joanna: joannaxu@stanford.edu
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 col-
lection it looks sort of silly, espe-
cially compared to the similarly-
themed 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 any-
way. The U.S. bails out our auto
industry, the Italians bail out
their fashion houses . . .
all photos style.it
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 collec-
tion 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 super-
models. 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 fisher-
men, 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 remark-
M ably 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 expos-
ing 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 com-
pared 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.
friday march 6 2009 5
 Comic nerds, sci-fi geeks, costume crazies: it must be WonderCon 2009
San Francisco is generally very accepting of oddballs. Public While smaller events were usually held in smaller confer- excitement surrounding the film’s upcoming release on March he name “Adam West” has instant favorite?

T
ranch, so I got to be fairly coordinated and
nudity is legal, and no one will give you a second glance on ence rooms, larger high-profile events (usually centered 6. associations with every genera- strong. I was able to handle those things
the street if you dress somewhat out of the ordinary. This around upcoming motion-picture films) were held at the vast The “Watchmen” panel included director Zack Snyder tion. For our parents, he is the AW: You know it’s difficult for me to

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.
Esplanade Ballroom. Keeping in line with the theme of the
convention, most of the movies featured throughout the week-
end were related to comics, animation or science fiction.
For the highly anticipated panel about the upcoming film
?
pretty well. But martial arts, no. I left that to
(“300,” “Dawn of the Dead”), several members of the cast and man who brought Batman into their liv- answer because I really haven’t seen the Burt Reynolds, who thought he was pretty
original graphic novel artist Dave Gibbons. They joked about
the casting process, the uncomfortable costumes and produc-
intermission ing rooms in the 1960’s popular television movies. I was really upset about not get- good at the stuff until he met Bruce Lee
series. To anyone who has seen “Family ting the $20 million (laughs). But I think (laughs).
ers’ incessant questions about a sequel (a project Snyder refus-

Q&A
Guy,” he represents the hilarious, para- I like the last one with Christian Bale, It’s
People wearing costumes of all kinds, ranging es to undertake). The cast, which includes both smaller noid mayor. Your younger siblings will humanized a little more, and the relation- i: Do you keep any memorabilia from your
from simple kitty ears to elaborate getups, could be
spotted interspersed within the thousands of con-
vention attendees who flocked to San Francisco for
Wondercon over view 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
recognize his voice as a character in “The
Fairly Oddparents.” No matter which
ships are a little stronger. There is talk that
Christian Bale and I are going to do a
movies?

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 sched-
ule 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, includ-
ing one where several artists collaborated together to create
original art live in front of an audience.
google picasa
“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 out-
lawed 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 generation you ask, “Adam West” means project . . . he will be playing my father AW: Would you like to buy some? (laughs)
film. something. (laughs). I’ve got maybe three warehouses full of stuff
Snyder also covered logistical details of the film, such as On a rainy Sunday afternoon at and someday it will all be sold on eBay.
the controversy about the film’s decision to drop from the film Wondercon 2009 in San Francisco, Mr.
lifepop.com
the “Tales of the Black Freighter,” a pirate story embedded West promoted his new film i: In your new movie, “Super Capers,” you
within the original graphic novel. Although the production “SuperCapers” and entertained members play a taxi driver. What kind of car are you
company made an animated version of the “Black Freighter,” it of the press and many fans, whom he driving?
won’t be included with the theatrical release of the film — charmed with his self-deprecating, down
which is already a staggering two hours and 40 minutes. to earth attitude. “SuperCapers” is a spoof AW: Well, we turned the Batmobile into a
Instead, it will be added on to the DVD. on superhero films that will be released taxi with air conditioning.
Next, the panel showed an exclusive clip from the upcom- March 20th.
ing film. WonderCon, known for its motion picture exclusives,
i: I think your character on “Family Guy” is
treated the panel attendees to an early peek at the first eight Intermission (i): You’re the original bat- one of the funniest parts of the show.
minutes of “Watchmen,” which included a montage of pictures man.
to establish the alternate universe.
AW: Mayor We? Two of the letters slipped off
The first few scenes quickly established “Watchmen” as a Adam West (AW): I’m the classic batman. the name thing on my desk. All I can say is,
movie that was both true to the graphic novel and utterly You’ve heard of the Dark Knight? I’m the please vote for me. It’s a very funny show, so
thrilling on its own — and the audience greeted the sneak Bright Knight. It was forty years ago that absurd, cutting edge. We make fun of anyone
peak with uproarious applause. I started playing Batman and wearing and everyone; it is not politically correct.
The other movie panels of the day were equally grand in that cape. I still have my batman jammies! Which I like, I think we’re all too politically
scale — “Star Trek,” a film to be released May 8, is a re-imag-
correct now — we can have fun with each
| continued on page 8 | i: How do you feel about today’s Batman? other.

