the current - may 16, 2013

4
T “How to End Poverty in Minutes (with people you may or may not know)” lets the audience chose its own adventure. With , in cash sitting onstage, viewers vote at the end of the show to decide how the money from ticket sales should be spent. Created by director and Northwestern professor Michael Rohd, the production is part of the eatre and Interpretation Center’s nd season, which features a number of shows focusing on poverty. “I think that public spaces and public opportunities for safe, imaginative, productive dialog around issues of public and social concern are extremely rare in U.S. society today,” Rohd said. “I think that the arts and theater in particular oer an amazing and very useful opportunity for people to come together and be in conversation with each other.” To facilitate that conversation, the show is about percent written and scripted material and percent audience participation, in which viewers talk about the issue of poverty in small and large groups organized by the cast. Ensemble members said by leaving such a signicant segment of the show up to the audience, they also le an opportunity for one-o experiences. “We want every show to be dierent, we want every conversation to be unique,” said Samuel Zeisel, an ensemble member and Communication junior. “If we’re able to relax and not really think of it as a performance, but more think of it as a rare conversation with people we don’t know, I think that we’ll begin to nd that it’s a whole lot of fun.” e ensemble has worked with a number of test audiences, including people from across the country who attended the Global Engagement Summit at NU. is variety has helped Rohd, the ensemble members and other students involved rene the material. “We learned things from running test audiences through the process, and we absolutely continue to adjust and learn and make changes, particularly in the participatory section,” Rohd said. For the scripted part of the show, Rohd worked with the student ensemble members, most of whom took a Fall Quarter course on poverty research to inform their writing. “One of the advantages of making new work at a university is you get to bring a team of artists together, students and professionals, and you get to spend a lot of time learning about the subject matter,” Rohd said. “Students don’t just rise to whatever bar we can set — they create a new bar. ey’re just fantastic collaborators.” e class consisted of lots of reading and research, along with guest speakers who discussed specic aspects of poverty, such as food prices or housing. Zeisel said the class allowed everyone in the production to have a “common vocabulary.” ere’s so much surrounding these issues, and we wanted to come at it with as much humility as possible,” Zeisel said. “It allowed us to feel like we could at least begin to ask the right questions.” Rohd created an outline of the show, and the nal product was written during rehearsals in April and May, said Communication junior Daphne Kim, an ensemble member. e process was non-traditional, with some parts of the show written in small groups, some parts written by Rohd and others born out of improvised scenes. When writing the show, Rohd said the team made sure there was not a specic message embedded in the production. He said he encourages anyone who attends the performance to come in with an open mind. “I hope that potential audience members in the NU community don’t turn away because they assume it has something to say and they either already know what it is or they don’t agree with it,” Rohd said. “I hope folks will consider bringing their background and per- spective to the conversation.” Zeisel said the show provides an opportunity to break past surface-level discussion and encourage audience members to ask hard questions. “I would love to have an experience in dialogue and conversation that they don’t usually have,” Zeisel said. “We don’t usually get to have these types of conversations with anybody, let alone a stranger.” “How to End Poverty” also gives people the chance to have a meaningful, face-to-face conversation, something Kim said she believes is particularly important. “I think that theater’s one of the last things that forces people to be in a room together in the esh in this age of online and virtual communication,” Kim said. “Our show is so contingent on people not just watching something but being an active part of it. Combining a theater production with global issues was one of the reasons Kim audi- tioned for “How to End Poverty.” e Communication junior, who was involved with the sexual violence Essential NU, said she wanted to continue participating in productions that raise important issues. “Linking theater to something that is so urgent and universal as the issue of poverty feels really meaningful to me,” Kim said. “I think that as a politician would with the power of decision-making, we as artists have to be conscious of how what (we) put on stage (impacts) the world.” [email protected] H E C C C C C C C C C U ot g et el n, e y d h U U U U U U R pted sue said “How to End Poverty in Minutes (with people you may or may no know)” lets the audience chose its own adventure. With , in cash sitting cke hae son tive iety and ach R R R R R other.” To facilitate that conversation, the show is about percent written and scrip material and percent audience participation, in which viewers talk about the iss of poverty in small and large groups organized by the cast. Ensemble members s know)” lets the audience chose its own adventure. With , in cash sitti onstage, viewers vote at the end of the show to decide how the money from tic sales should be spent. Created by director and Northwestern professor Mich Rohd, the production is part of the eatre and Interpretation Center’s nd seas which features a number of shows focusing on poverty. “I think that public spaces and public opportunities for safe, imaginative, product dialog around issues of public and social concern are extremely rare in U.S. soci today,” Rohd said. “I think that the arts and theater in particular oer an amazing a very useful opportunity for people to come together and be in conversation with ea other.” R R R R R R R E n ,” e re ’s e NU. ents and arly ent erty eam ning e can who an ue, able rare t it’ ople from across the country who attended the Global Engagement Summit at N is variety has helped Rohd, the ensemble members and other stude involved rene the material. “We learned things from running test audiences through the process, a ula ude ve te rn e c by leaving such a signicant segment of the show up to the audience, they also le opportunity for one-o experiences. “We want every show to be dierent, we want every conversation to be uniqu said Samuel Zeisel, an ensemble member and Communication junior. “If we’re a to relax and not really think of it as a performance, but more think of it as a r conversation with people we don’t know, I think that we’ll begin to nd that a whole lot of fun.” e ensemble has worked with a number of test audiences, including peo E E E E E E N about the subject matter,” Rohd said. “Students don’t just rise to whatever bar we set — they create a new bar. ey’re just fantastic collaborators.” e class consisted of lots of reading and research, along with guest speakers “We learned things from running test audiences through the process, we absolutely continue to adjust and learn and make changes, particu in the participatory section,” Rohd said. For the scripted part of the show, Rohd worked with the stu ensemble members, most of whom took a Fall Quarter course on pov research to inform their writing. “One of the advantages of making new work at a university is you get to bring a t of artists together, students and professionals, and you get to spend a lot of time lear about the subject matter,” Rohd said. “Students don’t just rise to whatever bar we N N N T INSIDE: Odds & Ends 2 | Columns 3 | Reviews 4 Poverty Lines Things fall apart. ‘How to End Poverty in 90 Minutes’ tries to put them back together by opening a dialogue.

