Street October 16, 2014

Thursday October 16, 2014

The Daily Princetonian

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OPEN BOOK

The days before midterms are all about hitting the books, but there’s no reason why they should only involve tears and empty 5-hour energy bottles. This week, Street takes a look at some of the more exciting titles on Fall syllabi and students’ reading experiences on campus.

Photos and Interviews by

Asssociate Street Editor LIN KING

SAM LICHTENBERG ’15

Reading: “Maus” by Art Spiegelman English 368: American Literature: 1930-Present What’s it about? It’s a graphic novel about the Holocaust, but in a really interesting form…it’s done through animals, so the Jews are mice, the Germans are cats, the Poles are Pigs and so on.

If I remember correctly, the story goes that the New York Times listed it as a fiction bestseller, but the author called them out and said that it was nonfiction, that it was based on his father’s stories. And the New York Times’ response was, “We’ll list it as nonfiction if we go to your house and see that there are mice.”

Favorite book you’ve read for the class? I really liked Lolita, which is probably a weird thing to say given the subject matter of Lolita. But Nabokov has this great fascination with language, and what he does with prose is really amazing.

Favorite book in general? That’s really hard, but it’s probably “Infinite Jest.” I feel like the more time I spend with a book, the more attached I get — same goes for “Anna Karenina.”

VIRGINIA MIDKIFF ’16

Reading: “The Craft of Research” by Wayne Booth, Gregory Colomb and Joseph Williams Religion Seminar: Required Colloquium for Religion Majors What’s it about? It’s basically a manual for approaching research. We read two to three chapters of it every week, and it’s been really helpful. This book is actually awesome. So far, it’s been all about strategies for choosing a topic. Right now, I’m reading about how to take notes so there isn’t any confusion about citations when it comes time to write.

Any tips? One good tip I’ve learned is, if you can’t summarize a reading or article you want to use in your paper without looking at it, then you shouldn’t choose to set up an argument with it. I’m choosing sources right now, so I’m trying hard to keep that in mind.

Favorite book you’ve read for class? It’s called “The Formation of Islam,” and it’s actually a book I read for a class this semester called [NES 240:] Muslims and the Qur’an. It really gave historical context on the Islamic faith and helped me to understand the text of the Qur’an, as well as Islamic teachings.

ADA RAUCH ’17

SANG LEE ’17

Reading: “Voices from Chernobyl: The Oral History of a Nuclear Disaster” by Svetlana Alexievich Journalism 440: The Literature of Fact - Unconventional Foreign Correspondence What made you take the class?

I’ve always wondered how to effectively express my feelings, especially while traveling. I like collecting people’s stories but always felt like I wasn’t able to communicate them effectively, so it’s been interesting to see people’s approaches.

What do you like about the book? The language of the book is very real. It’s presented in a very interesting way — it’s all interviews of victims and their families, and I trust what is being said because they’re real conversations, but at the same time it’s still a story.

What’s your favorite book? The Picture of Dorian Gray. It’s both hilarious and tragic. I guess you could say it’s romantically tragic.

Reading: “Major Works: Selected Philosophical Writings” by Ludwig Wittgenstein Philosophy 338: Required Colloquium for Religion Majors What’s it about? Wittgenstein was a primary player in how analytical philosophy came about in the 20th century, and basically every American university approach to analytical philosophy is still done in this same style.

What’s another reading you enjoyed from the class? There was a reading by someone named Carnap, who tried to construct a logical picture of the world … essentially the philosophy of how things relate, how all the sciences — hard sciences and soft sciences — are connected. It was a bold project, and it wasn’t a success, but it was ambitious and candid and Carnap learned from his mistakes, which I respect.

What’s your favorite book? Works of Love by Søren Kierkegaard.

Thursday October 16, 2014

The Daily Princetonian

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BOOKS CONT’D FROM S1

CAT LAMBERT ’15

Reading: “Elegies” by Propertius Classics 534: Roman Lyric and Elegiac Poetry: Propertius & Tibullus What’s it about? It’s a collection of Latin poetry, and it’s one of the most corrupted texts. There’s a lot of controversy surrounding the manuscripts, and that’s interesting because you can see all the different translations. It’s also incredibly sad. It’s all love poetry, but most of it is about death. And unrequited love.