anta-Monica native actor Martin Starr
self to be more awkward around him, espe-
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).
i: Since your debut as Batman, which por-
trayal of the character has been your
supercapers.com life.com
collage amanda zhang ing control of my own career. As an
i: Did you have to learn any kind of mar-
tial 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
I’ve gone through droughts in my life and probably
i: How did you decide to appear on “Family
Guy”?
AW: Like Madonna . . . I am constantly rein-
venting myself.
i: Tell us about your experience with
Stanford.
AW: Stanford? Um, I like to tell people that I
| continued on page 8 |

S is a geek by trade. He played Bill cially with his attitude, which is just a guy, sit- i: Your character is very similar to some of the other actor, it’s very easy to sit back and just due to my own growth as a human being. I’ve had

?
Haverchuck on the short-lived NBC
intermission comedy-drama “Freaks and Geeks,” and since
then has played a number of smaller roles in
ting 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
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.
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?
wait and hope that things happen. years of horrible auditions and feeling so bad about
They either do or they don’t and it’s
not based on talent as is obvious
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

Q&A
comedy films “Knocked Up” and “Superbad.”
Intermission snatched an exclusive interview
with Starr at Wondercon 2009 in San
Francisco.
with Executive Producer Martin Starr 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 liter-
ature loving, drolly philosophical game-
booth worker.” In what ways do you identify
with this character?
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 sim-
collider.com
ilar to “Freaks and Geeks” and Bill — he’s the
everyman. He’s a good guy but you find your-
6 intermission
6
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.
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 char-
acter. I listen to a lot of ‘80s music, but I love
that anyway, so it’s not different from a nor-
mal 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?
The person that he cast, Matt Bush, who is because there are a lot of immensely more control over the last two years and it doesn’t
immensely talented, brought so much MS: I definitely like trying new things, but I famous people that I don’t think are phase me anymore if I have a bad audition, because I
heart to him because he’s such a feel like people told me that right after talented. Well, I wouldn’t say a lot; know that I’m my own creator — or whatever that line
genuinely nice guy; it’s hard I did “Freaks and Geeks” ten years there are a few. I think that’s reason- is. I’m in charge of my own destiny.
ago. I didn’t really know what it able in that way.
to think that’s the guy he
picked to be the asshole. meant and I was so young. I i: Do you consider yourself a geek in real life or do you
You kind of want think I worried about it i: We won’t ask who they are. just play one on TV?
someone you’re going then, but at this point, I’m
to hate initially, so so fortunate to be able to MS: (Laughing) I’m not going to go MS: (Laughing) I definitely am a gamer geek. I would
that the film all do this anyway. These are and list them all. They all must have love to call myself a comic book geek but I don’t know
makes sense, but characters that I loved some good qualities or they wouldn’t enough about comic books to classify as one — but I
because he had such playing, so I’m not worried have made it as far as they have — would love to say it. My favorite at the moment is
heart, it made it work about it. I definitely try to and they’re probably amazing busi- Straczynski. I read anything he’s written. I have the
so much better. There’s avoid small details that are ness people. But I wanted to take con- new Thor, which I haven’t read yet — but he’s crazy
so much history and back- identical. I don’t want to say the trol of where my future is, and I talented. I probably am a bit of a geek. Proud to say it.
story between the two charac- same line that I said in something found out how much I enjoyed the i: Thank you for giving us an exclusive interview.
ters that it works so much better if else because I don’t like it. writing process, so I’ve been writing
he’s a human being and not just a complete with my writing partner Charlene Yi — gloria JOHNSON
asshole. I think that’s an immense talent that i: You mentioned what you envisioned in your future? for the last two years. We’ll have our
miramax.com contact gloria: gloriaj1@stanford.edu
Greg has: to write and cast and direct people What does that entail? first project finished probably in a allmoviephoto.com
that brings out compassion — he’s such a couple of months, so that’s exciting.
7
compassionate director. MS: At this point, I’ve been writing a lot more and tak- That’s part of what keeps me going. friday march 6 2009
Gaiman Wins
Newberry,
revives spirit
his year’s Newbery Medal —
PHOTOS BY NORBERT STUHRMANN
T
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 peo-
ple — 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 protag-
onist, Nobody Owens, “The
Graveyard Book” rapidly rose to num-
ber one on The New York Times’s chil-
dren’s bestsellers list — where it has
remained for twenty-one weeks and
counting.
While appearing on the best-
sellers 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 com-
mented that that “there are books that
are best sellers and books that are win-
ners.
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 commit-