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The May 16, 2013, issue of The Current.

TRANSCRIPT

Page 1: The Current - May 16, 2013

T

“How to End Poverty in !" Minutes (with #!! people you may or may not know)” lets the audience chose its own adventure. With $#,""" in cash sitting onstage, viewers vote at the end of the show to decide how the money from ticket sales should be spent. Created by director and Northwestern professor Michael Rohd, the production is part of the % eatre and Interpretation Center’s &'nd season, which features a number of shows focusing on poverty.

“I think that public spaces and public opportunities for safe, imaginative, productive dialog around issues of public and social concern are extremely rare in U.S. society today,” Rohd said. “I think that the arts and theater in particular o( er an amazing and very useful opportunity for people to come together and be in conversation with each other.”

To facilitate that conversation, the show is about )* percent written and scripted material and &* percent audience participation, in which viewers talk about the issue of poverty in small and large groups organized by the cast. Ensemble members said by leaving such a signi+ cant segment of the show up to the audience, they also le, an opportunity for one-o( experiences.

“We want every show to be di( erent, we want every conversation to be unique,” said Samuel Zeisel, an ensemble member and Communication junior. “If we’re able to relax and not really think of it as a performance, but more think of it as a rare conversation with people we don’t know, I think that we’ll begin to + nd that it’s a whole lot of fun.”

% e ensemble has worked with a number of test audiences, including people from across the country who attended the Global Engagement Summit at NU. % is variety has helped Rohd, the #) ensemble members and other students involved re+ ne the material.

“We learned things from running test audiences through the process, and we absolutely continue to adjust and learn and make changes, particularly in the participatory section,” Rohd said.

For the scripted part of the show, Rohd worked with the student ensemble members, most of whom took a Fall Quarter course on poverty

research to inform their writing.“One of the advantages of making new work at a university is you get to bring a team

of artists together, students and professionals, and you get to spend a lot of time learning about the subject matter,” Rohd said. “Students don’t just rise to whatever bar we can set — they create a new bar. % ey’re just fantastic collaborators.”

% e class consisted of lots of reading and research, along with guest speakers who

discussed speci+ c aspects of poverty, such as food prices or housing. Zeisel said the class allowed everyone in the production to have a “common vocabulary.”

“% ere’s so much surrounding these issues, and we wanted to come at it with as much humility as possible,” Zeisel said. “It allowed us to feel like we could at least begin to ask the right questions.”

Rohd created an outline of the show, and the + nal product was written during rehearsals in April and May, said Communication junior Daphne Kim, an ensemble member. % e process was non-traditional, with some parts of the show written in small groups, some parts written by Rohd and others born out of improvised scenes.

When writing the show, Rohd said the team made sure there was not a speci+ c message embedded in the production. He said he encourages anyone who attends the performance to come in with an open mind.

“I hope that potential audience members in the NU community don’t turn away because they assume it has something to say and they either already know what it is or they don’t agree with it,” Rohd said. “I hope folks will consider bringing their background and per-spective to the conversation.”

Zeisel said the show provides an opportunity to break past surface-level discussion and encourage audience members to ask hard questions.

“I would love to have an experience in dialogue and conversation that they don’t usually have,” Zeisel said. “We don’t usually get to have these types of conversations with anybody, let alone a stranger.”

“How to End Poverty” also gives people the chance to have a meaningful, face-to-face conversation, something Kim said she believes is particularly important.

“I think that theater’s one of the last things that forces people to be in a room together in the - esh in this age of online and virtual communication,” Kim said. “Our show is so contingent on people not just watching something but being an active part of it.

Combining a theater production with global issues was one of the reasons Kim audi-tioned for “How to End Poverty.” % e Communication junior, who was involved with the sexual violence Essential NU, said she wanted to continue participating in productions that raise important issues.

