“VHS rules,” proclaimed fourth-year religious
studies student Walter Morales. “I’m so over DVDs.
I’m bringing back VHS.”
Good luck. As enthusiastic as the old-school Morales is about
leading a VHS return to glory, the cold hard truth is that the DVD
has replaced VHS as the OWW (Only Way to Watch).

Now what?
That’ll be the question on every graduating senior’s
mind the moment he or she receives that hard-earned diploma during
this weekend’s commencement spree. It’s probably the
most important question you’ll have to answer for the rest of
your life.

It all started something like this:
Coworker: Let’s go skydiving.
My head: Don’t say yes, don’t say yes.
My mouth: Alright, let’s go.
My head: Oh, crap.

With “Made in Mexico,” UCLA Hammer Museum’s
latest art exhibition, curator Gilbert Vicario poses the question
“What Makes Art Mexican?” with no clear-cut answer in
mind.

When it comes to labels, artists are no different from actors or
musicians in that they all become a tad defensive. Their
reputations are at stake, and creative minds tend to feel caged
when their work is pigeonholed, especially according to their
ethnic identities.

You know in the finale of most TV series, when the main
character moves out of the house he or she has lived in for a long
time and gazes longingly at each empty room and reminisces about
the unforgettable moments that occurred there as the piano solo
slowly fades out?

There’s no greater exhilaration in No-Limit Texas Hold
’em than hearing a poker player declare, “All
in.”
Even when the fateful words are uttered by a dirt-poor college
student in sweatpants, playing in a game where “no
limit” hardly amounts to a triple-digit pot, “all
in” is still “all in.”
From red, white and blue poker chips to Hold ’em lingo
like flop, turn, river and kicker, the sights and sounds of the
increasingly popular poker game are becoming ubiquitous throughout
the dorms and apartments around campus.

In the high-stakes world of competitive book collecting,
everyone is a wild card and anyone can be a dark horse. Now that
sounds like my kind of competition.

In one of the rare instances where lip-synching is not only
engrossing but also applauded, the child actors of the
Belgium-based theater company Victoria proved captivating as
copycats in last Saturday night’s performance of
writer/actor/director Josse De Pauw’s
“üBUNG” at UCLA’s Freud Playhouse, drawing
to an end UCLA Live’s second International Theatre
Festival.

When it comes to the issue of misconceptions of Chinese culture
and dance, Josephine Louie, artistic director of “Lotus
Steps, 2004,” recounts the time when the bare midriff of a
child dancer performing in the show was brought into question.