tee’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 los-
ing 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 chil-
dren’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 win-
ning book in the U.K.: “Gaiman’s
Newbery win is a vote for populism
— and for excellenc.”
— sarah GUAN
contact sarah:
sguan@stanford.edu
8 intermission
THEATRE REViEW
Make way for “BroadwAsian”
CONTINUED FROM “WONDERCON” PAGE 6
ining of the saga’s beginnings with
an all-new cast. Convention atten-
dees 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 ques-
tion and answer. The panel dis-
cussed everything from the “daunt-
ing” idea of pleasing such a dedicat-
ed fan base to Leonard Nimoy’s
involvement with the film produc-
tion. 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 includ-
ed Disney/Pixar’s “Up,” Warner
Brothers’ “Terminator Salvation,”
his weekend, drama major Ellie musical is not meant to bludgeon moral-
T Wen ‘09 will debut her senior
project, entitled “BroadwAsian,”
ity onto the audience by any means. It is
simply a clever showcase of talent meant
at the Prosser Studio Theater. to unearth an unthought-of issue.
“BroadwAsian” is not your average Wen does not do it alone, though —
musical; instead, it’s a compilation of a talented four-piece band led by music
Broadway numbers and monologues. director Nick Hersh performs against the
But “BroadwAsian” is not just a fun back wall. Songs from “Miss Saigon,”
show to watch with music from “South Pacific” and “Flower Drum Song”
Broadway and charming monologues — promote the musical’s Asian aura. All the
there is a moral behind the story. music is played by a band consisting of
“BroadwAsian” is specifically about cello, drums, brass and piano, lending a
the role of Asian performers on professional air to the entire perform-
Broadway. Typecasting and stereotypes ance.
are only two of the number of subjects The cast and ensemble also dip into
that the show touches upon — the cast the strengths of Talisman, Ram’s Head
urges the audience to think about the theatre group and the Stanford
broader spectrum of Asian influence. Symphony Orchestra — who all come
Interspersed between music from the together to create a great performance.
modern day (“Mulan”) going back to the The staging is simple and the set is plain,
fifties (“Miss Saigon”) are personal but the actors move about as if the stage
monologues from the actors. The mostly were their bedroom. During their mono-
Asian cast uses the stereotypes intro- logues, they are comfortable in their
duced to ask questions about aspects of space and inspire the audience to invent
Asian-American culture not typically a greater set for them.
discussed. The most important part of
The show begins with a light-heart- “BroadwAsian,” however, is the sensitivi-
ed yet pithy song from “Avenue Q” — ty with which Wen wrote the mono-
“Everyone’s a Little Bit Racist” to intro- logues. You may agree with her ideas, or
duce the touchy subject of racism. The you may find yourself arguing silently
song is happy enough, though, to inspire with her — but that’s the point. Wen
a communal relationship between the inspires thought. Either way, you won’t
audience and players, immediately free of look at Broadway the same again.
negativity — and that is what Wen is try- “BroadwAsian” will play March 5, 6,
ing to do. Through the song and dance, and 7 at 8 p.m., with a special 2 p.m.
she shares some of her own doubts about showing on March 7. All performances
theatre and her expected role in it. Her are in Prosser Studio Theater in
worries about typecasting, stereotypes Memorial Hall.
into which Asians are forced, and the
limited mobility of Asian actors are vent- — e r i c WA L K E R
ed to the audience in order to foster the contact eric:
recognition of inequality. However, the
walkered@stanford.edu
CONTINUED FROM
“ADAM SWIFT” PAGE 7
Focus Features’ “9” and “Alien the “Artists’ Alley,” where comic
Trespass.” artists held appearances and sign- went to Stanford. I went to like five
In addition to the panels and ings. Additional famous faces in the universities, but I did go to
events, convention attendees also crowd up for autographs included Stanford. I lasted six weeks. It was a
came for the unique atmosphere Carrie Fisher, Mark Hamill and bit of a renegade. What happened
and the exhibition floor, both of Adam West. A side room even was, I was doing postgraduate work
which pulsated with science fiction housed a small gaming competi- at Stanford, and it was a year during
and comic fan energy. Spotted tion with tournaments for “Magic: which there were few jobs. Then
walking around: several people The Gathering” and 16 other game there were auditions, and I got a
dressed as Poison Ivy, six different titles. job! And I said, “Bye bye, Stanford.”
Batmans, Jokers of all kinds, WonderCon, if nothing else, is (laughs)
Captain Han Solo and Chewbacca, a chance for people to celebrate all
several appearances of Watchmen that is nerdy and wonderful. Where i: Any advice for up and coming
characters (especially Rorschach) else will you see someone in a superheroes?
and a good handful of V imperson- Princess Leia outfit waiting in line
ators (from V for Vendetta). to talk to an independent comic AW: Don’t sit on the toilet while
Cartoons also made their appear- artist? Within the doors of the wearing your cape and flush it.
ance with a pack of Teen Titans, an Moscone center, the wondrous and
Optimus Prime and a wide variety fantastic become absolutely com- —meghan BERMAN
of anime characters. monplace — at least for one week-
contact meghan:
The exhibition floor also end.
meghanb@stanford.edu
housed hundreds of booths selling — ellen HUET
