February 7, 2013

Volume XVI • Issue seven

February 7, 2013

The Scripps Voice Inside...

A closer look at Scripps tuition hikes

By Nikki Broderick ’14 Staff Writer

I

Arts & Ent. Caroline Nelson breaks down HBO’s “Girls”

page 9

Student Life CLORG Spotlight: Serenade your valentine with Mariachi Serrano

page 12

n July 2012, President Lori Bettison-Varga informed the Scripps community of an error in reporting the average amount of debt students incur after attending Scripps College. This information, which was provided voluntarily by Scripps to the Common Data Set, underreported debt averages for Scripps graduates.

The College hired O’Melveny and Myers LLP, who, in turn, hired Grant Thornton LLP to conduct an internal investigation.

The investigation found that President Bettison-Varga did not encourage any manipulation of statistics.

Quite simply, Scripps failed to report loans that were not need-based, such as private or federal loans, into the cumulative debt total. Grant Thornton’s recalculation of such debt found that while the average reported cumulative debt for the Class of 2011 was $13,121, the actual cumulative debt incurred totaled $22,466.

While this false data in no way affected students’ financial aid

packages, the amount of debt does raise questions of exactly how much a Scripps College education costs and the continued increase in tuition.

For the 2012-2013 academic year, the total cost for resident students at Scripps (not including any financial aid or merit based awards) comes to $57,088. Out of this total, $43,406

accounts for tuition. Joanne Coville, Vice President of Business Affairs and Treasurer at Scripps, explains, “Most of our revenue for the total budget comes from tuition—about 69%. The rest comes mostly from large chunks of money, such as grants or from our endowment.” She also explained the budget process that occurs every year in order to determine how much tuition will increase, if at all. Of

Scripps’ total budget, 62% of direct spending is spent on faculty, staff and benefits, while another 14% accounts for the shared services and programs offered by the Consortium, such as Keck Science Center and CMS athletics.

Compared to the rest of the 5C’s tuition totals, Scripps comes in third. The most expensive Claremont college (disregarding room and board) is Harvey Mudd, with a tuition total of $44,149. The least expensive is Pomona at $41,120.

C l a re m o n t McKenna, Pomona, Pitzer, and Scripps do not fix tuition at the rate that students paid for their first year, meaning that tuition will most likely increase over students’ time in Claremont.

While financial aid packages are adjusted to meet any demonstrated need, most merit-based awards at Scripps do not adjust for any increases in the price of tuition. According to Coville, increases in tuition stem from continued on page 3

QRC to host forum on stopping sexual violence

By Rosemary McClure ’13 Editor-in-Chief

Features Oscars! Reviews, analysis, and our picks.

pages 6-7

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Op-Ed Pandora’s Box: 15 things I hate about porn page 4

n Saturday, Feb. 9, at 4:00 p.m. the Queer Resource Center of the Claremont Colleges will host a student forum on stopping sexual violence at the 7Cs. This forum intends to bridge the gaps between existing advocacy groups such as It Ends Here, the Motley, the Sexual Assault Awareness and Resource Committee, and the Pomona College Advocates for Survivors of Sexual Assault. All will be represented at this event, planned by the QRC committee Queer Survivors Project Team.

A mural by vigilanti feminist graffiti group Seattle Grrrl Army photo | Rosemary McClure

There has been a lot of discussion this school year on ending rape culture across the 5Cs. Often conversations about sexual violence take a heteronormative approach that excludes the queer experience.

Said organizer Olivia Buntaine ’15, “The point of us having it at the QRC is to encourage folks to bring an intersectional lens to sexual violence and intimate partner violence on campus.” This forum will be student-led and all are welcome.

Representatives from the various

campus groups will introduce themselves, introduce the work they have been doing, and share what they are planning to do next.

“We hope, after a couple of these conversations, to engage with administration about how to change these policies,” said Buntaine.

“Once we are more united as a student body about what we want to see changed, then we can be more effective.”

For more information, contact the Queer Survivors Project Team at queersurvivorsQRC@gmail.com.

1030 Columbia Avenue | Claremont, CA 91711 | Box 892 email: scrippsvoice@gmail.com | website: voice.scrippscollege.edu

2•News photo | Caroline Novit ’14

SAS Corner Taking back the pool

By Meredith Kertzman ’13 and Emily Jovais ’13 Student Activities Chair, SAS President

A

s SAS board members, our main priority is to listen to feedback from the student body and address student concerns. Last semester, SAS and the Field House staff received numerous complaints about the lack of space and feelings of general discomfort at the pool attributed to the growing number of students from the other colleges. Frequently, Scripps students were turned away due to overcapacity and some reported feeling alienated and uncomfortable with conversations and the overall culture of the pool area.

After a meeting between Tamsen Burke, the director of the Field House, and SAS President, Emily Jovais, it was determined that a survey was necessary in order to find out how students are (or are not) using the pool and why. In Nov. 2012, SAS and the Field House drafted a survey that was sent out to the student body via the SAS-L. Our goal was to gain a better understanding of student’s opinions regarding the pool and its atmosphere so that we could justify any changes to the hours.

When asked about the nature of their visits to the Scripps pool, the majority of participants (69%) said

that they use it for study breaks and leisure time. Participants were also given a list of reasons for not using the pool and were asked to choose all that applied. The top three were: concern about body image (48%), lack of lounge chaises/chairs (43%), and inconvenient pool hours (32%).

We also wanted to understand the student body’s opinion on womenand Scripps-only hours. 57% of respondents found women only hours very important and 30% found them somewhat important. When asked about their initial reaction to the idea of Scripps only hours, 44% of participants were strongly in favor of them and 40% of participants were somewhat in favor.

After hearing the initial concerns raised by students and seeing the results of the survey, the Tiernan Field House reviewed its pool program with CMC and HMC, with whom we share our facilities, and sought further feedback from SAS. The new pool hours are the result of these conversations with our CMS counterparts and meetings between SAS Executive Board members and Tamsen.

The Tiernan Field House’s new

Charles

Krauthammer comes to

Scripps

By Stephanie Steinbrecher ‘16 Staff Writer

F

rom Eleanor Clift to Tom Hayden to Abigail Disney, last semester saw its fair share of liberal lecturers on the stage of Garrison Theater and in the Hampton Room. On Feb. 7, a face and mind different from the rest will be added to the impressive list of guest speakers at Scripps. Dr. Charles Krauthammer, winner of the Pulitzer Prize and well-known conservative political commentator and syndicated columnist, will visit Scripps courtesy of the Elizabeth Hubert

photo courtesy | Steve Barrett

weekend pool hours are a direct reflection of student feedback and an example of positive collaboration between SAS and Scripps administration. While this was a difficult decision that entailed lengthy discussions and many different potential options, SAS is happy with the result and confident that these changes address the principal concerns raised by students.

While this is a significant change, our hope is to create a space on campus where all Scripps students can come and enjoy this part of our beautiful campus. We believe that there is something unique about a Scripps-only space and our hope is that the pool with become a place for the Scripps community to gather, mingle, and relax.

The new hours for the pool on Friday, Saturday, and Sunday are: • 12-2 p.m.—Scripps undergraduate

Malott Public Affairs Program.

“Dr. Krauthammer was invited specifically to be the 7th Annual Elizabeth Hubert Malott Public Affairs Program speaker for 2013,” said Ambika Bist ’15, the 20122013 Malott Commons Program Associate. The goal of this program is to “bring the world to Scripps students through speakers with politically conservative points of view and expertise in areas of public policy,” said Bist. The Public Affairs Program is the only lecture series that specifically aims to bring conservative speakers to the Scripps community with the purpose of broadening students’ perspectives.

“Liza Malott Pohle, trustee to Scripps College and daughter of Elizabeth Hubert Malott, said ‘college campuses are perceived to be liberal environments. My mother’s program would bring a more conservative—and different— point of view to campus,’” said Bist. Krauthammer, the Malott Commons team believes, will provide that difference.

