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F RI DAY, SEPT EMB ER 20, 2019

ILLUSTRATION BY: ELOISE OWEN AND SAMUEL NELSON/THE HOYA

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

Student Groups Carve Out Place for Artists ALLAN NAVARRO AND JESSICA MAKSIMOV

Hoya Staff Writer and Special to The Hoya

Students crying in the Intercultural Center, walking nervously into the McDonough School of Business for an interview or meticulously editing a resume at the Cawley Career Education Center: These vignettes, taken as a whole, encapsulate the immense pressure placed on students that stems from applying to and attempting to join clubs on campus. On a campus that routinely finds itself struggling with the pervasiveness of academic stress and all-consuming anxiety, these groups also promote student well-being by offering a way to disconnect from the strain of classes. As these groups continue to forge creative spaces on campus, Georgetown University students reckon with art’s role on campus and seek to support the longevity of art spaces to show that they are vital to the long-term prosperity of the student body. As the preprofessional culture perpetuated by many of Georgetown’s clubs takes hold of campus, student-run groups that encourage artistic endeavors of a wide range of media, from visual art to music to poetry, offer subversive and restorative spaces for the creative to unwind and reflect. While they may not necessarily offer the resume boosting capacity that other campus clubs tout, these organizations can craft valuable spaces for representation of otherwise marginalized identities and reprioritize selfexpression as a healthy and restorative part of campus life.

In addition to building a creative community, groups like GUCCI can help foster relationships among people with different backgrounds by bringing people together over a shared love and appreciation of art, according to Dunat. “You probably wouldn’t get a better representation of all different types of people and all their different backgrounds than you would at a GUCCI event,” Dunat said. “We offer a place for people to share their own life experiences and background in a way that is just not as easy to do in other settings.” Similar in structure but with a distinct purpose and mission, Art Beyond the Margins is a self-described “artivism” club that, since this year, operates through the Center for Social Justice Research, Teaching and Service to build a welcoming community that recognizes the value for artists to share their musical or performing talent. The club seeks to empower artists with marginalized identities,recognizing that Georgetown often not only undervalues the arts, but also especially fails students who must also grapple with societal and systemic oppression, according to Maya Gabby (NHS ’21), president of Art Beyond the Margins. “What we’re doing is — in a predominantely white institution, on a campus that does not do a lot for arts but especially for people of color, queer folks, people with differential ability status — making sure that art is accessible to them,” Gabby said.

@BOSSIER/INSTAGRAM

Soph Rosenzweig (COL ’20), left, and Natalie Kim (SFS ’21) table for Art Beyond the Margins, now piloting its first year as a program supported by the Center for Social Justice.

CREATING CREATIVE OPPORTUNITIES

In a crowded townhouse, string lights glow warmly throughout the room as an enraptured audience attentively listens to a student performing their latest original song and art appreciators thoughtfully inspect the student-made art hanging on the living room walls. Creating open, cozy and creative spaces like this one is a goal of the Georgetown University Collective of Creative Individuals. GUCCI was founded as a Facebook group in mid-2016 and has since grown to include over 1,500 members. The group functions as a hub for like-minded creatives to form connections, which can become increasingly difficult to make in a hypercompetitive college environment. GUCCI also hosts monthly events including open mics, performances by local bands and even album release parties for students on campus; next semester, the group will be an officially recognized club to gain institutional support and make planning events easier. The group helps build community among artistically minded students and offers events that differ from the usual club board meetings and speaker events, according to Max Dunat (SFS ’22), a GUCCI board member. “GUCCI provides an outlet for students to share their talents with people while also giving an alternative for things to do around campus,” Dunat said.

@THECORP/INSTAGRAM

The importance of student art groups lies in their ability to bring a wide swath of creative students together, even in light of a campus culture that stresses preprofessional clubs. These groups offer a different vision for what student extracurriculars should look like.

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

Art Beyond the Margins emphasizes its function as a safe space for folks not welcome in other spaces on campus to either perform their music and poetry or display their visual art around the venue at open mics and community gatherings, regardless of skill level, according to Gabby. “I’m really passionate about Art Beyond the Margins because it’s a place where a lot of people perform for the first time,” Gabby said. “As a freshman, the first time I did spoken word was with Art Beyond the Margins.” Artistic expression itself is a social justice issue that involves a performer’s identity and own needs — something a club like Art Beyond the Margins can address and work toward, according to Gabby. “The way that we function as a social organization is that we empower artists to make art,” Gabby said. “A lot of what we’re grounded in primarily is a social justice outlook, but we don’t see them as separate — we see them as together.”

