Word: martinisms
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...many ordinary Alaskans. Among the giants of the Iditarod are five-time champion Rick Swenson; families like the Redington, Seavey and Mackey clans, who have captured multiple championships and together have placed an entrant in every race since the event's inception; and four-time winners Susan Butcher and Martin Buser, who owns the record for the event's fastest recorded time (8 days, 22 hrs. and 46 mins). To prepare for the rigors of the journey, mushers spend months prepping their dogs, who are subject to drug screenings and tracked using collar tags and microchips implanted under the skin...
...when Glenn Martin was leaving prison in upstate Attica, N.Y., after serving six years for robbery, the correctional officer thanked him in a way he'd never forget: "He said my being there helped pay for his boat, and that when my son came there, he would help pay for his son's boat...
...large extended family’s impoverished existence. Her daughter Nayda (Jacklyn Jose) resents the unbreakable ties to this home that an unexpected pregnancy (and the ensuing marriage) reinforced, and her ambiguous romantic interest in her cousin Ronald (Kristoffer King) further complicates her emotions. Cousin Alan (Coco Martin) has impregnated his girlfriend, Merly (Mercedes Cabral)—a one-way ticket to the altar and another mouth to feed. And all the while, “service” men gather in the theatre’s lobby and cinema, selling themselves to the gay frequenters for as much...
...extends not only into the physical space of its gallery but also into the personal space of the viewer.“The Space Within; The Time Without” is the brainchild of Xinran Yuan ’10, who is also a Crimson photographer, and Trevor J. Martin ’10. The two artists first conceptualized the installation in VES 130r: Shapeshifting, a directed studio course. Yuan and Martin created the exhibition after SOCH Art Gallery Curator O. Akili Tommasino ’10 approached them about installing site-specific pieces for the SOCH...
...Requiem for a Dream” and “The Fountain” being the prime offenders). The “Match Point”-esque ending is designed to be a carnival of conflicted pathos—Woody Allen’s romantic anxieties shot through with Martin Scorsese’s manly poetics—but Gray’s attempt to be an auteur of enclosed spaces and private struggles is mired by bad scriptwriting filled with well-worn tropes of romantic drama. He should embrace his Hollywood side, and it actually looks like he might...