“The National Review” hailed Krauthammer as “Obama’s critic-

students only, no guests (this means Scripps students ONLY— does not include post-bacs).

• 2-3 p.m.—women only, guests allowed (CMS Women and their female guests).

• 3-5 p.m.—Coed, guests allowed.

Now that we’ve lived one weekend with these new hours, SAS wants to know what you think. How will the new hours affect your pool usage? Do you think they are a positive change?

Feel free to let us know at beheard@ scrippscollege.edu or come to one of our meetings (which are always open to the community) on Sunday nights in the Student Union from 7:009:00 p.m. We would love to hear your input on the recent changes so that we can continue to advocate for Scripps Students and make the pool a pleasant place for all of us to enjoy.

in-chief.” As such, Krauthammer is set to speak about the Obama administration and the role of the GOP on Feb. 7 in Garrison Theater.

Krauthammer is the winner of the Pulitzer Prize for his political commentary, was named by “The Financial Times” as the most influential political commentator in America, and is known for his bold and original writing as a syndicated columnist for The Washington Post.

“We hope that Dr. Krauthammer, like past speakers, will bring a unique opinion to the Scripps College community,” said Bist on behalf of Malott Commons. “Our intention is for students to engage in lively and informative conversation with him during the small group discussion as well as the questionanswer portion of the talk.”

Priority seating in Garrison Theater will be given to members of the Scripps community with their Scripps ID. All other seating will be available on a first-come, firstserved basis. The presentation starts at 7:30 p.m.

February 7, 2013 • The Scripps Voice • Volume XVI • Issue Seven

Opinions & Editorials•3

The Scripps Voice Editors-in-Chief Rosemary McClure & Lauren Prince Advisor Sam Haynes Design Editors Elaine Chan Aidan Harley Becca Marx Copy Editors Megan Petersen Star Schneider Alexandra Vallas

I Am Scrippsie, Hear MeRoar

All the Single Ladies, All the Single Ladies

By Lily Foss ‘13 Feminism Columnist

M

y boyfriend and I broke up over break. That isn’t what this article is about. The breakup itself was actually fairly mutual, and although it was emotional for both of us, I think we’re both in good places now. So don’t worry

my first real crush and the start of that year as the lovelorn character from a Taylor Swift music video. But that summer, I read Sue Monk Kidd’s “The Dance of the Dissident Daughter,” and it inspired me to make a promise to

Photo Editor Caroline Novit Business Manager Grace Xue Web Assistant Jane Condon Staff Writers and Columnists Nikki Broderick Nicole Fergie Lily Foss Katherine Goree Rachael Hamilton Stephanie Huang Kehau Jai Anissa Joonas Elizabeth Lee Dagny Lu Caroline Miller Caroline Nelson Kara Odum Laurel Schwartz Priya Srivats Stephanie Steinbrecher Abby Volkmann Staff Photographers Tianna Sheih Jacqueline Freedman Stephanie Huang

photo | Tianna Sheih ‘16

about me. What I really want to talk about is the new me: Single Lily.

It isn’t as though I’ve never been single before. Totaling the lengths of all my relationships, I’ve been unattached for a combined eighteen years out of twenty-two (Baby Lily was terrible at scoring dates with the other babies in the maternity ward). But this time, it’s different.

When my (now ex-)boyfriend and I started dating, I was nineteen. It was the beginning of our sophomore year. In general, I had spent the eight-year span between

myself: I was never going to take any sh** from men ever again. I had spent my romantic life up until then pining over one boy or another, and it was going to stop.

Then I met my boyfriend four days into the school year, so I never had the chance to put the new Lily to the test. But here I am, two years later, single again.

While I was at home, I worried about what this would be like.

Would I be able to keep the promise I made to myself? Or would I do what I had in the past and put my personality on hold in the hopes of getting some guy

to date me?

Well, so far, so good. For one thing, I’ve discovered that I’m pretty much over the college dating scene anyway. If any of you remember that scene in “Clueless” where Cher is talking about how she doesn’t understand why Dionne is dating a high school boy, that’s pretty much how I feel about college boys right now.

“Whatever” [makes ‘W’ with fingers].

But even aside from that, I’ve changed in the past two years.

I took my first Women’s Studies class, and thus discovered my passion for feminism. I had my first relationship with a guy who loved me and treated me well.

And I just generally learned more about myself and what I want and expect from my life. So even though this is a new experience for me, I’m starting to become pretty confident that I can survive the rest of the semester by myself, and love every minute of it.

The summer that I made that promise to myself, I bought one of those little prayer box necklaces. But instead of having a prayer on it, the piece of paper inside says this, “Dear Lily, Be strong. You rock.

Love, Lily.”

I just need to remember that this semester. Because that Lily is a smart cookie. We should all take her advice.

Tuition hikes

Comments and letters can be sent to Scripps College The Scripps Voice, 1030 Columbia Ave, Box 892, Claremont, CA, continued from page 1 91711.

You can also email The Scripps Voice at scrippsvoice@gmail.com or visit our website at voice.scrippscollege.edu.

The Scripps Voice is a student forum and is not responsible for the opinions expressed in it.

higher salaries to faculty and staff (typically to professors who have received promotions or tenure), and, on average, tuition increases about 4% each year.

Taking this into account, a student attending Scripps can expect that tuition will increase around 16% over four years of

enrollment. To take an example, a first-year student at the College can expect that by the end of her time at Scripps, tuition will jump from $43,406 to $50,350, not including room, board, and other fees. At this year’s estimate, these fees would add an additional $13,682, to create a total cost

of $64,032. While the majority of Scripps’ students receive some form of financial aid or need-based loans, the estimated projected costs raise an interesting question: should college tuition have a nearly $65,000 price tag by 2016?

February 7, 2013 • The Scripps Voice • Volume XVI • Issue Seven

4•Opinions & Editorials

EconoMix

Pandora’s Box Fifteen things

hate porn

What is the I Fiscal Cliff about anyway?

Anonymous

By Kara Odum ’15

Economics Columnist n Jan. 1, Congress narrowly avoided the fiscal cliff by preventing the Budget Control Act of 2011 from going into action.

If Congress had taken no action, multiple tax increases would have gone into effect, including an end to temporary payroll tax cuts, the start of Obamacare taxes, and the repeal of certain tax breaks for business. Also scheduled were spending cuts for over 1000 government programs including defense and Medicare budgets. By increasing taxes and decreasing spending, these changes would have created a sharp decline in the budget deficit, so much so that the deficit was projected to be reduced by roughly half in 2013. The government deficit, the amount by which the government spending

O

triggers automatic reductions across the board so that the budget will balance. An equal percentage is supposed to be held back by the Treasury from all departments and programs but Congress has exempted Social Security, Medicaid, federal pay, and veterans’ benefits from these cuts. In order to do this, Congress must cut more from non-exempt programs.

In March, Congress will be faced again with budget sequestration, which was originally a part of the deal in July 2011 to raise the debt ceiling.

At the end of 2012 the U.S. had once again hit its current authorized borrowing limit at $16.4 trillion. Through a series of “extraordinary measures,” Treasury Secretary Timothy F. Geithner has

photo courtesy | Peanuts

exceeds its revenue, is often confused with the government debt, the aggregate sum of what the U.S. government owes to debt holders.

While the U.S. has been working to reduce the budget deficit, the changes would have had an adverse effect on the recovering economy. Many economists predicted that the U.S. would have experienced a mild recession along with a higher unemployment rate if nothing had been done.

Congress averted the fiscal cliff by passing the American Taxpayer Relief Act, which Obama signed on Jan. 2. The act eliminated most of the tax increases and spending cuts. However, some tax exemptions were allowed to expire, which resulted in a projected $157 billion decline in the 2013 deficit.

Spending cuts were temporarily averted, but budget sequestration has been delayed for two months.