FINDING SPACE ON A CROWDED CAMPUS Bossier, founded in 2016 by Tiffany Tao (SFS ’19) and Michelle Dale (SFS ’19), is another Georgtown organization that provides an outlet for artistic students and highlights feminist topics in a publication that releases two issues per year. With this distinct angle, Bossier can directly and explicitly address harmful stereotypes perpetuated against marginalized groups. This organization is a publication that gives womyn, femmes and their allies a place to display their creative written and visual work, and the group also hosts events that coincide with each issue’s release. The appeal of publications and groups like Bossier lies in their ability to create a space that pushes against the rigid norms and pressures of social life on campus, according to Aries Miranda-Antonio (COL ’21), editor-in-chief of Bossier and co-president alongside Olivia Jimenez (COL ’20). “Part of the power of Bossier and other non-normative publications on campus is just being able to give you room to create for the sake of creating instead of creating

@BOSSIER/INSTAGRAM

Artists of almost every medium can find somewhere to showcase their talents, and groups like Bossier and Art Beyond the Margins affirm and celebrate marginalized identities on campus to make an open, safe and inclusive environment for students. for a grade, for a project or for work,” Miranda-Antonio said. Uncommon Grounds, one of the locations of Students of Georgetown, Inc., commonly referred to as The Corp, has also taken steps to make space for student performers and visual artists in their cafe with a philosophy that every person on campus can get involved in the arts, according to Roya Wolfe (SFS ’21), the events coordinator for the coffee shop, which hosts frequent open mic nights on the Leavey Esplanade, the courtyard outside the store, at which anyone is welcome to share their poetry or music. “You can do anything, as long as it’s respectful — we can have any art expression you want,” Wolfe said. “There is no secret passcode you enter to become an artist; it is available to everyone.”

These spaces have given student artists platform and spectators an array of performances and pieces to admire and even be inspired by, empowering artists to create, according to Jaden Kielty (COL ’22), who was motivated by Uncommon Grounds’ art displays and submitted her artwork to be placed in the shop. “I talked to some of the artists whose work was up and they told me that students’ work gets put up on the walls,” Kielty said. “I thought that was so dope, so I wanted to have my art up there, too.”

SUPPORT, SHORTCOMINGS As groups like Art Beyond the Margins and Bossier work to empower artistic communities, they can also pave the way for artists to make a lifelong career out of

JULIA GIGANTE/THE HOYA

Student groups without institutional spaces get creative by transforming everyday places like dorm rooms, apartments and common rooms into concert venues, performance stages and art galleries that showcase the artistic talent of students.

the work that fulfills them in light of few other similar opportunities on campus, according to Gabby. “We are really trying to uplift students who are artists and who are trying to make those professional connections,” Gabby said. “We don’t see a whole lot of professional development, especially for artists of color and queer artists on campus.” The more people who get involved with these students groups, the greater their prominence on campus and the more change they can enact in campus culture, according to Miranda-Antonio. “The stronger the community is campuswide, the stronger that Bossier is internally,” Miranda-Antonio said. “It’s about being able to not just have community within the group that works on the magazine, but bringing in people not just for art, but bringing them in for silly things like going to see Rocky Horror Picture Show at E Street Cinema during Halloween.” For now, though, these groups continue to host their own events with occasional collaboration, according to Miranda-Antonio. “We’re assisting GUCCI with an album release party this month,” Miranda-Antonio said. “We’re doing some interactive art pieces and pulling some other previous pieces that align with the album’s mission just for the space, and GUCCI is the one hosting [the event.]” At their core, campus art groups and spaces seek to give students a way to explore their identities and act as a powerful source of enjoyment on a stressful campus, according to Miranda-Antonio. “Groups like GUCCI and Art Beyond the Margins do an incredible job of creating spaces,” says Miranda-Antonio, “and I feel like we’re aligned in order to not only facilitate tough discussions, but also create a space for joy.”

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

THEATER REVIEW

‘1 Henry IV’ Showcases Acting Prowess at Folger Theatre KATHRYN BAKER Hoya Staff Writer

When Prince Hal utters the pivotal line “I know you all” during his famous monologue at the end of act one, scene two of William Shakespeare’s “1 Henry IV,” he addresses his relationship with his drunken father figure turned fellow bar chum Falstaff. However, when actor Avery Whitted delivered the line last Friday night at the Folger Theatre in Washington, D.C., he addressed the audience, claiming to know its members like he knows his pals at Eastcheap, the London street that houses the group’s favorite bar. These lines set the tone for the Folger’s rendition, which, under Rosa Joshi’s direction, begs the audience to question who or what can be truly known. At its time of publication, “1 Henry IV” was one of Shakespeare’s most popular plays. Upper class citizens enjoyed the dramatic political elements while poorer citizens related to the frustratingly lovable Falstaff and his Eastcheap buddies. The Folger Theatre’s production navigates these two worlds with skill and invites audience members to join Prince Hal on his journey from reckless