Favorite reading you’ve had to do at Princeton? I read Virginia Woolf for two separate classes and have really liked both the pieces. One was “The Common Reader” for a [European Culture Studies] class called “Books and Their Readers” with Anthony Grafton, and it was fantastic. I also read “A Room of One’s Own” for a Gender and Sexuality Studies class this semester and really enjoyed it.

MASOOMALI FATEHKIA ’18

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Reading: “Clays: Their Nature, Origin and General Properties” by W. E. Worrall “Introduction to Ceramics” by W. David Kingery, H. K. Bowen, and Donald R. Uhlmann Freshman Seminar 133: Materials World What’s it about? In general, it’s about ceramics and clay — their compositions and chemical structures. The class is kind of about the history of material sciences and man’s use of the materials throughout time. I’m really enjoying it, but since we don’t have any textbooks, these are the kinds of books I use for my lab reports.

What’s the last book that you read that you enjoyed?

I don’t remember the author or the title, but it was a book about critical thinking and arguments. There was a section with all the common fallacies in reasoning that has stuck with me.

The Daily Princetonian

Thursday October 16, 2014

‘The Last Five Years’: a look at love CAROLINE HERTZ Senior Writer

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his show begins like any episode of Law and Order — with signs of a struggle.

A white, semi-translucent scrim delineates three walls of an apartment, in which books and ripped papers litter the ground, the bedspread lies on the floor, cardboard boxes are busted open and memories are strewn about. A war has been waged here, and the company of “The Last Five Years” makes it their business to wind back the clock and show us how it all happened.

“The Last Five Years,” written and composed by Jason Robert Brown and produced on campus by Grind Arts Company, is a two-person show that follows the doomed marriage of Jamie, an arrogant aspiring novelist, and Cathy, an insecure struggling actress. The story of their troubled courtship presents itself through an unconventional narrative strategy. Jamie tells his version of the story chronologically, from his first lovestruck meeting with Cathy to the day he leaves her for another woman. Meanwhile, Cathy’s version unfolds backwards, beginning with her heartbreak upon Jamie’s abandonment and ending with the radiant first glimmer of love. The two versions (and thus the two actors) meet on stage only once, halfway through the play for the scene of their engagement, when their outlooks are fleetingly aligned. This structure enforces a cruel balance of joy and anguish — one of the characters is always on a high; the other is hurting. In the world of the play, happiness is never doled out without an equal dose of pain.

A play like this, with only two actors presenting the story with an intellectual narrative spin, has obvious challenges. How do you prevent stagnancy from creeping into what’s essentially a song cy-

BENJAMIN KOGER :: PHOTOGRAPHY EDITOR

cle, where two actors pass the stage back and forth like a Bop It? How do you keep your audience from becoming hopelessly confused with the chronology? How do you convince an audience to mourn the loss of a couple they rarely see together?

This production faced these challenges head-on and grappled with them spectacularly over the course of the show. There’s a reason director Eamon Foley ’15 chose to make the walls of his set out of stretched, translucent material; the two actors are not the only ones creating this piece. Behind the scrim, two stunningly talented dancers — Trent Kowalik ’17 and Sophie Andreassi ’16 — move in silhouette, embodying Jamie and Cathy’s haunting memories of each other. When Jamie, played

by Graham Phillips ’16, sings his first song, “Shiksa Goddess,” a number that captures the exuberance and promise of the couple’s first meeting, he doesn’t sing to Cathy (Deirdre Ricaurte ’16), who slumps dejectedly on the sidelines coping with the fresh wounds of heartbreak. Instead, he sings to a shadow of Cathy, created by Andreassi behind the scrim, who flits and poses flirtatiously above the real Cathy’s head. In a particularly innovative moment during this number, Phillips draws a rose on the scrim with sidewalk chalk, and a rose suddenly appears in shadow — Cathy’s hand. Throughout the show, with the exception of the one scene in which the two characters’ timelines meet, Ricaurte and Phillips share the stage with their shadow-partner, singing to the silhouetted figures as if they were their true lovers. The effect is twofold. First, stagnancy is chased away as solos suddenly transform into scenes. Second, we come to understand that these two people never really knew each other. The shadow of their spouse represents the person they imagine their spouse to be — a surreal, theatrical figure distinct from the authentic flesh-and-blood being who shares the stage with them. We begin to understand the underpinnings that doom this love from the start.