“Linking theater to something that is so urgent and universal as the issue of poverty feels really meaningful to me,” Kim said. “I think that as a politician would with the power of decision-making, we as artists have to be conscious of how what (we) put on stage (impacts) the world.”

[email protected]

H E

CCCCCCCCCU

“How to End Poverty in !" Minutes (with #!! people you may or may not know)” lets the audience chose its own adventure. With $#,""" in cash sitting onstage, viewers vote at the end of the show to decide how the money from ticket sales should be spent. Created by director and Northwestern professor Michael Rohd, the production is part of the % eatre and Interpretation Center’s &'nd season,

“I think that public spaces and public opportunities for safe, imaginative, productive dialog around issues of public and social concern are extremely rare in U.S. society today,” Rohd said. “I think that the arts and theater in particular o( er an amazing and very useful opportunity for people to come together and be in conversation with each

UUUUUUR

To facilitate that conversation, the show is about )* percent written and scripted material and &* percent audience participation, in which viewers talk about the issue of poverty in small and large groups organized by the cast. Ensemble members said

“How to End Poverty in !" Minutes (with #!! people you may or may not know)” lets the audience chose its own adventure. With $#,""" in cash sitting onstage, viewers vote at the end of the show to decide how the money from ticket sales should be spent. Created by director and Northwestern professor Michael Rohd, the production is part of the % eatre and Interpretation Center’s &'nd season,

“I think that public spaces and public opportunities for safe, imaginative, productive dialog around issues of public and social concern are extremely rare in U.S. society today,” Rohd said. “I think that the arts and theater in particular o( er an amazing and very useful opportunity for people to come together and be in conversation with each

RRRRRother.”

To facilitate that conversation, the show is about )* percent written and scripted material and &* percent audience participation, in which viewers talk about the issue of poverty in small and large groups organized by the cast. Ensemble members said

know)” lets the audience chose its own adventure. With $#,""" in cash sitting onstage, viewers vote at the end of the show to decide how the money from ticket sales should be spent. Created by director and Northwestern professor Michael Rohd, the production is part of the % eatre and Interpretation Center’s &'nd season, which features a number of shows focusing on poverty.

“I think that public spaces and public opportunities for safe, imaginative, productive dialog around issues of public and social concern are extremely rare in U.S. society today,” Rohd said. “I think that the arts and theater in particular o( er an amazing and very useful opportunity for people to come together and be in conversation with each other.”

RRRRRRRE by leaving such a signi+ cant segment of the show up to the audience, they also le, an

“We want every show to be di( erent, we want every conversation to be unique,” said Samuel Zeisel, an ensemble member and Communication junior. “If we’re able to relax and not really think of it as a performance, but more think of it as a rare conversation with people we don’t know, I think that we’ll begin to + nd that it’s

% e ensemble has worked with a number of test audiences, including people from across the country who attended the Global Engagement Summit at NU. % is variety has helped Rohd, the #) ensemble members and other students

“We learned things from running test audiences through the process, and we absolutely continue to adjust and learn and make changes, particularly

For the scripted part of the show, Rohd worked with the student ensemble members, most of whom took a Fall Quarter course on poverty

“One of the advantages of making new work at a university is you get to bring a team of artists together, students and professionals, and you get to spend a lot of time learning about the subject matter,” Rohd said. “Students don’t just rise to whatever bar we can

% e class consisted of lots of reading and research, along with guest speakers who

by leaving such a signi+ cant segment of the show up to the audience, they also le, an

“We want every show to be di( erent, we want every conversation to be unique,” said Samuel Zeisel, an ensemble member and Communication junior. “If we’re able to relax and not really think of it as a performance, but more think of it as a rare conversation with people we don’t know, I think that we’ll begin to + nd that it’s

% e ensemble has worked with a number of test audiences, including people from across the country who attended the Global Engagement Summit at NU. % is variety has helped Rohd, the #) ensemble members and other students involved re+ ne the material.

“We learned things from running test audiences through the process, and we absolutely continue to adjust and learn and make changes, particularly

For the scripted part of the show, Rohd worked with the student ensemble members, most of whom took a Fall Quarter course on poverty

“One of the advantages of making new work at a university is you get to bring a team of artists together, students and professionals, and you get to spend a lot of time learning about the subject matter,” Rohd said. “Students don’t just rise to whatever bar we can

by leaving such a signi+ cant segment of the show up to the audience, they also le, an opportunity for one-o( experiences.

“We want every show to be di( erent, we want every conversation to be unique,” said Samuel Zeisel, an ensemble member and Communication junior. “If we’re able to relax and not really think of it as a performance, but more think of it as a rare conversation with people we don’t know, I think that we’ll begin to + nd that it’s a whole lot of fun.”

% e ensemble has worked with a number of test audiences, including people

EEEEEEN

about the subject matter,” Rohd said. “Students don’t just rise to whatever bar we can set — they create a new bar. % ey’re just fantastic collaborators.”