Budget sequestration occurs when Congress’ spending exceeds the annual Budget Resolution, which

been able to avoid going above the debt ceiling temporarily. However, in early March, Congress will have to raise the debt ceiling again so the Treasury Department can continue to pay for what Congress has already approved. If the debt ceiling is not raised then Congress will not have enough revenue to cover its obligations.

While the U.S. would probably avoid defaulting, it would still have a negative effect on the economy because faith in the U.S. economy would be shaken, sending interest rates up. This would create a vicious cycle, since the U.S. would have to borrow to cover current obligations but at a higher interest rate, so overall the debt would still rise.

As of now, Congress is not considering the drastic measures necessary to end this cycle of borrowing more money, raising the debt ceiling. Until then, the U.S. will have to deal with “fiscal cliffs” every few months.

A

s much as I love porn—it’s great, seriously—as a heterosexual, cisgendered female, there are a lot of things that I find sexist, racist, and simply jaw-dropping out there in the pornosphere. Watching porn is still a pretty taboo subject for us ladies.

That’s not surprising, but it’s not what I’m going to focus on in this article. Instead, I’m going to talk about the fact that there is no space for female viewers on most mainstream porn sites. Let me count the ways…

1. The categories. Many runof-the mill porn sites organize their porn under labels such as blonde, ebony, Asian, big tits, small tits, big ass, anal, amateur, MILF, teen, mature, Latina, outdoor—the whole purpose of all these labels is to help people conveniently find that video they’re fantasizing about right now.

But it can take me an hour to find something that’s not uncomfortable or jarring (see the rest of the list).

There are a million stereotypes about what women like in porn (#s 3, 4, 7, etc.), but none of those generic things show up anywhere on porn vids. Even in…

2. The “female friendly” section.

It’s one of my biggest pet peeves. It’s like the kid’s section of the site. It assumes that I like vanilla sex, four minutes of kissing, and underage-looking dudes, and still has all the shit I see in regular videos. Actually, why do I even need my own special section with a little pink woman symbol next to it? Am I not competent enough to know what my fantasies are and go through the rest of the site (albeit unsuccessfully) like everyone else?

3. The men. Where are their faces?

In many videos, you never see the guy’s face for more than a couple

seconds at a time. And when you do see his face, it’s emotionless. The men never make any noise (see #4), save for a little grunting as he cums.

Many videos are focused on the girl because the director expects straight men to be the ones watching. You don’t see the man’s face so that the fellow watching can imagine himself as the dude fucking this beautiful woman. And there is NOTHING wrong with that. At all. But why am I deprived of that experience? Even the “female friendly” porn focuses on the woman. I come to a porn site to see a man and his dick enjoying themselves. Not to watch some anonymous man’s penis jizz all over a girl’s face.

4. Noises. It bugs me how the ONLY talking in porn vids fits one of two categories. There’s the “story porn,” where the couples set up a situation at the beginning with some dialogue. And then there’s the obnoxious noises that women make during porn sex. It’s often high-pitched (we’re talking octaves above what’s likely her normal voice range) and ridiculous. There’s nothing attractive to me about some girl shrieking, “Do you want to fuck my tight little pussy?” thirty times in a row. Especially when the man is completely absent and silent (#3). Like, come on, buddy. You could at least give her a, “Yes.” 5. Fellatio. Why do 90% of porn vids start and end with the gal—or two or three—sucking the dude off?

I’m personally not a big fan of oral sex in general, but I understand that lots of people do enjoy it. That’s not the problem. The problem is that almost every single video has at least five minutes of blowjob bookending

continued on page 5

February 7, 2013 • The Scripps Voice • Volume XVI • Issue Seven

Opinions & Editorials•5 The

of

STATE

Tree Hugger

Climate Change:

By Abby Volkmann ’13 Environment Columnist

it’s

everyone’s

Politics

Obama situates gay rights among other great american civil rights movements,

commits to equality

By Laurel Schwartz ’15 Politics Columnist

problem T

O

ne of the most enjoyable parts of being outdoors is realizing the rich history of each mountain, valley, tree, and insect. I am a lover of rivers; whether I am looking down at rushing water from atop a bridge or standing knee deep in an icy stream, the earth is telling me its story.

History is communal. That is, stories are not a result of individual experiences, but rather a collection of shared circumstances between places, people, and things. For instance, the Colorado River

photo | Abby Volkmann

that runs through America’s southwest illustrates the geological history of earth’s crust, explains why we built cities in the middle of the desert, and justifies the region’s fauna because the river gives life in the form of food.

This lesson about the interconnectedness of history should be applied to climate diplomacy as

well. The growing threat of loss and damage as a result of climate change is not the responsibility of an individual or even a nation. To overcome and deal with these changes, we must come together as one whole. The reality is that Earth is treated as one entity and each nation’s resolution to respond—or not—to climate threats will in the end be experienced communally, in the same way that streams come together to form a river that in turn becomes the ocean.

Last month at the annual UN climate change conference in Qatar, the world’s two largest greenhouse gas emitters—China and the United States—refused to sign the extension of the Kyoto Protocol in cooperation with 194 other countries.

The omission of China and the United States from round two of the Kyoto Protocol may prompt a legal battle that would involve large corporate polluters as well as nations. The biggest disappointment is that countries that play large roles on the world’s political and environmental stage refuse to collaborate in a time when really, countries should be taking action together.

So here’s the question: Who exactly should be held responsible for climate change and the problems it is creating?

The answer? Everyone—especially the big polluter nations! To start, smaller nations could take action under the decree set by Article 14 of the United Nations Framework Convention on Climate Change, which gives member states the right to litigation for not adhering to obligations set by the convention. But perhaps making the issue of climate diplomacy a legal matter would divert it from where it needs to be, which is the international political economy.

There ya go.

Porn

continued from page 4 everything else. The lack of variety is frustrating and, frankly, pretty disturbing.

6. Camera angles. I’m pretty sure certain sex positions—I’m talking about the ones that make you cringe and go, “That cannot be comfortable,” or “Shit, someone does his/her yoga”—were invented because they are convenient to capture the act better on camera. This shit makes me laugh all the time.

7. Positions. The ridiculous positions that dudes assume while the girls are just sort of lying there making noises (#4). Having a good camera angle for viewing penetration (#6) isn’t important when I’m distracted because what the fuck is that dude doing with his leg?

8. “Diversity.” So often, the “diversity” of porn

sites—skin color, body types and so on—doesn’t come from a place of loving every body. It’s because someone out there has a curvy MILF fetish and the porn site wants to make bank on it.

9. “Curvy.” I hate, hate, hate how every video that involves a curvy woman or a woman of color involves a good five or ten (or more) minutes of suggestive posing and/or twerking for the camera before the actual foreplay even begins. These are women. Not fetishes.

10. Lesbian. Again, women, not fetishes.

Also, rarely are the women in lesbian porn vids shown as lesbian partners who do this all the time. They’re bi-curious friends who’ve “never done this before” and/or drunk and doing it continued on page 11

he theme of the Jan. 21 inaugural celebrations for President Obama’s second term in office could not have been more clear: civil rights.

On Martin Luther King, Jr. Day, the first African American president committed in his address to a progressive agenda in order to bring to the forefront of discussion—and action— issues that were left largely untouched in his first term in office. These issues include climate change, gun control, equal pay for women and—most notably—gay rights.

For the first time in history, a president has openly endorsed gay rights and same-sex marriage in an inaugural address, saying, “our journey is not complete until our gay brothers and sisters are treated like anyone else under the law.” He went on to refer to rights of same sex couples within the context of The Stonewall Riots, Seneca Falls and Selma, aligning the struggle for gay rights with the other great civil rights movements of America History.

In doing so, Obama put gay rights on the agenda. Just a year ago he was still “evolving” on the question of marriage equality, but now he has clearly committed to equality under the law for all people.