all kinds of comics and parapher- contact ellen:
nalia from Serenity action figures
ehuet@stanford.edu
to Japanese swords, as well as
FiLM REVIEW
Harvey Milk: the original hero
all photoes courtesy tellingpictures.com
O
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 cine-
matographer, 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 documen-
tary’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 suc-
cessful election as a supervisor and his efforts in bat-
tling 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 audi-
ences, 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-
All the single ladies,
rageous to be shooting a movie about
homosexuals.
put your hands up
“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 steve lesser
understand those people’s reactions, emo-
tions, what kind of time they were living in,” “All you other girls, go ahead and stick ‘em up.
Hoffman explained. Boys? Hey, go for it. We’re not judging you.”
Understanding the title of the documentary
f you don’t know what I’m talking about, you clearly are not familiar with
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”
I 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-half-
starring Sean Penn does). The original 1984
minute-long choreographed routine. The Fosse-inspired dance routine is so
movie tells a story that is larger than Milk’s biog-
catchy and appealing that many of Beyoncé’s fans have taken it upon them-
raphy in order to demonstrate the political and social
selves to learn it. There’s a plethora of YouTube videos featuring Beyoncé fans
situation in America of the ‘70s — a time when the
of every color and gender shaking their hips, sashaying fiercely and kick-ball-
country was reluctant to accept the existence of open-
chain-ing for all they’re worth.
ly gay citizens.
As all good things do, this trend has come to Stanford.
Both Hoffman and Reid attributed the relative
Half of Urban Styles and about 50 wannabe Beyoncés gathered in Eliot
absence of stories about Harvey’s partners on their
Program Center Thursday night to learn the “Single Ladies” dance. The work-
insistence to relate the story of Milk in the context of
shop was led by a fantastic team from Urban Styles and headed by a woman
his time, and stressed their desire to not simply pro-
named Anna Maria.
duce a biography of the talented politician.
The event was organized by Natie Ermyas, a program coordinator for the
Considering the current increased attention to
Black Community Services Center. Although he had originally considered get-
Harvey Milk’s life in light of the Oscar-winning fea-
ting a professional choreographer to come in and hold a workshop, he ended
ture film, “The Times of Harvey Milk” is a must-see
up partnering with Urban Styles to lead the event — an excellent choice. The
for those who want to know how the movie “Milk”
students leading the workshop were drastically more excited than any paid
was born. Epstein’s documentary is a skeleton for the
choreographer could be, and learning from fellow students was far less impos-
later “Milk” — a fact that becomes clear after watch-
ing than a master class with a professional dancer.
ing both films. The screenwriter of “Milk,” Dustin
Ermyas conceived of the workshop as a comfortable space to turn the
Lance Black, had been fascinated by the documentary
popular trend into a party.
ever since college when he started thinking of ways of
“Everyone does this in their room,” he said. “So I thought, make a space
bringing Harvey’s story to the wider public. Many of
for it!”
the ways in which the documentarians frame their
Considering the diversity of the group who wanted to learn Beyoncé’s
story are curiously used by Black in his script.
dance, this idea was exactly on the money. The attendees included a large fol-
In response to what she thought of “Milk,” cine-
lowing from the Black Community Services Center, a quarter of the women’s
matographer Frances Reid added, “I came out of this
Ultimate Frisbee team and one Intermission reporter rockin’ out in the back.
movie and thought to myself: ‘That’s why I love doc-
Although the crowd was mostly female, a pleasantly surprising number of men
umentary films.’” Despite its purely brief mention of
turned out too. We ranged in ability from me, the groove-less girl, up to Anna
Milk’s personal life, “The Times of Harvey Milk” is far
Maria, who apparently does not have any bones.
more convincing and authentic in its effort to make
Despite the apparently random sampling of students, we all danced and
the audience fall in love with the politician. The doc-
had a great time together. The crowd was riotous, hollering at the more sug-
umentary offers something that Sean Penn could not
gestive moves and occasionally jokingly talking back to the instructors; when
replicate — the real Harvey, not the overly flamboy-
Anna Maria asked us if we felt warmed up and ready to dance, one man yelled
ant, effeminate and fake Sean Penn version but rather
back, “Warm like biscuits!” When we split the group in half and performed for
an intelligent, at times obnoxious yet charismatic
each other, the audience catcalled and cheered for the other dancers. Ermyas
coalition builder who galvanized not only the gay vot-
achieved his goal: We all learned and danced in a comfortable space with each
ers but also senior citizens and the working class into
other’s support.
forming an effective voting bloc.
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
— ksenia GALOUCHKO out my new moves. Single ladies? Anyone with me?
contact ksenia: ksgal@stanford.edu —molly THOMAS
contact molly: mollymt@stanford.edu
friday march 6 2009 9