Phillips is, on the whole, delightful as Jamie. With his iceblue eyes, chiseled jaw, perfectly coiffed dark hair and slightly feral, albeit charming, smile, Phillips constructs a man that is every bit the charming jackass. His Jamie is one of those self-absorbed, prodigal talents to whom everything comes easily and early. Phillips shines most in “A Miracle Would Happen,” a number in which Jamie ex-

presses his comic exasperation with monogamous life. “Except you’re sitting there / Eating your corned beef sandwich,” he sings manically, “And all of a sudden this pair of breasts walks by / And smiles at you/ And you’re like / ‘That’s not fair.’ ” Vocally, Phillips performs excellently, riffing his way through Jason Robert Brown’s rollicking rock score with impressive ease.

Ricaurte also does a very fine job of bringing Cathy to life as an energetic but self-doubting actress whose drive does not seem quite capable of powering past the daily frustrations of her profession.

However, Ricaurte struggles to handle the vocal demands of the role. I feel for her — as a performer myself, I know how stratospheric and challenging Cathy’s score can be, and I can only imagine how taxing singing that role day after day must become. Nevertheless, in a show that’s almost entirely sung-through, a performer with consistent vocal trouble is incredibly distracting and detracts from the show’s emotional punch.

:::::::::::::::::::::::::::::::::::::::: “The Last Five Years” Pros: Wonderful innovation,

such as the use of silhouette and dance Cons: Some story confusion,

some vocal roughness

:::::::::::::::::::::::::::::::::::::::: There were also a few moments in the show where the innovations obscured the story. For example, throughout the show, Jamie draws the details of their lives together on the walls of their apartment — paintings, bookshelves, a door.

At one point toward the end of the performance, Cathy, who has not drawn anything throughout the whole show, picks up a piece of chalk and draws enormous, abstract pink roses. But rather than illustrating anything remarkable in Cathy’s character arc, the moment confused me more than anything else. Also, at several points, both performers stumbled over forgotten lyrics, momentarily hinting at a lack of polish.

This is a show that refuses to lay blame. Jamie becomes arrogantly wrapped up in his own ego, while Cathy allows her jealousy of Jamie’s success to get the best of her, refusing to support his career when he needs her. We as the audience are not asked to take sides. This is simply a story of two people who weren’t meant to be together. Even if Jamie is unavoidably a prick, he doesn’t force Cathy to marry him. The Cathys of this world allow talent to seduce them even as they suspect that it will end in heartbreak. And whose fault, ultimately, is that?

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BRICK BY BRICK

Prospect House and Garden HARRISON BLACKMAN Senior Writer

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etween the monolithic bustle of Frist Campus Center and the postcard-perfect sector of North campus, Prospect House and its adjoining garden stand apart. While the Italianate villa and its small botanical garden currently serve as a faculty dining hall and gathering point for various segments of the Princeton community, the building has a remarkable history and has evolved in many ways over the years. From serving as a summer retreat for Southern slave-owners, to the much-protested home of University President Woodrow Wilson Class of 1879, to the house’s ultramodern redesign in the 1960s, Prospect House has participated in Princeton history, as well as American history, in surprising ways.

According to Princeton historian W. Barksdale Maynard ’88, Prospect House was a private home in the colonial period. John Notman, the architect who renovated Nassau Hall in the Italianate style around the same period, rebuilt Prospect House in the Italianate style in 1851. At that time, it was the summer home of John Potter, a slave-owner from Charleston, South Carolina. “[The Potter family] came up here in the summers to escape the yellow fever,” Barksdale said. “They brought their Charleston lifestyle up here with them, slaves and all.”

In 1879, the house was donated to the University and became the house of University President James M c C o s h .“ [A t the time], it was called the finest President’s house at any American college,” Barksdale said.

Under Woodrow Wilson’s University presidency, the house took on new significance as contested ground between

Wilson and the student body.