% e class consisted of lots of reading and research, along with guest speakers who

“We learned things from running test audiences through the process, and we absolutely continue to adjust and learn and make changes, particularly in the participatory section,” Rohd said.

For the scripted part of the show, Rohd worked with the student ensemble members, most of whom took a Fall Quarter course on poverty

research to inform their writing.“One of the advantages of making new work at a university is you get to bring a team

of artists together, students and professionals, and you get to spend a lot of time learning about the subject matter,” Rohd said. “Students don’t just rise to whatever bar we can

NNNTINSIDE: Odds & Ends 2 | Columns 3 | Reviews 4

Poverty LinesThings fall apart. ‘How to End Poverty in 90 Minutes’

tries to put them back together by opening a dialogue.

Page 2: The Current - May 16, 2013

Odds & EndsPage 2 | The Current Thursday, May 16, 2013

I signed a death waiver Tuesday. It was my !rst, and maybe not my last. Why, you ask? A little old thing called a “Tough Mudder.”

"e Tough Mudder is the premier adventure challenge series in the world. A Tough Mudder, such as the one I will be com-peting in Saturday, is a #$-mile physical torture zone encompassing $$ to $% obstacles designed by the British Special Forces, including, but not limited to, #&,&&&-volt barbed wire, $&-foot trash bins of ice, trench tunnels and #$-foot walls. Oh, and not to mention everything on the course is slathered with Mudder’s signature mixture of mud and butter.

Why would anyone do this, you ask? Well, for one — it’s charitable. "e organization has raised more than '% million for "e Wounded Warrior Project since it was founded in $&#&. So basically, it’s like Dance Marathon on steroids. And besides, you get free beer at the end.

Reading this, you’re probably thinking I’m some crazy !tness rat in search of a !x. Read my theater review — I’m not. On the contrary, the phrase “good workout” always seemed an oxymoron to me. I didn’t see a shred of appeal in the scraping of the ab machines, the pow-dered rancidity of sorority girl sweat, the linger-ing burn even hours a(er a session. So when my two best girlfriends showed me the Tough Mudder signup page, I outright refused.

But then I thought about P-Wild, and how I’d hiked eight straight days on the Superior Trail in Michigan. I thought about the ),&&&-foot mountains I’d climbed in New Zealand. I thought about my three years of Dance Mara-thon and the mental determination required

to complete the !(h and sixth blocks. And I decided this is just one more thing I can do.

So, for the last !ve months I’ve been on a training schedule and a high-protein diet. I’ve had a reason to buy running sneak-ers for the !rst time since high school gym class. I’ve been stalking the Mudder website, reading blogs from Mudder champions and sneaking in push-ups wherever I can. I was especially excited when I saw it listed in Marie Claire as the “New Workout Craze.” For once, I’m trendy!

On Friday, my team of six (including my older sister) will binge on pasta, dye our hair hot pink and watch ass-kicking girl movies until we pass out. On Saturday, we’re waking up at * a.m. to get to Seneca, Ill., where we’ll put our lives on the line for some good, dirty fun.

"e Tough Mudder motivated me to get !t in a way I never would have on my own. And this wasn’t about losing weight — it was about being able to see myself as a strong, determined, go-getting woman who can add a Tough Mudder to her (hopefully) long list of accomplishments. I highly encourage anyone and everyone to sign up for a Tough Mudder: "ere’s one in Michigan on June $+. It will ignite your sense of adventure in a way that is nearly impossible during the daily tread of Northwestern life.

Most importantly, it will make you feel invincible — a feeling each and every one of us desperately needs.

Get tough! Get muddered!

[email protected]

Angelina Jolie opened up and

admitted Tuesday she

had undergone a double mastectomy

to drastically decrease her chances of getting breast cancer from a genetic mutation that predisposes her to the disease. !is revelation has prompted an outpouring of sup-port on social media platforms, as well as from Jolie’s signi"cant other, Brad Pitt. Current and Daily sta#-ers, along with some Northwestern students, chime in on the celebrity’s bold announcement:

“Not pre-med; what’s a mastectomy?”

“Angelina Jolie, you go, girl.”

“Taking action, I like it.”

“Psh. Her body, her choice.”

“Ignore the haters. Good choice.”

“She made a good decision.”

“She’s a beautiful, brave woman.”

— Roshni Rawlani

— Alex Burnham

— Shelby "ordarson

— Jen Reese

— Chelsea Sherlock

— Sowa Imoisilli

— Michele Corriston

“Act before it’s too late.” — Edward Cox

Source: Creative Commons

“Bloody Bloody Andrew Jackson” director Nick Day hasn’t slept much lately with the rock musical opening "ursday night. "e Communication junior took a break from rehearsal to talk with "e Current about guy-liner, Jackson’s legacy and creating ,& characters with #) actors.

THE CURRENT: What should people expect from the show?NICK DAY: It is a kind of play that nobody will have seen before. It’s a

wonderful hodge-podge of styles and sensibilities and themes and interests intellectually. It’s wild, it’s unpredictable and it’s bloody.