Obama’s assertion of equality could have a strong impact on legal action in the coming months. Support from the Obama administration could drastically affect the outcome of the Supreme Court’s decision regarding a case involving Proposition 8—the ballot measure that limited marriage to unions between a man and a woman. Gay rights lawyers have asked the court to declare the proposition unconstitutional, which could strike down the laws in 41 states.

Obama asserted, “It is now our generation’s task to carry on what those pioneers began,” suggesting that he will argue before the Supreme Court that gay marriage is an equal right under the constitution. Historically, however, it took 72 years after Seneca Falls for the Nineteenth Amendment to be ratified. Let’s hope that legal action regarding gay rights does not follow suit.

photo courtesy | Obama Administration

February 7, 2013 • The Scripps Voice • Volume XVI • Issue Seven

6•Features

Features•7

Oscars 2013:

A woman’s take on

‘Zero Dark Thirty’

A Film Enthusiast’s Picks for the Big Winners

By Elizabeth Lee ‘16 Staff Writer

By Caroline Miller ‘15 Staff Writer

A

dele will be performing during the show. Enough said.

Besides host Seth Macfarlane’s two big reveals about Adele and a tribute to the 50th year of the James Bond franchise, not much has been revealed about the upcoming award show. The Academy Awards have had a range of ups and downs over the past few years and due to a number of reasons, including the expansion of the Best Picture category and a variety of underwhelming hosts.

The 85th Academy Awards Show is shaping up well so far—and that is largely because of the solid range of films this past year. The nominations represent a variety of films from independent to blockbuster, and stories that range from musicals like Les Misérables to contemporary political films like “Zero Dark Thirty.” Having seen most of the nominated films, I can say that it is a strong field and that the show (and of course the red carpet) should be exciting.

BEST ACTRESS:

Naomi Watts in “The Impossible” I was moved to tears by the power of Naomi Watts’ performance in “The Impossible.” Never before had I given her much thought as an actress. Watt’s performance is so poignant that it almost becomes possible to feel her character’s dedication to and love for her family. Without that love and dedication, she would not have been able to survive the harrowingly intense tragedy and trauma which struck out of nowhere. The tangible power of her performance is awe-inspiring.

Best Adapted Screenplay:

Bradley Cooper in “Silver Linings Playbook” It is one thing to portray someone who is insane. It is another thing to portray someone who, because of the intricacies of their words and actions, causes the viewer to question their own sanity and reexamine what exactly it means to be mentally sound. Bradley Cooper does exactly that with his portrayal of a recently released mental hospital patient who has to re-engage with life and find a way to reconcile his own understanding of self. His performance is relevant because it is contemporary and thought provoking. His performance inspires a full range of emotions in his viewers.

BEST ORIGINAL SCREENPLAY:

“Moonrise Kingdom” for Wes Anderson and Roman Coppola A big hit at independent film festivals in the past year, “Moonrise Kingdom” is a unique and touching film because of its engaging original screenplay. The writing is sharp and witty and the subtleties of each character make it a very engaging film.

BEST ADAPTED SCREENPLAY:

“Silver Linings Playbook” for David O. Russell It is because of the spectacular writing that this film is now making its third appearance on my personal list of films that should be receiving an Oscar. The attention paid to each of the characters and their specific quirks makes this film special.

Oscar nominees

“Argo” “Beasts of the Southern Wild” “Life of Pi” “Lincoln” “Silver Linings Playbook”

Best Director:

Best Actor:

Michael Haneke for “Amour” Benh Zeitlin for “Beasts of the Southern Wild” Ang Lee for “Life of Pi” David O. Russell for “Silver Linings Playbook” Steven Spielberg for “Lincoln”

Best Actor: Bradley Cooper Daniel Day-Lewis Hugh Jackman Joaquin Phoenix Denzel Washington

Best Actress: Jessica Chastain Jennifer Lawrence Emmanuelle Riva Quvenzhané Wallis Naomi Watts

Honorable Mentions:

Best Picture:

“Silver Linings Playbook”

“Argo” Great (and true) story. Ben Affleck should have been nominated for Best Director.

“Beasts of the Southern Wild” Another film festival standout.

Wonderful cinematography for a first feature film from Benh Zeitlin.

“The Perks of Being a Wallflower” One of the only films about high school that I feel actually matters.

Stephen Chbosky should at the very least have been nominated for Best Adapted Screenplay and maybe even should be the winner in that category.

“Skyfall” An exceptional way to recognize the past 50 years of the James Bond franchise and prepare for another 50. Judi Dench and Javier Bardem both should have been recognized in the supporting actor categories and director Sam Mendes should have been at least considered for Best Director.

Best Director: Ang Lee for “Life of Pi”

Directors are not advised to work with animals, water, or 3D—and each of those aspects is a part of this film. Ang Lee has described this film as the hardest one he’s ever made, and it is clear why. It is also clear how much devotion and care was put into this film in order to make it as stunning as it is. “Life of Pi” is by far the most visually breathtaking film I have ever seen and it is an example of pure craftsmanship. It is clear how delicately Ang Lee labored over each shot and frame of this film and his vision for it is magical. That being said, the story it tells is much less intriguing than the visual spectacle of the film. What is mind-blowing about the film is the wonder and awe it inspires by what it shows, not what it tells.

Best Picture:

“Amour” “Argo” “Beasts of the Southern Wild” “Django Unchained” “Les Misérables” “Life of Pi” “Lincoln” “Silver Linings Playbook” “Zero Dark Thirty”

photo courtesy | Annapurna Pictures

In 2011, predictions for Best Picture were evenly split between “The Social Network” and “The King’s Speech” (although I’d still make an argument for “Black Swan”). But the ultimate winner, “The Kings Speech,” was pure Oscar bait. Although it is certainly a highly-regarded film with solid acting, writing, and directing, it did not have nearly as much impact on moviegoers as did “The Social Network.” That was a relevant movie.

It doubled as social commentary which caused viewers to examine preexisting beliefs about the nature of people and the world. This year, I feel as though the competition between “Lincoln” and “Silver Linings Playbook” strikes a similar chord.

“Silver Linings Playbook” is fresh, captivating, and thought provoking. It cannot be pinned to any particular genre. It is part drama, part romantic comedy, part social commentary, and even part dance movie (although not quite on par with “Step Up,” a guilty pleasure).

What I found to be most significant was the way “Silver Linings Playbook” causes the audience to reconsider what the term ‘crazy’ means to them. It could have been a scathing commentary on the lack of understanding and attention there is for mental health disorders and their treatment. Thankfully, it is not. It is more organic than that, and each character in the film represents a different facet of what some might refer to as insanity or craziness. It causes you to laugh, cry, and above all, think. It is a contemporary film rather than a historical epic, and it is strikingly poignant in its relevancy.

Special attention should be paid to all of the acting in this film and in particular to the natural chemistry between Jennifer Lawrence and Bradley Cooper. Robert De Niro is also notable in his performance as the father of Bradley Cooper’s character.

Best Original Screenplay: “Amour” “Django Unchained” “Flight” “Moonrise Kingdom” “Zero Dark Thirty”

D

irected by the first woman to win the Academy Award for Best Director, Kathryn Bigelow, and focusing on the work of a real, anonymous young woman currently working for the CIA, “Zero Dark Thirty” tells the very recent story of the post9/11 hunt for Osama bin Laden from the perspective of a woman.

This true story is one that has been told in a variety of forms—journalism, documentary, novel, broadcast news. So why is this story worth telling so many different ways? Each time someone new tells a story, it affects the way it is told and causes us to focus on different issues and have different discussions. “Zero Dark Thirty” is a particularly bold version of this story that has caused a great amount of controversy concerning

everything from its portrayal of “enhanced interrogation techniques” to its factual accuracy.