“As a president’s house, [Prospect House] had a certain kind of aura about it, and a certain kind of isolation,” University Architect Ron McCoy GS ’80 said. “This is something that Woodrow Wilson specifically thought he needed to promote.” As a result of what appeared to the Wilson household as too many students walking through the property, the Wilsons installed a tall fence around the property to maintain a residential space.

“Wilson had just finished building a house for himself on Library Place,” McCoy said. “When he [became] President, he was disappointed he had to leave the house he had just built for himself.”

According to a National Park Service application for historic preservation, Prospect House’s tall fences became a contentious issue for the student body. During a senior class parade, a contingent of students wore black gowns, peaked hats and black masks to “represent the fence.” The protesters even carried “a pig in a cart” to symbolize Wilson’s selfishness for isolating Prospect, the report stated.

“At about the same time, the story is [the protesters] convinced a group of freshman to hammer a section of the fence into the ground,” McCoy added. “It was definitely a source of student pranks and protests.”

The Wilson family’s influence, while at times contentious, redefined the space for decades to come and placed the house at the crossroads of American history. Ac-

cording to Maynard, when Wilson announced he was going to run for the governorship of New Jersey, the press surrounded Prospect House, bringing national attention to the building and Princeton in general.

Moreover, Ellen Wilson, Woodrow Wilson’s first wife, remodeled the house in 1902 and designed Prospect Garden.

“When she moves to the White House in 1914, [Ellen Wilson carried] with her the memory of Prospect Garden and the roses and she [proposed to] have a “Rose Garden” at the White House,” Maynard said, revealing the how Prospect Garden has influenced the design of the executive mansion.

In the 1960s, social unrest on campus persuaded then-President Goheen to move the University president’s house off campus, which repositioned Prospect House as a faculty dining hall. According to McCoy, the modernist architect Warren Platner transformed Prospect House by adding a glass addition that sits above the garden, in addition to incorporating modern furniture and shag carpeting. “[It was] totally cool,” McCoy said.

But the shag of Prospect was not to last. In the 1980s, the building was refurnished yet again in a more conservative style, according to Maynard.

Today, Prospect House serves as a faculty dining hall but also a meeting place for the Board of Trustees and various departments and administrations. According to McCoy, in 2012, Woodrow Wilson’s tall fences were removed to open up the space.

GRACE JEON :: SENIOR PHOTOGRAPHER

I heard some of my friends talking about “female condoms” earlier today. I always thought that only male condoms existed!

What are female condoms, and why would you choose them?

— Curious

Dear Curious,

It’s great you want to learn more about barrier methods of protection. You’re right — male condoms are more common, but female condoms are also a great alternative for protecting yourself.

Female condoms are long tubes of nitrile with a flexible ring at each end to keep them in the right place.

While they are not specifically approved or recommended for anal sex, the female condom can be an option to try if you or your partner have a latex allergy since the condom is made of nitrile, or if you have had other problems with using male condoms for anal sex.

Because they can be used for either vaginal or anal sex, they are sometimes also called “internal condoms.” They basically work in the same way as male condoms: they form a barrier between the penis and vagina or anus, reducing the risk of pregnancy or contraction of a sexually transmitted infection (STI).

For vaginal sex, internal condoms are inserted into the vagina before sex. They can be inserted a few hours beforehand. One end is open, and one end is closed, so that it can collect the male’s semen. The first step is to pinch the ring on the closed end of the condom and to insert it as far as you can into the vaginal canal. Use your finger to push the ring up to your cervix. After this, you won’t be able to feel the ring. The outer ring, on the open end of the condom, stays outside of your vagina and provides extra coverage of the vulva. You can use water-based lube for additional ease and comfort. To remove the internal condom, twist the ring on the outside of the vagina and pull out the condom. Then, you can dispose of it in the trash.

For anal sex, follow the same instructions, but insert the internal condom into the anus slowly. You can also remove the ring from the closed end of the internal condom before insertion, which might be more comfortable.

There are a few things to keep in mind when using the internal condom. Internal condoms should never be used with male condoms.

The friction increases the likelihood of breakage. Rather than providing more protection, using both at the same time can actually

weekly glimpse at campus fashion

Dear Sexpert,

THREADS

ASK THE SEXPERT This week, she discusses internal condoms. put you at greater risk. Also, just like male condoms, each internal condom should only be used once.