THE CURRENT: How did you bring a rock musical to life within the Louis Room?

ND: It’s quite an interesting process. Going from the moment I chose this show a year ago, I knew I wanted it to be big and loud and bright and super bold. So, me and Rachel Marchant, who’s the producer of the show, accumulated an amazing team of designers. We talked to people early and o(en to get them on board because the show is extremely complicated in terms of design. You know, it covers hundreds of years of history, and moves really fast — no scene lasts longer than maybe three or four minutes — and takes place over a multitude of locations, has more than ,& characters and is also a full--edged rock musical with a band and about #% musical numbers, and all of those need to be like you’re in a rock concert.

THE CURRENT: Why did you choose “Bloody Bloody” for your musical?

ND: I was really interested in doing the kind of play that seemed to ask too much of the people performing it. So, having #) actors try to play ,& characters trying to cram all of the stylistic, thematic things into this shows.

THE CURRENT: Jackson was a pretty controversial president, espe-cially with the Trail of Tears and Corrupt Bargain. What is your stance on his presidency?

ND: I am a history major, and I don’t pretend to be an authority on such things, but researching the history behind this show and Jackson has been pretty fascinating to me. He’s certainly controversial, and there’s a lot to be embarrassed by about his legacy, but he nonetheless fascinates me, because it’s quite rare in

studying history to encounter a president who was so unapologetically bold, so kind of overrun by his own passions and his own ideologies that

carried him to do insane things and there’s just a lot to be learned from that. I don’t know how I stand on it because doing the show

and doing my own research has led me to see him as a human being ... that’s sort of the point of the show too is that he’s a very complicated person, much like we all are.

THE CURRENT: How do you create an emo-rock president?

ND: Well, there’s a lot of guy-liner involved, a lot of black !ngernail polish — !rst step. "e script does a lot of that work

for us. It’s an extremely well-written show. I guess the biggest thing I can say is that it’s just unapologetic.

THE CURRENT: What musical number is stuck in your head when you leave rehearsal?

ND: I would say the opening number, “Populism, Yea, Yea!” It’s a super, super repetitive song. It’s quite loud, and it’s totally thrilling to watch. Now that we’ve staged it and we have lights and everything, it’s burned in my mind, just the image of watching that song.

[email protected]

Q&A with...

NICK DAYCHELSEA SHERLOCK

This weekwe’re obsessed with...THE TOUGH MUDDERSAMMY CAIOLA

‘Old Hickory,’ New Musical

Five words for...

ANGELINA

JOLIECOMPILED BY

ELIZABETH FREDA

Hillary Back/The Daily Northwestern

I’M SO THAT GUY Nick Day, Communication junior and director of “Bloody Bloody Andrew Jackson,” works with his cast. “Bloody Bloody” is being shown 11 p.m. Thursday, 8 and 11 p.m. Friday, and 8 and 11 p.m. Saturday in the Louis Room.

Source: Kathleen Bock

Page 3: The Current - May 16, 2013

Columns The Current | Page 3Thursday, May 16, 2013

ASSISTANT EDITORAnnie Bruce

DESIGN EDITORJen White

ASSISTANT DESIGN EDITORMaria Fernandez-Davila

WRITERSJames BienAlex BurnhamSammy CaiolaBlair Dunbar

THE CURRENTEDITOR IN CHIEFChelsea Peng

Elizabeth FredaLaken HowardRohan NadkarniGideon ResnickChelsea Sherlock

column

BLAIR A LA CARTE

! e Memphis Grizzlies and the Golden State Warriors are both scrappy underdogs that have made drastic changes to their jerseys over the years, and their run in the "#$% Playo& s inspired us to reminisce about their threads.

GIDEON RESNICK: When the Grizzlies moved from Vancou-ver to Memphis, I was still being introduced to NBA Street. At the time, the Grizz had a much more intimidating logo, a full-body bear with sharp teeth and claws. ! at is the type of image upon which a franchise can build, like butter for Paula Deen’s or Eminem circa $''( for Dre’s career.

In the "#$% Playo& s, the Grizzlies are sporting jerseys with this blue Brother Bear-looking animal that makes them look like they all went to a “Disney on Ice” show and got tripped up at the merchandise table. It looks like the Animorph bear ver-sion of Zach Randolph, basically two transformation levels higher than his basketball-playing state.

ROHAN NADKARNI:According to exhaustive Wikipe-dia research, grizzly bears live in the “uplands of Western North America.” If the Grizz was going for a color change, why not mix up the logo? How about the Memphis Whiskey? ! e Memphis Hospital-ity? I’d say the Memphis Cat) sh, but we already know that mascot would scar way too many children for life.

GR: ! e jerseys of the Golden State Warriors have evolved over the years almost as much as David Bowie’s sexuality. ! e current one has a solid blue circle with Big Bird-yellow trim, and sports the Golden Gate Bridge inside the circle, also in Big Bird yellow. It’s pretty tame, par-ticularly in comparison to the previ-ous one that had a blue, chiseled guy with a lightning bolt in his hands. It’d be nice to see the Warriors bust out their old threads, even if it’s just to mess with Emperor Popovich’s head. ! ey already got him to wear a tie, so the sky’s the limit.