MUSiC REViEW
U2: good, but not revolutionary Kelly Clarkson:
back to the
original
winning formula
u2ol.net
or a band that prides itself on reinven-
F
tion 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 oth-
ers on the album, the lyrics aren’t the carry-
ing force here; in fact, looking at them too
closely just highlights their haphazard quali-
ty. Instead, it’s better to consider them as ves-
sels for the sound of the music.
Most of “No Line” falls into two cate-
gories: 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 overly-
eager 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
10 intermission
MUSiC REViEW
the vital stats.
I
All I Ever firmly believe that people who say they don’t
Wanted 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
anthem one might expect from the global
pop
good) and proceeded to become a very successful
activist. ON
A SCAL
E
artist on her own. In fact, she became so popular
O
To the band’s credit, however, this isn’t
F
7
1
TO
that people even forgot she made her name on
just a revisiting of their two previous
10...
American Idol.
albums. U2 mixes up some slower, more
Then, two years ago, “My December” hap-
experimental ballads with sampling, synthe-
pened. Kelly’s third album, which was very badly
sizers and seven-minute epic pieces. A cou-
received and did very poorly in sales, hurt her rep-
ple fall short of what they could have been,
utation so much that she ended up having to can-
especially “White as Snow.” “Moment of
cel her tour and fire her manager. “My December”
Surrender,” however, is a success with pon-
was a foray into a completely different sound; that
derous lyrics: “It’s not if I believe in love /
album wanted to proclaim that the Kelly who sang
But if love believes in me.” But “punching
uplifting ballads or girly pop-rock anthems was
numbers into the ATM machine”? Come on,
gone. However, the new Kelly sang rock songs that
Bono, we all know the “M” already stands
completely wasted her incredible vocals and made
for machine. Otherwise, the meditative and
a fool out of an otherwise reputable artist.
sparse sound highlights the inner turmoil of
This time around, however, Intermission pre-
the lyrics and provides a welcome breather
dicts that Kelly Clarkson’s fourth album, “All I Ever
in an energetic album.
photos courtesy of clarksonfan.com Wanted,” will be a smash success. Everything about
The rest of “No Line” wastes no time
this album screams mainstream, but this fact is
giving the fans what they’ve come to love
pulled off so perfectly that the album still sounds
and expect from the Dublin band. “I’ll Go
entirely new and different. It’s just the sort of
Crazy if I Don’t Go Crazy Tonight” is your
catchy, spunky, artful pop that will translate into
typical U2 pop song, with spoken-word
healthy album sales.
poetry lyrics and those soaring melodic
For all of the ladies — single or otherwise —
lines that feel as though they should be sung
there are plenty of ‘Since U Been Gone’-esque
from the top of a mountain. “Magnificent”
anthems on this album. If the album’s first single,
and “Breathe” are also quintessential U2
“My Life Would Suck Without You,” was not to
pieces — with catchy riffs and idealistic
your liking, do not fret. That single’s purpose was
lyrics about “Only love/Only love can heal
to finally get Kelly back on to the radio airwaves.
such a scar,” “Magnificent” is especially the-
The rest of the album shows Kelly trying on a
atrical with Bono putting naysayers to
number of different sounds — though all pop
shame with his still-strong vocal stylings. In
sounds (she won’t test any other waters anymore).
the end, these are the tracks where the band
Singing two songs originally written and per-
really seems to fall into place; although their
formed by Katy Perry, Kelly manages to make them
experimentation paid off at times, this is the
completely her own. “I Do Not Hook Up” is one
kind of music they were made to play, famil-
such example, where Kelly’s vocals shine through-
iar as it might sound.
out the fun anthem.
“No Line,” on the whole, is a comfort-
However, not every song is a success on this
ing and inspiring foray into U2’s already
album. In “Whyyouwannabringmedown,” Kelly
established sound. The pace, with a few
again goes into an awkward attempt at a mix of
exceptions, is relentless; tiring but tiresome.
rock, rap and whine. In Intermission’s opinion, she
For a band that once completely overturned
should stay away from this kind of sound at all
expectations with innovative albums such as
costs; this is the kind of song that will be skipped
“Achtung Baby,” it’s somewhat sad to see
in the tracklist. The rest of the material is all solid,
them producing more of the same and
though.
claiming, as they do each time, that the
“All I Ever Wanted” is exactly the album Kelly
album is something completely new. If you
needs at this stage in her career. After the disaster
were a fan already (and not one of the fans
that was “My December” — leaving her with zero
who refuses to listen to anything post-
self-confidence and a thinner following — this
”Joshua Tree”) then there’s no reason not to
new album is a surefire comeback for her. While
enjoy this album. “No Line” is another fine
“All I Ever Wanted” is nothing groundbreaking or
album in a vast and respectable discography
particularly deep and soulful, it will nonetheless be
— but it probably won’t be winning over
a treat for those who have always liked Kelly
new hearts anytime soon.
Clarkson — which, face it, is all of us.
— ellen HUET
— annika HEINLE
contact ellen: ehuet@stanford.edu
contact annika: anheinle@stanford.edu
 9 Looking back at Parents’ Weekend