Some people choose internal condoms so that both partners can share responsibility for reducing risk of STIs. Additionally, it can be inserted up to eight hours before sexual intercourse, unlike a male condom, which must be put on when the penis is erect. Those with latex allergies can also use internal condoms. For women, internal condoms may increase pleasure by stimulating the clitoris during vaginal intercourse. Also, internal condoms stay in place whether or not a man maintains his erection—so it can allow for more cuddle time. However, internal condoms may be more expensive than male condoms and can cause irritation for some.

Internal condoms are available on campus at the LGBT Center or off campus at pharmacies.

— The Sexpert Interested in Sexual Health? The Sexpert is always looking for members of the community to join the team of sexual health educators who, along with factchecking from University health professionals, help write these columns. Email sexpert@dailyprincetonian.com for more information and questions about sexual health. Don’t be shy!

LISA GONG ::STAFF PHOTOGRAPHER

Name: Lana Daniels Year: 2016 Major: EEB Style summarized: Casual chic Favorite past Halloween costume? A single flip-flop in the 6th grade, made from cardboard with my dad’s help.

If you were a cartoon and only had one outfit, what would you wear ever episode? Clothes to slay the patriarchy.

The Daily Princetonian

Thursday October 16, 2014

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Q&A All-Nighter resumes with new season 3 hosts

Eliot Linton ’15 and Jake Robertson ’15 Contributor

JR: Some of the sketch-writing principles that we learned in Triangle can be applied to writing sketches for All-Nighter. I think improv [Quipfire] definitely has helped.

EL: I did some stand-up freshman and sophomore year because I don’t have as much performance [experience] as Jake or David Drew or as I should, really, to be doing what I’m doing. But yeah, I did standup freshman and sophomore year and so that is the only reason I can do it.

JR: Even if you do have performance experience, it’s a very different type of performing — even from improv. In improv, you’re doing scenes and here you’re responding to people who aren’t doing improv, in the case of interviews and things like that.

DP: Do you have a favorite sketch that you’ve done?

JR: I’ve done a lot of silly ones. Some of my favorites are ones that you can’t tell if it’s going to work until you go out and then it does. There was one that was called “Sad Pickpocket.” That was really odd. It was this guy who comes out, and he’s a theatrical pickpocket. I thought that was really fun, because it was a nice opportunity to be silly but it was also an opportunity to be kind of dramatic.

EL: Alex Moss [’14] wrote that [sketch] and he said that Jake gave much more to it than it ever deserved.

DP: How do you decide which sketches to run?

EL: It’s whatever we think is going to do best. This year there are seven or eight people that are writing regularly, and we really only have room for five, maybe six, things per show. In any event, you just try to put together the best show.

JR: You don’t want stuff that’s too similar.

You want to have a variety of different types of pieces.

DP: Who has been your favorite guest on the show?

EL: I was really excited about Shirley [Tilghman] and [President Christopher] Eisgruber was fun too. I also really liked Singer too, especially because when we emailed to ask him, his response was so strange ... He basically completely trashed what late-night talk shows were and then was like, “But as it happens, I’m free that night, so I’ll do it.”

DP: What is the scariest part of each show?

EL: It’s different now that I’m the host. It used to be just how everything would go because we knew all the jokes and then when your sketch comes up, you’re wor-

ried if the actors are going to mess up a line or the people aren’t going to hear something or something is going to go wrong.

JR: When it came to this first show, because it’s such a change and people have grown used to the dynamic of the past two years, I was a little afraid. I thought, “Will they be willing to embrace this new dynamic that we have?” And luckily I think they were and a lot of our feedback was, “It’s very different, but we liked it a lot.”

DP: Have you guys been surprised by how successful the show has continued to be?

EL: Nothing was as surprising as how successful it was at the beginning. The story is that we thought we were going to do it in Whitman [College Class of 1976] Theatre, which is a [nearly] 70-seat theater. But we couldn’t use it so we reached out to Frist, which [has an approximately] 200-seat theater. We thought, “Fine, we’ll just fill up a bit of it.” But then the seats filled, the balcony filled and we turned away a line of about 50 people. After that, we’ve sold out every time. It was very cool to see it go well this time, and it was a relief, but it wasn’t quite as surprising.

DP: Have you guys started work on the next episode? Any spoilers?