RN: I actually prefer the War-riors’ new jerseys, which remind me of their old old jerseys. In ’*# and ‘*$, Golden State rocked the bridge in circle logo as well, but that time, the blue and yellow scheme was reversed. ! e blue-chiseled dude reminded me way too much of the villainous horde from your favorite sci-) movie.

What the Warriors should really do is embrace the $'*#s cult classic aptly titled “! e Warriors.” All play-ers should be required to wear head-bands tied around their foreheads that look like the cut-o& sleeves of red T-shirts. And they should make all the uniforms into buttoned vests. (I can’t link to the Snapchat I took of myself with a vest drawn on my shirtless body.) It can’t be worse than their odd-) tting short-sleeved unis.

[email protected]@u.northwestern.edu

Many people will say baking is a science. I’ve always thought of it more as an art, particularly in terms of presentation and especially when it comes to baking a pie. What could be more of a work of art than a beau-tiful raspberry or apple pie topped with interwoven lattice? Sure, there is some chemistry involved, but the crust and the top of the pie are entirely art. Here are a few ways to ensure your pie looks like a master-piece people are eager to eat.

First, there is the lattice top. ! is consists of a series of perpendicular and parallel strips of crust placed on top of the ) lling. Interwoven strips look like a handwoven basket. Although daunting to many begin-ners, making interwoven lattice is relatively simple. First, roll out the dough meant for the top of the crust. ! en, using a knife, cut the dough into long strips. ! inner strips look more classically elegant while thicker strips appear more rustic. Lay the ) rst set of strips in one direction across the ) lling. Next, add the second set of strips in the opposite direction, weav-ing them into the ) rst set. Weaving means taking a strip and alternating between placing it under and over the ) rst set of strips already on top of the ) lling.

If you don’t want to go through all the trouble of doing latticework, you can simply roll out the dough for the top crust and cover the ) lling. ! en, to give your pie just a little more + air, when creating vents at the top of the crust, turn the slits into an interesting design. Make a diamond or + ower or sand dollar pattern.

One of my favorite things to do is cut shapes from the dough like I would when I make cookies. Places such as Williams-Sonoma sell “pie cutters.” I have a set of cutters in the shape of various leaves. When I make French silk pie, which typi-cally doesn’t have a top crust, I cut out leaves from the extra pastry. ! en I bake the leaves on a cookie sheet and place them on top of the pie. I might put a layer of leaves around the edge or create the look of a lattice top. You can even use cutters to cut out shapes in the top of a crust, and then put the crust on top of the pie. Now your vents will be in the shape of leaves!

! ere are so many ways to give your pie that ) nishing touch, which is what makes baking pies so much fun. All you have to do is get a little creative.

[email protected]

BLAIR DUNBARFOOD COLUMNIST

In light of recent personal events, I’ve decided you need to know how to recognize and react to a potentially unsafe or creepy situation. I say this because on Saturday, I met up with a guy at a bar expecting him to be the intimidatingly handsome paragon of accomplishment, yet I somehow found myself dying to escape a, er only half an hour.

Why, you ask? Because with no posi-tive signals from me whatsoever, he thought it appropriate to lean across the table and literally shove his tongue as far down my throat as he could. Sev-eral times. Now I’ll be the ) rst to admit I should have bolted as soon as he ) rst did it, but as I’m sure you know, it can be a little awkward to just run screaming from a crowded bar.

I should have realized right away this guy was no good. ! e ) rst adjective that popped into my head when he started talking was “slimy.” Clearly, my gut instinct was correct. If I had been smarter, I would have made up some reason why I had to leave in the near future so I could be sure he wouldn’t try to prolong the date or get me alone. ! is guy even tried to guilt me into having sex with him, saying something like, “I’ve had a rough week.” When he continued to try to make out with me as we walked down the street a, er we le, the bar, I knew it was

time to bolt for the train ASAP.! e ) rst thing to remember is that you

don’t owe anything to anyone with whom you’re on a date. Regardless of how many times you’ve been out with them previously, if he or she does something like get aggres-sively sexual, you are not at all obligated to stick around or even explain why you want to

leave. Honestly, if you’re eating a meal and you don’t want to stick him or

her with the bill, it’s a good idea to always carry cash so you can dramatically slap down -"# and get the hell out of there to avoid waiting around and making things even more awkward.

Likewise, never put yourself into a tricky situa-

tion like being in a private set-ting with someone you’ve never

met. ! is guy tried to get me to invite him back to Evanston, which was

an obvious red + ag. Remember that no mat-ter what you have discussed before — maybe you sexted with someone, heavily + irted or even talked explicitly about hooking up — you are not required to follow through with anything. I suggest keeping things friendly until you meet someone, because you never know if you’ll actually be attracted to that person in real life.