Even though the film focuses on a single woman who played a pivotal role in the assassination of bin Laden, Bigelow chose not to explicitly highlight any feminist issues, which in a way further glorifies the woman portrayed. The film doesn’t dwell on Maya’s (as the real-life, anonymous protagonist portrayed by Jessica Chastain is called in the movie) struggles to be taken seriously in a predominately male work force, her lack of a personal life, or even her lifestyle changes to accommodate a culture in which females are considered inferior.

Instead, Bigelow, much like Maya, focuses intently on what needs to be done without being afraid to let

things get messy or controversial.

Some of the biggest controversies surrounding this film were in regards to the film’s depiction of alleged torture techniques, including waterboarding, used by the CIA to gain information. Several of the film’s critics

photo courtesy | A Band Apart

accused the film of being pro-torture, portraying it as an effective method for acquiring valuable information, whereas many others say quite the opposite. In fact, one could even say that the female protagonist’s perspeccontinued on page 11

‘Django’ and ‘Lincoln’: different perspectives, same race problem

By Laurel Schwartz ’15 Politics Columnist

“D

jango Unchained,” directed

by Quentin Tarantino, and “Lincoln,” directed by Steven Spielberg, are two of this year’s frontrunners for the Academy Awards. They also both take place during one of the most iconic times in American History: the Civil War. Both films highlight freedom and slavery, yet they do so in very different ways. “Lincoln” focuses on President Abraham Lincoln’s struggle to pass the Thirteenth Amendment, while

“Django” focuses on freed-slaveturned-bounty-hunter, the titular Django, and his quest to find his wife.

At first glance, there are few similarities other than the time period between the Spielberg drama and the Tarantino action film. However, it is clear that they both lack something essential to any film about African American history: complex, strong, active African American characters.

Both films present archetypical versions of black characters. “Lincoln”

centers on the white male political struggle in the courtroom and pays little attention to the black experience in America.

Numerically, “Lincoln” is drastically unequal in terms of racial representation, especially for a film that is about racial equality. The few African American characters represented in the film are stereotypes of passive black slaves waiting for white politicians to liberate them. Representations like this do not reflect historical

reality: African Americans, free and enslaved, played a large role—both politically and in practice—in the abolition of slavery.

“Django,” on the other hand, is a stereotypical Quentin Tarantino movie; that is, it is over the top and meant to be as much. Therefore, while the African American characters in the film may be more complex than those found in “Lincoln,” the connotation of the film being “a Tarantino film” continued on page 8

Oscar 2013 Nominations Do they pass the

Bechdel Test?

By Lauren Prince ‘14 Editor-in-Chief

H

ollywood is notoriously sexist.

The Bechdel Test is a quick test for gender bias in film, television, or other works of fiction. When you see the rules, you’d think that it shouldn’t be hard to pass the test: 1. There must be two named female characters 2. Who talk to each other 3. About something besides a man Les Miserables – Yes Fantine talks to Cosette (albeit it’s a hallucinated Cosette, but it counts).

Madame Thenardier also talks to both Cosette and Eponine.

Life of Pi – No There is only one character, Pi, a boy.

Django Unchained – No There are two named characters Broomhilda and Lara Lee CandieFitzwilly, but they do not speak to each other. Lara Lee gives Broomhilda commands, but they do not converse.

Amour – Yes Eva speaks to her mother Anne in a few scenes.

Lincoln – No There is only one named female character, Mrs. Lincoln.

Beasts of the Southern Wild – Yes,

An excerpt from the Alison Bechdel’s comic strip “Dykes to Watch Out For” from which the Bechdel Test originated

if Hushpuppy needs a ride home.

Argo – Yes There are two named female characters, but they barely have speaking roles. They talk to each other when they are cooped up in the Canadian embassy and plan an escape.

Zero Dark Thirty – Questionable but barely Maya and Jessica have a dinner in the Hushpuppy and Miss Bathsheba coffee shop before it gets bombed. have a short interaction after class They are discussing strategy and one day where Miss Bathsheba asks politics—of how to kill Osama Bin

February 7, 2013 • The Scripps Voice • Volume XVI • Issue seven

Laden, a man.

Silver Linings Playbook – Yes Tiffany and Veronica speak to each other at the dinner party about personal issues.

While it may look like half of these movies pass the test, everything but Silver Linings Playbook and Les Miserables passes with less than a minute of dialogue in a set of movies that are all over two hours long.

Hollywood, we have a long way to go.

8•Features

Silver Lining’s Playbook

Movie Review

By Justine Desmond ‘13 Contributing Writer

W

hat truly makes “Silver Lining’s Playbook” ripe for the awards is not just director and writer David O. Russell’s skilled adaptation of Matthew Quick’s worthy work of fiction, but the multidimensional character of “Tiffany” (Jennifer Lawrence). A disturbed and recently widowed woman who was fired from her job after having slept with the “whole office,” Tiffany is hardly the typical heroine. And yet somehow the

audience still wants to root for her.

Her main aspiration after her young, late husband’s death is to score well in a local Philadelphia dance contest, and to win the heart of Pat (Bradley Cooper).

Tiffany’s abruptness and candid nature is nearly immediately endearing. A role that could come across as annoying or crude is executed in such a way that no actress accept Lawrence could really fit the bill.

Yet the story mostly revolves around Pat, who has just left a mental institution in Baltimore to move back in with his parents (Jacki Weaver and Robert De Niro). Upon arriving home, Pat, who was put away for dealing one too many blows to his wife’s lover, is determined to win her back. Throughout the film, he is plagued by guilt and anger as he hears their wedding song both in reality and in his head. Only later in the film do we learn that she has filed a restraining order against him and has little intention of mending the relationship.

Set in the suburbs of Eagles’ territory in Philadelphia, the story not only brings to life Pat, his manic episodes, and the very real connection he has with Tiffany, but also brings to life the whole local community. Small details that Russell capitalizes on, like “homemades,” a local Italian snack, and the house itself—an actual local home in the Philadelphia area—really make the film a looking glass into what appears

to be a very authentic Philadelphian community. Russell’s uncanny ability to provide the audience with this intimate feeling is established in his earlier films, including “The Fighter,” which portrayed the dark side of an Irish-Catholic community in Lowell, Massachusetts.

Mental illness is also an important theme woven into the film, yet as Russell indicated at a recent interview with “The Wrap,” a little goes a long way. He did not want either Pat or his father’s episodes to cast a shadow over the whole film. The manic anger of Pat’s father, who has been banned from the Eagles stadium after one too many brawls with opposing fans, is played down in the film. Though some critics think Russell was overly cautious, and mischaracterized the turbulence associated with bipolar disorder, it is important to keep in mind that Russell, as a father whose son has been diagnosed with the same disease, may have some insights we lack.

The Academy Awards Crossword “Django” and “Lincoln”

By Star Schneider ‘16 and Alexandra Vallas ‘15 Copy Editors Across

4 A notoriously intense method actor 6 Foreign Best Picture nominee 7 The latest film by Quentin Tarantino 8 Has directed Robert Di Niro and Bradley Cooper in two films in the past two years 12 Youngest ever nominee for “Best Actroess” 15 The presidential subject of two movies

in 2012 20 Robert Zemeckis’ first live-action film since 2000 21 Oldest ever nominee for “Best Actress” 24 An English language Spanish film about the 2004 Indian Ocean tsunami 25 The cat in the boat in “Life of Pi” 26 The first person of Asian descent to win “Best Director”

Down

THE ACADEMY AWARDS 1

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8 9 10

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Across A notoriously intense method actor February Foreign Best Picture nominee The latest film by Quentin Tarantino Has directed Robert De Niro and Bradley Cooper in two films in the past two years Youngest ever nominee for "Best Actress" The presidential subject of two movies in 2012

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1 Jennifer Lawrence’s disorder in “Silver Linings Playbook” 2 Also stars as a mutant, in a later incarnation of the same series 3 Voted People magazine’s “Sexiest Man Alive” in 2011 5 He and his wife renewed their wedding vows in South Africa with Archbishop Desmond Tutu officiating in 1995 9 Nominated for “Best Actress” for a 2012 thriller, stars in a 2013 horror film 10 Originally intended to direct an animated American version of “Harry Potter prior to the British live-action films 11 Proclaimed the Academy Awards to be “bullshit” in October 2012; still nominated for “Best Actor” 13 The story of the July Days 14 Has had two films nominated for “Best Foreign Language Film” 16 Director of “Beasts of the Southern Wild” 17 Most known for his role as a mutant, but also a singer and previous winner of “Sexiest Man Alive” 18 Will be portraying the most famous Princess of Wales in 2013 19 Two of the stars of this movie starred in previously nominated “Doubt” 22 The sci-fi cover story used to rescue emissaries 23 Number of Golden Globe nominations for “Zero Dark Thirty”

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continued from page 7 to be as much. Therefore, while the African American characters in the film may be more complex than those found in “Lincoln,” the connotation of the film being “a Tarantino film” dismisses their strength to some degree. Additionally, while the protagonist, Django, is on a quest to liberate his wife from slavery, he is given the resources to do so by white characters in the film.