.12.0
oxy doesn’t fail a lot. She’s never failed a
LINEUP R test (especially a French test). She’s never
failed to get a guy — Roxy once saw a hot
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.)
worry about the other parents noticing — they’re
all asleep anyway.
Last but not least, try to use those structured

9-3
guy in a coma, and well, let’s just say she can raise Suggestively leave your thongs on the floor. Ask Parents’ Weekend activities to your advantage. In
the dead. She’s never even failed to get a job your roommates’ parents if they’d like to feel how particular, Stanford offers guided campus tours

3.06.0
(details not necessary).
But, dear reader, Roxy failed you last week.
While Ms. Sass discussed how the economic cri-
sis might dampen your spirits but not your
F underwear, she overlooked a very important
event happening on campus: Parents’ Weekend.
7pm
Battle of the Bay 2009 Roxy looks at Parents’ Weekend like whale does a
Kresge Aud. school of fish — lots to nibble on, and every-
compete in spoken word, dance, thing’s wet. She spent last weekend rattling head-
freestyle rapping boards harder than an 8.0 earthquake, and deeply
(very deeply) regretted not sharing some valuable
9pm
tips with her readers.
You Can’t Get Pregnant the First
Time Never fear, loyal readers. Parents’ Weekend
Campbell Recital Hall comes every year, and you can too. True, twelve
Robber Barons perform another months will pass before you get a chance to move
hysterical comedy the parents’ welcome out of MemAud and into
your bedroom. But you’ll also have ample oppor-
tunities throughout the year to scam on a visiting
Sa MILF, DILF or even GILF, so Roxy hopes her tips
ShamROCK! come in, well, “handy.”
Manzanita Roxy found a lot of different locations to
harmonix and taiko team up for an scope out parents, but there’s none more conven-
incredible concert ient location than your own room. Your room-
8pm mates’ parents will probably drop by for a visit, so
Spoken Word Poetry Slam
CoHo TRIVIA
Words spoken to the parents
watch them get their word on The first 5 people to answer ques-
tions correctly will win a FREE
“ROLE MODELS” DVD!
Su
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 oppor-
tunity 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
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 crum-
bles 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, mid-
dle-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.

