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...Crimson last night retracted an Oct. 16 column published on its editorial page after determining that the writer had failed to attribute the source of several quotations in her piece, which appear to have been lifted from a blog and an online magazine...
...utterly bewildered I am by the ankle boot phenomenon. I actually can’t wrap my small, pea-like brain around them. When ankle boots showed up at fashion shows, I figured that they were one of those ironic things—like assless chaps—that appear in a sardonic, only-Prince-would-ever-wear-them-out-of-the-house way. When the Olsen twins started wearing ankle boots, I suspected that Mary-Kate and Ashley were nursing crack pipes, and laughed at their misfortune. When Lindsay Lohan started wearing them, however, I knew ankle boots...
...Soviet countries. Those hoping to catch a glimpse of a real live Kazakh next weekend, however, are better off seeing Ali G’s “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.” Although Dvortsevoy was originally scheduled to appear for the screenings of his films, he won’t make it to the United States. Brooke Holgerson, Editorial Assistant for the HFA, explains that “[Dvortsevoy] didn’t fill out all the [visa] paperwork in time, and he’s hard...
...signal the video’s opening and the noir-ish palette contrast is cleverly manipulated by rapid switches between black and white backgrounds in the dance scenes. Yet it becomes a little trippy—and borderline tacky—when objects drawn from the lyrics start to appear and subsequently float around in slow motion: string instruments when Timberlake says “symphony” or notepads when he says “love note.” Featuring a perfect blend of solo and group dancing, the video is full of undeniably captivating liquid movements, although...
...fluttering fans add a sense of grace and style to their footwork and also function as props. Adding to the Spanish flavor is Kitri’s use of castanets in the first act, which she pairs with twisting arm motions and Flamenco-style footwork. The matadors who appear in Act II wield heavy black and red capes that they move about with visible effort but precision. The large ensemble in the first act does give the stage a cluttered feel that sometimes obscures the important characters. It’s not always apparent where the audience should be looking...