EL: We know the professor guest, who is Brian Kernighan, who is a COS professor.

He’s really nice and he teaches COS 109 [: Computers in Our World], which is cool because he’s very, obviously, qualified and into computer science, but he also wants to help everyone learn a little bit more about it rather than just teaching the really hard classes.

JR: He also knows tons about literature and is a very well-rounded guy, so it’ll be a really cool interview.

DP: Would you be interested in working on some sort of sketch show in the future?

EL: I think it would be fun. I think it’s a hard thing to get involved in, but it’s so fun to work on, and it would be really fun to work on it in real life too.

JR: I’ve always known that I wanted to do theater and be an actor, but this [AllNighter] opened me up to a whole other world of performance beyond stage acting. Improv has done the same thing. I’d love to be able to perform and make a living out of it.

DP: Do you feel famous around campus?

David Drew [’14] was sort of a campus legend in his own respect.

EL: So, he had Quipfire, and he also had

TOP TEN Princetoween Costumes

GRACE REHAUT Street sat down with All-Nighter Season 3 hosts Eliot Linton ‘15 and Jake Robertson ‘15 to get a behind-the-scences look at Princeton’s favorite (and only) late-night talk show. See unabridged interview online.

Daily Princetonian: So there was obviously a big transition this year, what with losing David Drew and all. How has that been?

Eliot Linton: Even though we have only done one show, it’s been cool to see how everybody stepped up. There were these great, really talented, amazing, smart, funny people and so there were a lot of things that worked for them to do but now that they’re gone it’s been awesome to see all of us — the other kids — step up and be able to do it all.

Jake Robertson: We’ve been able to establish our own dynamic for it, which I think is cool because I know that the founders didn’t want it to be just them. They wanted to create something that could live on after them and change and function depending on who was involved, and so the opportunity for us to put our own stamp on the show is really exciting.

DP: What do you want that stamp to be then? What are you looking to change from last year?

JR: I don’t know that we have particular things that we want to change — I think the more important thing is that we just utilize the strengths of this group in particular to reinforce the goals of the show.

We want to reach a bunch of people on campus from different backgrounds and different groups and bring them together by showcasing the amazing people that we have on campus.

DP: What is the process through which you became hosts? Did you always know you wanted to be hosts?

EL: I’m sure I thought of it at some point.

In the end, there was no one else my year who had been doing it [long enough], and there was also nobody else who made sense to do what Jake has to do but Jake.

You need someone who is a good improviser.

JR: Someone who’s crazy.

DP: Do you feel your background in Triangle helped you prepare for the show?

EL: Head Writer Lauren Frost [’16] and I did a lot of the script preparation for that and we’ve both been head writers for Triangle.

I think that helped in terms of putting a show together, getting people to write and giving revisions.

STREET’S

a much more memorable name than I do.

Last year, Nick [Luzarraga ’15] said, “How are you going to host? You don’t have the name for it!”

JR: I don’t know what it would be. Eliot Lint?

EL: That’s it — that’s what I’m missing.

JR: It is nice when people say, “Hey, that was a great show.”

EL: That’s the main thing about performing and having your name on the thing.

I’ve always worked on the show but now people say good job for it, which when you’re a writer they don’t.

DP: On a related note, what is the most rewarding part of producing the show?

JR: I’m just so honored to be a part of it, because it really is an incredible phenomenon that happens on campus. Being able to say that I made my contribution to this really amazing thing, I think that’s the most rewarding part of it. Also being able to share the stage with someone I really care about and explore a friendship in that way is really neat, too.

EL: I was just going to say doing a good job. It’s something I like doing, and so I enjoy anytime I feel like I do it right and make people laugh. I’m also very happy to have been involved with it from the beginning, because I feel like in small ways I’ve shaped it and helped with its voice. I came up with the name — that’s probably the most important thing I’ve done.

DP: What is the origin of the name?

EL: The origin is that we were supposed to brainstorm names, and I was a tryhard back then, so I came up with a bunch. There was one that I wanted more than All-Nighter, and so when we voted, I didn’t vote for All-Nighter.

