Spring break might come in the form of your annual trip to Bora Bora, or it might just mean going home to sleep for seven days straight. No matter what your plans, the free time means it’s time to hit the movie theater right when the theater most needs the money. Intermission has the top movies you should check out over the break.
I recently met a man at an airport bar who told me that he did not believe in the exchange of money for “sacred goods.” One sacred good, he said, was sex and our bodies. At first, I didn’t think much of it, as he was a random man at the very classy Ruby Tuesday’s bar, but he got me thinking. As a self-proclaimed feminist, I have always tried to be a proponent of the positive benefits and female empowerment that can accompany exotic dancing or prostitution.
You’re probably already familiar with “The Crucible”. The play, written in 1953 by Arthur Miller, is his most frequently produced work worldwide and a commonly read text in high school literature classes. Even if you’re already familiar with the play, it’s definitely worth coming out to see the Stanford Theater & Performance Studies (TAPS) production, which provides some interesting fresh takes on the play. For those unfamiliar with the story, “The Crucible” is a dramatization of the 17th-century Salem Witch Trials; it also serves as an allegory for the House Un-American Activities Committee anti-communist investigations that were taking place at the time Miller wrote they play and under which he was questioned. Although the connections between the two events are clear, the story is easy to understand even without any context.
Folks from every corner of the Stanford bubble are gathered in Roble Gym doing jumping jacks set to synth-heavy trap tunes. Some students in sweatpants dance across the space, while others spit poems about station wagons and blond afros. This is just a typical Wednesday evening rehearsal for the Chocolate Heads Movement Band, Stanford╒s most outrageous and innovative art collective. This deconstructed dance crew, directed by Aleta Hayes ‘91, invites musicians, artists, poets, DJs and designers to contribute to their creations.
The great jazz saxophonist Chris Potter brought his newest project as a bandleader, the Chris Potter Quartet, to Yoshi’s Oakland last Sunday for a fantastic show. Since his career began 20 years ago, Potter has distinguished himself as one of the very best and most virtuosic saxophonists on the scene, equally comfortable as a sideman for bassist Dave Holland in his progressive Dave Holland Quintet as with the more traditional pianist McCoy Tyner at Herbst Theatre in 2011. He’s amassed an impressive resume as a sideman with much of the who’s who of jazz today, including recently with the new Axis Quartet with Joshua Redman.
This winter StanShakes, Stanford’s well-loved Shakespeare Company, strikes again. Unlike last quarter, when it won us over through “clean, raunchy, intelligent humor,” it is through heart-wrenching tragedy that StanShakes makes its presence felt with this production.