T
Submit your answers to here are many reasons I have
amnass@stanford.edu always loved Spoken Word
1) In the film Role Models, the cof- — there is just something
fee shop where Danny argues magical about getting together and
M about a large coffee with the Clerk reading good poetry. It reminds me
in the same shop, called “Bean-N- of home and the “Dead Poets
8pm Gone Coffee Shop” in which other
Jazz Jams: Student Combos Society,” which are both awesome.
film?
CoHo For that reason, I was very excited to
2) What is the name of the energy
come relax and chill out drink company that Wheeler (Sean attend the winter show of the
William Scot) and Danny Stanford Spoken Word Collective
Donahue (Paul Rudd) work for? this past Saturday.
T The show took place at the
Hillel House — a surprisingly fit-
8pm
The Milk Straws ting venue for the performance.
CoHo Spoken Word requires an audience,
listen to some sweet barbershop but is a lot more intimate then many
quartet other public shows. The lighting of
the Hillel House, the fact that the
location was large enough to house
W a good sized audience — but small
7pm enough that almost none of the
Tango Dancing poets needed to use the microphone
CoHo — all enhanced the performance of
learn it for the ladies
the material Spoken Word was
working with.
Spoken Word also did an out-
Th
standing job in choosing the order
8pm of poets, especially since its headlin-
Stanford Concert Network
er went in the middle instead of the
Presents...
CoHo end. Chinaka, a Def Jam poet, is a
tough act to follow, so Spoken Word
it’s a surprise...!
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
FACEBOOK.COM
on the nature of writing or art.
Unsurprisingly, sexuality and gen-
der 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 simul-
taneously acknowledge the unique
struggles of women while celebrat-
ing 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, espe-
cially 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
friday march 6 2009
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 out-
standing. 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 pro-
vided 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.
— heather BUCKELEW
contact heather:
hcbuckel@stanford.edu
11
FiLM REVIEW

Send out an S.O.S...

to get me out of this movie!
’m warning you right now: if you love the

I musical trio that is the Jonas Brothers,

then stop reading this review right now.
What I’m going to say will upset you into see-
ing this movie for yourself. On the other
hand, if you have no feelings toward the three-
some, 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 body-
guard, 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 conversa-
tion.
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 thou-
sands of girls chasing and screaming after
them.
This is the extent of the plot for this par-
ticular 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
allmoviephoto.com
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 cre-
ated 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 show-
ing that the Jonas Brothers are indeed incred-
ibly 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 per-
haps 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:
anheinle@stanford.edu

Coho: Spanish poet Lorca displayed in visual form

tradition of gypsy songs and translated them into poetry.
Cornwell converts “Cante Jondo” into yet another form: visu-
al 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 paint-
ing, which is done in acrylic on canvas, one does not imme-
diately think “Ah, inspired by Lorca!” However, the work sub-
photos by amanda zhang
tly invokes the sense of pain against a natural backdrop in a
manner very reminiscent of “Cante Jondo.”
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 interpreta-
tions of his work, which relate to the poems without using
overly literal illustrations. Cornwell’s paintings are visually
intriguing and appeal-
ing; in that way, they
are an excellent hom-
age to Lorca’s poems
— but they also defi-
nitely stand out in

M
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 dis-
play 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
“Riddle of the Guitar” is a painting done in watercolor. A their own merit.
man’s face is outlined in blue. His expression is pained, pen- “The Illustrated
sive. Although the painting is a relatively abstract vision of Lorca Project” exhibi-
Lorca’s poem by the same name, it is possible that the man’s tion was established
expression reflects his pondering of the riddle in the title. with the support of the
The exhibition also includes two paintings entitled “Dos Student Organizing
Muchachas.” Lorca’s poem of the same title describes two Committee for the
passionate women, Lola and Amparo. Cornwell’s “Dos Arts.
Muchachas” is a work done in bold colors. The original poem
is filled with references to color — for example, Lola’s “voice — meghan BERMAN

University of Salamanca in Spain. of violet” or “the weak yellow trill of the canary.” The paint- contact meghan: meghanb@stanford.edu

Lorca’s “Poema del Cante Jondo (Cante Jondo)” took the ings’ vibrancy not only makes them pop from the off-white

12 intermission