In the opening of the film, Django encounters a white dentist-turnedbounty hunter who teaches him his ways. This goes back to the same theme that was portrayed in “Lincoln:” of whites the sole driving force in the abolition of slavery.

However, because “Django” is told from the perspective of an African American, Tarantino is able to expose parts of the slave experience that may not otherwise be explored.

For example, Tarantino is able to show scenes that display whipping and torture. “Lincoln,” while supposedly the story of liberating slaves from oppression, does nothing to show the brutality slaves actually faced.

With both films up for the award of “Best Picture,” it will be interesting to see the final result of the evening.

Jennifer Lawrence's disorder in "Silver 7, 12013 • The Scripps Voice • Volume XVI • Issue Seven Linings Playbook" 2 3 5

Also stars as a mutant, in a later incarnation of the same series Voted People magazine's "Sexiest Man Alive" in 2011 He and his wife renewed their wedding vows in South Africa with Archbishop Desmond

Arts & Entertainment•9

when

Keep it Reel

Science and Art

“Wherethe Girls are”

collide

The Scripps Ceramics Annual

By Caroline Nelson ‘16 Film Columnist

A

long with the start of a new year, we have the start of a new season of “Girls,” HBO’s controversial hit series.

The first season of “Girls” made a big splash, sparking debates about diversity, privilege, women on television, and the current crop of unemployed twenty-somethings. This is because it mainly centers on the exploits of white, privileged women who complain about their “First World problems.”

By Rachael Hamilton ‘16 Staff Writer

photo courtesy | NBC

Though unsuccessful at the Emmys, it cleaned up nicely at the Golden Globes, beating out such favorites as “Modern Family” and Julia Louis-Dreyfus for comedy show and lead actress respectively.

It also has the distinction of being one of the most polarizing programs on a network that consistently brings its viewers graphic violence, graphic sex, and more swearing than thought humanly possible.

HBO rather unwisely has been marketing the show as some kind of Generation Y manifesto, when really it is an often funny—and often rather nasty— examination of the titular foursome. In one trailer main character Hannah claims to be the voice of her generation; this led many people to believe that the show intends that to be taken literally. But I think that this misperception is indicative of the way people see the show. In the actual episode, Hannah’s grandiose statement about her writing is presented as a joke, symptomatic of her self-centeredness and delusions regarding her talent.

In the same vein, the show is not just one that showcases privilege but also examines the kinds of people privilege creates.

The truth is that Hannah is better understood when compared to the violent male anti-heroes that populate her network, rather than the leads of “Sex and the City” or “Entourage.” Whereas those characters invite the viewer to identify with them and so become vicariously glamorous Manhattanites or movie stars, “Girls” shows you a group of very unsympathetic people and forces us to acknowledge our similarities with them. HBO is a network that thrives on making people uncomfortable, whether it be through staunchly realistic violence, unglamorous and unpleasant sex, constant profanity, or cynical takes on how society is run. On the surface “Girls” has little in common with shows like “The Sopranos” or “Deadwood,” as it lacks an epic scale or a high death toll. Part of this is because the focus is pretty microscopic: the four girls, a couple boyfriends, and an occasional parent or friend comprise the cast.

The other reason for the controversy is that “Girls” is allegedly a comedy. I say “allegedly” not because it isn’t funny (in fact, it’s very funny), but because the series is really more of a character study and because it is frequently either so realistic or the characters are so frustrating that you don’t feel like laughing. Like some of HBO’s other shows, “Girls” offers a naturalistic portrayal of the awkward and the disgusting and holds out the tantalizing prospect that its characters might grow and change.

The first few episodes of season two are heading in the right direction. Donald Glover showed up to provide some much needed reality checks and managed to overcome blatant tokenism by being more interesting than many of the regulars. Unfortunately, he has since disappeared. The dialogue is still funny and well observed, but the tone is becoming a little more uneven. All the leads are trying new things and still in the process of figuring themselves out.

Because of this, I am still holding out hope for them and for the rest of this season.

E

very year, Scripps has the privilege of hosting the works of artists from all over the country at the Ruth Chandler Williamson Gallery. This year, from Jan. 26-Apr. 7, the 69th Ceramic Annual features the exhibit “De-Natured Nature,” brought to Scripps and designed by guest curator Virginia Scotchie, a professor of art and the head of ceramics at the University of South Carolina.

The Scripps Ceramics Annual, which was started in 1945 by ceramics professors at Scripps, is the longest-running exhibition of contemporary ceramics in the United States. Each year a different emerging artist is asked to compose a theme and select other up-and-coming artists to feature their artwork at Scripps to expose new ideas and perspective into the art world and local community.

This year’s exhibition highlights the connections between art and science, typically thought of as two opposite fields of study, through the process of altering

photos | Tianna Sheih ’16

ordinary objects so that they no longer resemble their original forms. As Scotchie writes in her Curator’s Statement in this year’s Ceramic Annual booklet, “DeNatured Nature” is an exhibition that presents ceramic artists who enlist the use of change to explore the natural given qualities of familiar objects of choice. The

shared fundamental root of these artists is their push to compromise, to revoke the inherent quality of the familiar, and render it inscrutable.

“One definition of denature is: to modify (as a native protein) by heat, acid, alkali, or ultraviolet radiation so that all of the original properties are removed or diminished,” writes Scotchie. “In science, this is viewed as a biological activity that changes the tertiary structure usually found in a protein, which begins to unfold. Through this process of denaturing, some of the original properties are diminished or eliminated, breaking down the structure, altering its meaning and being.”

This year’s featured artists are Frieda Dean, Alex Hibbitt, Richard Hirsch, Priscilla Hollingsworth, Bri Kinard, Rebecca Manson, Jon McMillan, Jeffrey Mongrain, Kate Roberts, and Adam Shiverdecker. Although the main medium for the exhibit is clay, these artists also use felt, steel, chicken wire, and lace to bring the concept of denaturation to life. continued on page 11

February 7, 2013 • The Scripps Voice • Volume XVI • Issue Seven

10•Arts & Entertainment An afternoon at the

Pomona College

Museum of Art

By Anissa Joonas ‘13 Staff Writer

W

hen I entered the exhibit “Nuance of Sky” at the Pomona College Museum of Art, I felt like I had stepped into a pool of blue. The color blue was everywhere; woven, sewn, painted, and threaded into the Native American artifacts on display: a Sioux beaded jacket, blown glass, Caddo moccasins, Pomo feather baskets, abstract acrylic paintings and contemporary Cheyenne mono prints.

“Wougim” is the Cheyenne word for “sacred blue sky,” and as I walked through the blue continuum, I understood what they mean by “sacred.” They believe water is a spirit and that the sky protects them from harmful rays. Their closeness to nature manifests itself in the materials used to produce their commodities: buckskin leather, silver, copper, abalone shells and clamshell and the feathers from mallard ducks, red-headed woodpeckers and meadowlarks.

photos| Jacqueline Freedman ’14

“Nuance of Sky” unites some of the work of Hock E Aye Vi Edgar Heap of Birds with historic Native American art objects. The mix of art with artifacts shows that art can go beyond aesthetics and become a cultural tool and weapon, addressing issues such as water rights.