But I’m glad it won. The one problem with the name is that there are a lot of people who think that it’s a show that goes all night, and they think, “I don’t have time for that.” It’s something that we didn’t anticipate, and it’s kind of a bummer. I’ve heard about five people say that, so there must be more people that think it.

DP: On a final note, how has it been working together?

EL: It’s been great. We live on the same hall and we’re all always working on stuff together.

JR: It’s cool to be able to work on something new. But it’s also not just us, it’s very much the whole team collaborating.

Look out for All-Nighter’s next show on Nov. 7.

1 3 5 7 9

Dean Malkiel deflated.

2 4 6 8 10

Blue Ivy and North West.

Siri.

Scarlett Johansson from the movie “Her.” Downton Abbey cast.

A Farmer and a hoe.

The Olympic torch.

Effie and President Snow from “The Hunger Games.”

Eisgruber.

Uber cars.

CAMPUS PICKS CONCERT Princeton University Orchestra Season Opener Richardson Auditorium Friday and Saturday, 7:30 p.m.

Do you like music? Orchestral music, perhaps? This week, you’ll get the chance to be swept off into the clouds with the Princeton University Orchestra’s opening night of their 2014-15 season, conducted

by Maestro Michael Pratt. They will be playing Jon Russell’s gorgeous “Concerto for Bass Clarinet,” a highly anticipated clarinet piece, as well as Edvard Grieg’s “Piano Concerto in A Minor,” which has been featured in various popular media, including the cult David Lynch TV show “Twin Peaks” and the video game “Sid Meiers’ Civilization V.”

MOVIE Rocky Horror Picture Show Theatre Intime Friday, 10:30 p.m.

Do you wish you could skip over all of your midterms? If so, come out to Theatre Intime to do the Time Warp — at least, for a little while. That’s right, it’s Halloween season, and that means it’s time for darkness and debauchery. Or, as we call it, The Rocky Horror Picture Show! Whether you’re a longtime viewer or a virgin to the show, this is the perfect performance for you. Admission is free, but the less experienced among you can pick up a RHPS starter kit with all the needed props for just $5. So come on out, keep an open mind, and let’s make this Orange Bubble a little bit sexier and a whole lot weirder.

CHOCOLATE Institute for Chocolate Studies Factory Tour COURTESY OF MARCOS CISNEROS ‘15

COURTESY OF MARCOS CISNEROS ‘15

Season 3 host Eliot Linton ‘15 takes his seat behind the All-Nighter desk for the first time.

Co-host Jake Robertson ‘15 and the cast in a season premiere sketch.

HEADLINERS AND HEADSHAKERS articles you didn’t read this week DAILY PRINCETONIAN STAFF

Princeton students deemed undatable; Princeton mom clarifies that the men are catches, only women should worry USG undertakes counter-Yik Yak initiatives; flies to DC for counterinsurgency training from CIA Sally Frank discusses gender politics of eating clubs; TI responds, “Frankly, my dear, we don’t give a damn”

Women’s Center posters* fo rce students to wonder if there is more to feminism than Beyoncé HOUSE OF CUPCAKES REOPENS LIKE A PHOENIX FROM THE ASHES

Princeton files motion to dismiss mental health lawsuit, treating this facet of mental health as it treats all others: by dismissing them.

FRIST CAMPUS CENTER, EAST TV LOUNGE Friday, 1:30 p.m.

Melt away all of your stress this Friday with the Princeton Institute for Chocolate Studies and learn exactly how unassuming cocoa powder is transformed into delicious chocolate.

Not only will they be showing you how it all works, but they will also be giving out samples and selling bars of their hard work. Between learning more about the world’s favorite candy and sampling some yourself, you’re sure to have a sweet time.

THEATER ‘This is an Elephant’ Marie and Edward Matthews ’53 Acting Studio at 185 Nassau Street Friday and Saturday, 8 p.m.

“Listen closely to what I’m saying. Do you follow? Does that make sense? You know what I mean, though, right? I’m sorry I shouldn’t have said. Wow — it’s just so. You know. That we ran into each other.” This is the first glimpse the Lewis Center has offered into the senior thesis production of theater certificate student Ava Geyer ’15, “This is an Elephant.” Written and directed

by Geyer, this completely student-made play explores modes of expression in conflicts of marriage, parental roles and sibling relations — all you need to know about dysfunctional families.