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ROHAN NADKARNIGIDEON RESNICKNBA FASHION COLUMNISTS@ROHAN_NU@GIDEONRESNICK

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BALLERS AND TIARAS

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DIGITAL GET DOWN

LAKENHOWARDDATING COLUMNIST@LAKENISAHORCRUX

Danger! Danger! Always pay attention to the warning signs — even when you’re

falling head over heels.

“What could be more of

a work of art than a beautiful

raspberry or apple pie

topped with interwoven

lattice?

Page 4: The Current - May 16, 2013

“ T h e G re at Gatsby” is one of those classic novels I have read time and time again. Set in an era of decadence, Jay

Gatsby’s quest for the American dream never fails to leave me hopeful and idealistic. When trailers for the movie adaptation were released almost a year ago, I couldn’t wait to see the ! ick. " e trailer cuts were dramatic and thrilling, and the sound-track held a lot of promise.

Whereas many # lms pick their most dramatic scenes for the trailer, “" e Great Gatsby” had no shortage of grand moments from which to choose. " e entire # lm was a high-energy and theatrical experience, with overly emo-tional acting and extravagant costumes. " e scenery complemented the # lm well because it was also over-the-top, but I found that the graphics looked cheap and took away from the authenticity of the # lm.

I was also extremely disappointed with sound-track. In the trailer, songs like “No Church in the Wild” by Kanye West and Jay-Z, as well as “Love is Blind-ness” by Jack White, set a perfect emotional tone for what was about to ensue. In the # lm itself, I felt the soundtrack did not match up with the on-screen action, and at points, I even felt a strong disconnect between the two. If the songs of the sound-track were meant to correspond to a completely di$ erent era, a little more thought should have been put into the production of the # lm score.

On another note, I appreciated the adaptation of the book. Words from the novel were projected on screen as Nick Car-raway spoke, and I felt connected again to one of the # rst novels

I truly cared about reading. " e movie focused entirely on Gatsby’s relationship with Daisy, which, for a # lm adaptation, seemed # tting. Director Baz Luhrmann managed to weave in other aspects and plot points of the novel beautifully, all while linking back to Gatsby and Daisy.

Luhrmann’s casting was also on point. Leonardo DiCaprio not only has the looks to play Jay Gatsby, but he gentlemanly way he carries himself also truly makes Gatsby’s

character come to life.Carey Mulligan as Daisy Buchanan was another great choice. Her poise and elegance lent to the devel-

opment of her character, and her emotion was palpable when events came to a head and Daisy had to choose.

Nonetheless, I wasn’t crazy about the on-screen dynamic between DiCaprio and Mul-ligan. Gazes that should have held a thousand emotions made me feel like Gatsby was merely staring down a stranger, and Daisy’s emotions

seemed equally empty at times. Alone, DiCaprio and Mulligan portrayed their characters well, but

there was little on-screen chemistry. " ey felt more like friends, contrary to the major plot points of the

# lm.Overall, “" e Great Gatsby” is a pleasing # lm and de# nitely

didn’t leave me bored. " e movie’s plot did the novel justice, as did the majority of the casting decisions. However, it felt gaudy and exaggerated at times when it should’ve felt sophisticated and exhilarating. I think my preexisting love for all things “Gatsby” made the # lm far more enjoyable, and I’m sure other audience members will feel the same.

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“I’ve had dreams of Boston all of my life,” sang Ezra Koenig, lead singer of Vam-pire Weekend, on “Boston (Ladies of

Cambridge).” Part of the band’s %&&' release “Vampire Weekend,” “Boston” chronicles mythical caprices of the Massachusetts capi-tal. However, # ve years later, Koenig and his gang of Columbia-graduated %&-somethings focus on a di$ erent city (New York) and di$ erent thematic ideas.

“Modern Vampires of the City,” released May (), is the band’s third studio album, following the Grammy-nominated “Contra” of %&(&. " e spacious sound of this compilation stems from anti-quated musical tendencies of Vampire Weekend: calypso, ska, Afro-pop, reggae and baroque.

And yet “MVOTC” di$ ers from the cramped anxiety of “Con-tra.” Singles such as “Step” and “Ya Hey” o$ er powerful rhythm and exquisite piano arrangements. Calm tempo controls the progres-sion throughout both tracks, disabling the sprawling erraticism found on songs like “California English” from “Contra.”

" is isn’t to say “MVOTC” contains no upbeat ballads. “Diane Young,” two-and-a-half minutes of crushing percussion, reaches an apex a minute before the song ends and evolves into an orgi-astic combination of synthesizers and distorted electronic guitar. But, as Koenig has said, each song on this album seems to have a purpose.

“If Diane Young won’t change your mind …” says Koenig on the hook, alluding to the specter of death. “Do you think

you can go ‘til the ('th hole?” A prime example of the matured Vampire Weekend, “Diane Young,”

among many songs, discusses mortality. “Wis-dom’s a gi* but you’d trade it for youth/Age is an honor — it’s still not the truth,” sings Koenig on “Step.” Other tracks focus on faith in the modern world. “America don’t love you/So I could never love you,” Koenig harmonizes about God on “Ya Hey.”