Art as a weapon is also the theme of the second exhibit I went to, “Art and Activism in the U.S.” The artists shown are political activists, and their artwork—mostly posters, prints and photographs— speaks to social and political issues from the 20s to the present.

“Make art not war” and “You can’t arrest an idea” are some of their slogans. So tear down the posters on your dorm walls and put up photographs of the lives of convicts in the American regimented prison system instead. The black and white photography is not just aesthetic; it also depicts the realities of incarceration and is, in that sense, a political commentary.

The last exhibit, “Project Series 45: Kirsten Everberg: In a Grove” strays away from the social activism present in the other two shows.

Instead I was immersed in the hallucinatory environment created by four large canvases on which Everberg has poured glossy enamel paint to create abstract art. The exhibit is more of an acid trip than anything else, as the viewer is wrapped in the blurry but vibrant colors that seem to subtly shift as he or she moves along the work. The distortion of space and time forces the viewer’s questions toward the nature of perception.

The Pomona College Art Museum is open Tuesday through Sunday, from 12-5 p.m. and Thursdays, from 5-11 p.m. for “Art after Hours.”

High-Stitched Voice

Internet friendz and the ordinary

By Stephanie Huang ‘16 Fashion Columnist upcoming trip to New WithYorkmyFashion Week, I thought

it would be fitting to give some coverage on one of my favorite bloggers!

20-year-old Alyssa Lau is something of an internet phenomenon. The Ordinary Peoples, which she shares with her cousin Kurtis, is her personal style blog. The aspect that separates Alyssa’s blog from others is that she not only embodies her aesthetic through her clothing, but through her photographs (which are minimalism at its best) and the design of her blog as well (her knowledge of coding could give a CS major a run for their money). Alyssa is a chemistry major who hails from Edmonton, Alberta, Canada.

While I never asked her the meaning behind her blog name, I do think it is fitting. She is genuine and relatable, which has often been hard to come across in the blogosphere these days. As somebody who finds inspiration from street style and blogs rather than designers and runways, Alyssa truly epitomizes what fashion blogging should be about.

what I like to call a late-bloomer.

SH: I know you’re a chemistry major, but I really feel like I can see you becoming something bigger in the fashion industry—do you see yourself switching career paths?

AL: If given the opportunity, I would absolutely love to do something regarding fashion in the future. There’s no doubt about it. However, my lack of experience in that general field I guess makes it a little implausible. But who knows what the future holds!

SH: Why are you inspired by streetstyle rather than designers?

AL: I really enjoy looking at how everyday people dress. Not only is the clothing cheaper, more affordable, and accessible, it also looks just as good as any designer piece when assembled appropriately (not that there is a ‘right’ way to wear anything)!

In her recent post, she declares that “fashion blogging should make people feel better about themselves.” She urges readers to take a step back from the recent invasion of negative feelings attached to the constant “sitting, waiting, wishing that you were somebody else.”

Although blogs used to be about sharing personal style that could inspire others, many blogs nowadays have been evolving into conventional consumerism. Despite it all, Alyssa stays true to herself and dresses according to her mood—from her laid-back ensembles of boyfriend jeans and baggy Aztec sweaters to grunge-inspired accessories like spiked loafers and bodychains. She may insist that “everybody else seems to be” cooler than her, but she really is far from ordinary, contrary to what her blog name suggests.

SH: You have said previously in other interviews that you cannot describe your own style—but can you describe how your style has evolved?

AL: My style story is a pretty boring one, I’ll tell you that. In high school, my fashion taste had barely evolved. I did not appreciate fashion the way I do now, and you could definitely tell by the way I dressed. Throughout University, I guess you could say that I embraced fashion for what it is. I cannot tell you how many hours I’ve looked at fashion blogs for. I was so inspired by the way real people dress, and I guess this is when my style ‘evolved.’ I’m

photo | Stephanie Huang

SH: And finally, what are your tips for aspiring bloggers?

AL: This may be a bit overemphasized, but perseverance is key. If you keep posting, you never know where it might lead you and what opportunities may open up for you. I can personally say that blogging has been one of the best decisions I’ve made (albeit the fact that I didn’t tell family and friends until after a month due to pure embarrassment). Don’t take for granted the future possibilities that await you!

Also, this one is a pretty boring one, but be yourself. If people want to read your blog, it’ll be for you and not for someone else.

You can check out Alyssa’s blog at www.ordinarypeople.ca.

February 7, 2013 • The Scripps Voice • Volume XVI • Issue Seven

Student Life•11

Ceramics Annual continued from page 9 Hollingsworth’s piece, “Game Pieces / Cellulose and Lignin” (2012), and Dean’s collection, “Moss #6, #7, #8” (2012), are at the forefront of crossing the boundaries of art and science with lifelike moss sculptures, down to the color and texture, and glazed terra cotta sculptures that, when aligned properly, fit perfectly into drawn cross-sections of cellulose and lignin.

Manson’s collection, “Vascellum #2, #3, #1, #4, #5, #6, #7, #8, #9, #11, and #12” (2010), Roberts’ pieces, “Melanie” (2010) and “Scarlet” (2010), and Mongrain’s piece, “Weight of Sound and Smoke” (2005), stray more from a direct connection between art and science and show the influence that science can have on art. Manson’s “Vascellum” are transformations from dainty teacups into deformed, broken, patch-worked, and color-saturated resemblances of their original forms.

Roberts’ old dress stands are given new life with intricate clay tiles over lace trimmings, and Mongrain’s simple white pillow supports an amber bubble filled with nicotine.

As a science major and ceramicist myself, I found this exhibit beautiful, intriguing, and thought-provoking.

The technique and materials aside, these artists’ vision of taking the ordinary and making it extraordinary defies the non-believers who think that art and science are not intertwined.

This exhibit exemplifies that there is art in science, a science to art, and that there is beauty in deviations from the norm. As Scotchie writes, “[the artists] redeem the altered object from the oblivion of the ordinary. As the work undergoes the process of alteration, its attitude or quality of meaning changes and expands simultaneously…”DeNatured Nature” is meant to awaken and sustain our human instinct to engage and question the unknown while keeping aspects of the subject matter familiar. These artists may begin with marginal, nondescript, or ubiquitous objects that become touchstones of our relationship with life, but through their vision and work they address many questions of how we view nature in the wider world.”

‘Zero Dark Thirty’ continued from page 7

tive and development over the course of the film condemns it. In the beginning, as a novice, Maya is noticeably disturbed by the torture she witnesses, but over the years becomes unmoved by its continued use. By the end of the film, after having accomplished the mission that had for ten years been her life’s sole focus, the hardened veteran breaks down in tears while alone. We see no celebration and begin to question what this ‘success’ actually means for our country. Have we truly won the battle against terrorism? What kind of people have we become or come to understand ourselves as due to this battle?

While many experts have criticized the film’s inaccuracy, especially in regards to torture, there are others who have made accusations about the filmmakers’ improper access to classified information. Some prefer to claim that torture did not play a vital role in the capture of bin Laden, whereas others claim the CIA’s immoral use of torture was not emphasized enough. Given the general population’s strong reliance on the word of journalists, politicians, and clandestine services it is hard to know the truth. Bigelow and former investigative journalist and screenwriter Mark Boal have relentlessly claimed that the information used for the film was based on firsthand accounts and that the allegations of enhanced interrogation tech-

niques were too significant to overlook when attempting to tell a story about the truth. Whether the film is entirely accurate, however, is not wholly relevant. In the end it is not a factual record or documentary but a dramatized film, a medium in which truth is stretched to mean not merely what is literally real but what feels real, what deeply affects us. We are guided through the events and reports by Maya, a fictional character merely based on an actual person, who shows us how to feel or think about them in ways that have been interpreted very differently by everyone who watches the film.