“MVOTC” is both straightforward and meta-physical, traits “Contra” lacked. “Horchata,” a

standout of the %&(& release, contains lyrics about drinks, pincher crabs and sandals. “Obvious Bicycle,”

the opening track for “MVOTC,” references existentialism and the insigni# cance of life amid a minimalist beat and a pen-dulum of sweet piano. “You oughta spare the world your labor/It’s been %& years and no one’s told the truth,” Koenig sings with poignant declaration.

And whimsicality, although reduced, still exists on “MVOTC.” “Finger Back” contains a high-pitched Koenig singing against ecclesiastical organs and crashing drums, fast-paced melody ! ashing in and out of the song. “‘Cause this Orthodox girl fell in love with the guy at the falafel shop/And why not?” the singer ruefully asks.

But this break from the transcendental nature of “MVOTC” is an exception to the rule. Although one other song, “Worship You,” is reminiscent of “Contra” in terms of musical performance, the majority of “MVOTC” distinguishes itself from the sophomore attempt. And even “Worship You” breaks into an incomparable horn section, a dazzling spectacle of brass music reconstructed and channeled through a synthetic output.

Vampire Weekend employs a magical lyricism, enchanting and wonderful, that underscores its development as a group. In this case, improvement is synonymous with maturation, both sonically and lyrically. For the indie pop group, an interminable expanse of possibility looms on the horizon.

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ReviewsPage 4 | The Current Thursday, May 16, 2013

movie

THE GREAT GATSBY

ELIZABETH FREDAMOVIE REVIEWER@EFREDAMEDILL

Have you met “" e Mother”?A* er eight seasons, the answer is yes. “How I

Met Your Mother” fans # nally saw the mother in the season eight # nale “Something New.” However, it will take the ninth and # nal season for Ted to o+ cially meet her and for us to learn even her

name.Playing the mother, Broadway star Cristin Milioti showed up at a train station, bass guitar

and yellow umbrella in hand, embarking on her trip to Farhampton to perform at Barney and Robin’s wedding. As early episodes have shown, Ted will # nally see her at the wedding a* er multiple close encounters with his unnamed future wife.

“HIMYM” le* me unsatis# ed. I know what the mother looks like now, and over the course of the show have learned many other details about her and what the future is for the characters, but there are so many annoying unknowns that I’m le* frustrated and desperate to learn about in the next season’s premiere.

" e only true certainty le* from this episode is that Robin and Barney are happy together and ready to get legend — wait for it — married. " ey end the episode by heading to Farhampton for their wedding, riding in a limo driven by Ranjit, who I’m very glad they remembered to include in the episode. He de# nitely deserves a wedding invitation.

Barney and Robin’s soulmate status was rea+ rmed when they met their archenemies and worked together to break them up. “" ey’ve always been our archenemies — they just only revealed themselves,” Barney says. " is scene showcased “Krirsten,” played by Casey Wilson, from “Happy Endings” and Keegan Michael Key, two under-appreciated comedians who I hope become recurring characters.

Ted is miserable throughout this episode, planning to sell his house and move to Chicago to avoid watching Barney and Robin live in marital bliss. " is is kind of point-less because a) viewers know the house Ted renovated is the one shown when Ted talks to his children and b) Ted meets his true love soon and stays friends with everyone. " e scene does have a great line when Ted brags about renovating his house himself, saying “It was pretty manly until I mentioned Ryan Gosling in ‘" e Notebook,’ huh?”

Marshall has to choose whether to go to Rome with Lily or accept an o$ er to be a judge in New York. Marshall’s scenes are the funniest in the episode, especially when he is proposing ways to be a judge while in Rome. “I can’t telecommute? I couldn’t be the crazy speaker-phone judge? Could I be a hologram? Animatronic robot like Abe Lincoln from ‘" e Hall of Presidents’ that I control from afar with a joystick?” Sadly, the answer was no.

Flash-forwards have shown that Marshall is in fact a judge in the future, but whether he becomes a judge this year is up for debate. " is episode provides little resolution, but instead lures viewers into having to watch the premiere of the # nal season.

Hopefully the ninth season will open with the wedding and Ted meeting the mother. " ank goodness fans have been rewarded with at least seeing her because this is becoming one of the longest stories ever told. It’s le* for the # nal season to connect all the clues about the mother’s identity and what happens between now and %&%&.

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music

VAMPIRE

WEEKEND

CHELSEASHERLOCKTELEVISION REVIEWER

Source: Facebook

TOGETHER AT LAST Leonardo DiCaprio and Carey Mulligan’s chemistry is lacking at times in “The Great Gastby,” but their characters’ relationship remains a driving point of the fi lm — and an enjoyable one at that.

ALEX BURNHAMMUSIC REVIEWER

Source: Facebook

MEET THE PARENT With only one season of “How I Met Your

Mother” remaining, actress Cristin Milioti was fi nally shown as the

mother. Fans — and Ted — still remain in the dark about her name.

televisionHOW I MET YOUR MOTHER