“Zero Dark Thirty” is one of the many accounts of one of our country’s darkest decades. It pays tribute to the work of not only Maya but the many people whose work, sacrifice, and focused dedication cannot be personally commended. And the personal relationship we develop with our female protagonist forces us to carefully reflect on our most recent history. When presented as a film this story becomes a way of telling us truths we do or do not want to hear, depending on how we interpret them, stirring up immense controversy and provoking the discussions we need to have as a united country and people.

Porn

continued from page 5 in a dorm room shower while 10 guys watch. It doesn’t help when the lesbian porn is grouped under “Straight” when gay male couples are grouped under “Gay.” It’s clear from the organization that the lesbians in the videos are there to satisfy the male gaze; they shouldn’t be.

11. The nails. Why the super long French manicures? There are nail clippers on my nightstand for a reason. There is no way some fake nails with sharp edges are going anywhere near MY g-spot. But that happens all the time in porn.

12. Shoes. There’s something to be said for wearing shoes during sex (some folks swear by it), but the image of six-inch stilettos up so high in the air that they replace the dude’s ears cracks me up.

13. Pubic hair. The lack of it makes a gal look prepubescent, which, quite frankly, freaks me out. Also shaved balls are a little weird. And again, there’s nothing inherently wrong with shaved anything. I get that some folks are into it. But it’s everywhere. And not everyone is into that, so a little variety would be nice. As well as women who don’t look like they’re six.

14. Spit. Saliva is not lube. Licking your fingers once and running them around your asshole does not lube up your ass enough to make anal comfortable. This isn’t really a complaint.

It’s just always confused me. Like is that sexy? I don’t get it. It just seems uncomfortable.

15. The advertisements. Let me just remind you all that advertisements happen on purpose. Companies target specific audiences and ads are placed strategically. So seeing ads like “Local Moms Want Sex Now!” and “My Dick Is The Size Of A Pringles Can!” (I can’t make this shit up) just reinforces the feeling that I don’t belong here. It’s like I am not supposed to be watching porn because I am a woman. I am in the wrong place and should go back to Cosmo or some shit so I can better learn how to pleasure my man (and maybe myself as a second priority).

Though I can usually find a video that gets the job done so I can get on with my life, I feel alienated in a million ways in the process. Everything from the details of the videos to the ads on the sites makes me feel like I’ve wandered into the men’s locker room. It’s very rare that I can watch a video without cringing, laughing, or feeling ill at least once. Women make up more

than half of our population, and the popularity of books like Fifty Shades of Gray show that yes, we do like sex, and yes, we do have fantasies, and yes, we want media that fulfills those fantasies. So why are so many mainstream porn sites so cisgendered male centric?

Perhaps the most disturbing thing about porn is that it doesn’t even try to pretend. Politically correct porn is an oxymoron and nobody’s pretending that it’s not. So if we all know that porn isn’t all-inclusive, why does the exclusivity continue?

Sex is awesome. And porn could be too. But if gender, racial, and sexual equality are our ultimate goals, we—as a society— have a long fucking way to go.

Pun intended.

February 7, 2013 • The Scripps Voice • Volume XVI • Issue Seven

12•Student Life

CLORG Spotlight:

Patricia Hill Collins on black Serenade your Valentine feminism and social justice

Mariachi Serrano

de Claremont O

By Rosemary McClure ’13 Editor-in-Chief

with

n Jan. 30, renowned author Dr. Patricia Hill Collins delivered a lecture titled “Missing in Action?

Black Feminism, Intersectionality and Social Justice” at Pomona College. Collins’ lecture explored intersectionality as a legacy of black feminism and how the discipline’s incorporation into conservative academia can undermine its goals.

As ASPC President Sarah Appelbaum noted in her introduction of the speaker, Collins “literally wrote the book on black feminism.” That book would be Collins’ first book, the 1990 “Black Feminist Thought: Knowledge, Consciousness and the Politics of Empowerment,” which is

Kehau Jai ‘16 Staff Writer

W

ith a certain day fast approaching, what better way to tell your significant other— or friend—I love you (or like you and want to embarrass you) than to give them the gift of a serenade by a full Mariachi band? The 5C musical group Mariachi Serrano de Claremont would love to express your feelings for you through song.

Founded in 2005 by CMC graduate Maciel Hernandez (‘08), Mariachi Serrano de Claremont comprises students from each of the five colleges, all of whom share a love of Mexican culture and the beautiful tradition of mariachi music. This Feb. 14, the members of Mariachi Serrano are taking their music across the campuses, and giving you the opportunity to spend part of your Noche de Amor having your date, or friend, serenaded.

Current president Lyanne Dominguez (SCR ‘13) tells of past Noche de Amor serenades: “Sometimes it’s a surprise. Sometimes it’s a prank. Once we were hired to play at Mudd in the auditorium, and when we showed up they were watching “Star Trek.” We just started playing.”

For another gig, Mariachi Serrano arrived at one of their serenade locations too early and interrupted a cou-

ple on a picnic date. Mistaking them for the couple that bought a serenade, they began playing.

“The girl started crying and they guy played along with it like it was his idea,” says Dominguez.

Fortunately, the right couple arrived soon after and did receive their paid-for serenade.

Even long distances cannot stop this mariachi band on Noche de Amor—they were once hired by a Pitzer student to play via Skype for his girlfriend, then studying abroad.

If your Valentine’s Day seems in need of a little more mariachi music and serenading, then you can find Mariachi Serrano members selling time slots starting Sunday, Feb. 10 to Wednesday, Feb, 13 outside Mallot, Collins, and Frary at dinner. For $5, you can choose one of two songs, a time slot from between 7-10 p.m., and a location for your serenade.

So this Valentine’s Day send your love through more than just flowers; send it through a mariachi band, and be ready for Mariachi Serrano to transform your Valentine’s Day into a true Noche de Amor.

Email mariachiserrano@gmail.com to reserve a time slot or ask for more information about Mariachi Serrano.

lins, “You can’t think your way out of oppression.”

She pointed out how black feminism’s emphasis on intersectionality and grassroots participation counters existing narratives in academia which value ideas over actions, topdown power over bottom-up models, and abstraction as a higher form of knowledge than personal experience.

But in the process of being mainstreamed into colleges and other conservative institutions, the radical inclusion of marginalized voices is lost as a guiding principle. She joked about the inherent absurdity of academic claims that marginalized

photo | Caroline Novit ’14

used as a textbook in university classrooms across the country.

The term intersectionality refers to the ways in which multiple systems of oppression or power interact. While multiple power structures have perpetuated social inequality for hundreds of years, a classic example of intersecting power is the marginalization of black women and poor women within second-wave feminism in the U.S. Second-wave feminist movements sometimes favored the goals of the most elite, such as stay-at-home mothers who fought for their right to work outside the home in the 60s despite the fact that poor women—regardless of race—had been working outside the home for many years.

Collins emphasized that black feminism is at its core bound to praxis. Its philosophy requires its theories and ideas to be practiced and enacted outside of academic circles. Said Col-

people can “bring black feminism down” or that intersectionality is too biased toward marginalized people to be credible.

Black feminism, like social justice, is never “finished.” And while it of course requires theories to flourish, it will fail if it is confined to academic institutions and separated from praxis.

Though her lecture dealt with heavy topics, Collins witty and downright funny in her delivery, even stopping mid-lecture to call out an audience member for yawning.

During the question-and-answer session after the lecture, she confided that dance has always been a great joy in her life, and that Zumba is her current obsession.

Collins currently teaches in the Sociology department at University of Maryland. In 2009 she became the first black female president of the American Sociological Association.

photo | Kehau Jai

February 7, 2013 • The Scripps Voice • Volume XVI • Issue Seven