youth to honorable adulthood. “1 Henry IV” picks up where Richard II ends: Richard’s murder leaves a power vacuum in its wake, and Henry Bolingbroke assumes the throne. Conflict arises when Hotspur, a young member of a powerful political family, breaks ties with Bolingbroke and questions his legitimacy to the throne, sparking a war. Meanwhile, the young Prince Hal shirks his royal duties and instead spends his time with a rowdy bar crowd until realizing his true duties and potential. Whitted’s Folger Theatre debut is glorious, and he explores Prince Hal’s disingenuous and endearing qualities like a seasoned actor. Particularly, Whitted effectively portrays Prince Hal’s ability to completely transform his emotions depending on the company he keeps. Under his supposed affection for Falstaff lurks a political agenda; Whitted brings both charm and cunning. Despite Whitted’s likeability, it is Edward Gero’s Falstaff who drives the Folger’s interpretation. Gero is no stranger to the Shakespearian stage, having performed in past productions of “Henry IV” and “King Lear” at the Shakespeare Theatre Company. His sheer emotional range reveals his professionalism and

experience. Depending on the scene, Gero’s Falstaff can either rouse laughter during humorous misadventures or elicit tears during tender moments with Hal. While Falstaff is often played only as a lovable and entertaining drunk, Gero adds depth to the role. His Falstaff is simultaneously plagued by an awareness of his own mortality and fueled by an affection for Hal. At the Folger Theatre, Falstaff is the most relatable he’s ever been, and Gero transcends the usual static portrayal of the character’s comedic relief. Although well-executed, the aesthetic elements of Joshi’s interpretation lack innovation. The sleek, metal columns accented by neon colored rods planted the play in the 21st century, but they’ve been seen before. The prominence of the IV logo, appearing on Bolingbroke’s throne, the stage’s back wall and England’s military uniforms, felt equally cliched and insignificant. While assumedly meant to make a statement, these design elements paled in comparison to the actors’ exciting, nuanced performances and felt hurried and without artistic purpose. Not all production elements fell flat.

Brandon Roe’s sound engineering, which included a blend of military sirens and electronic dance music, served to draw a contrast between the sterile royal court and the rowdy underground scene of Eastcheap. Watching Hotspur and Hal execute U Jonathan Toppo’s fight choreography was like watching two trained dancers. Punches and kicks paired with pulsating rhythms brought energy to a scene that otherwise could have slowed down the play’s momentum and pacing. At its core, “1 Henry IV” is a play about playing each part society requires or leads us to. Prince Hal plays both an irresponsible young adult and an honorable son. Falstaff assumes the roles of drunk, liar, friend and father. Henry IV acts like a legitimate ruler, and Hotspur pretends to be an experienced warrior. It is a play that proves that relationships are complex exactly because people are rarely who they seem to be. With an expertly crafted cast and nuanced characterization, the Folger Theatre’s rendition navigates these performative relationships while still delivering the knee slapping comedy that audiences expect from Shakespeare’s “Henry IV.”

LEFT: BRITTNEY DILIBERTO FOR FOLGER’S SHAKESPEARE LIBRARY, RIGHT: @FOLGERLIBRARY/INSTAGRAM

“1 Henry IV” brings the classic William Shakespeare play into the modern age with each actor shining in their own role. By emphasizing their emotional range and character development, the cast pays respect to the classic source material while also making sure to provide something new and distinct that leaves audiences satisfied.

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

ALBUM REVIEW

JPEGMAFIA Continues to Innovate With Unorthodox Sound ‘ALL MY HEROES ARE CORNBALLS’

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JPEGMAFIA ZAIN SANDHU Hoya Staff Writer

Baltimore hip-hop artist and producer JPEGMAFIA’s third full-length LP, “All My Heroes Are Cornballs,” is simultaneously objectionable and beautiful. On this new project, JPEGMAFIA crafts a landscape of industrial, scattered and glitchy beats that are juxtaposed against soft, melodic notes that make a compelling contrast. The resulting album is remarkably refreshing and different, and that improves on the artist’s developing sound. In contrast to his last album “Veteran,” a great deal of the production on “All My Friends” strays away from relying solely on avant-garde instrumentals, instead opting for a more melody-driven sound that might be more accessible for the average listener. This change does not mean, however, that “All My Friends” makes for a casual, unengaging listen; rather, JPEGMAFIA has simply done a better job fluidly incorporating more traditional melodies into his preexisting experimental, disorienting style. As a result, this album is palatable without sacrificing excitement or experimentation. Regardless of how digestible “All My Friends” may be compared to the rapper’s last project, though, one thing remains true: The heart of this

project is JPEG’s ability to produce cutting edge and provocative instrumentals. The album’s opener, “Jesus Forgive Me, I Am A Thot,” presents the listener with a cacophony of distorted ambient noise. However, this noise is not without purpose — it works percussively and establishes the frantic but beautifully energetic atmosphere for the rest of the album. This distortion soon gives way to a looped piano riff that actually sounds quite pleasant. Not only that, but JPEGMAFIA delivers a surprisingly well-sung hook as well. Similarly, “Kenan Vs. Kel” starts out with a laid-back, chimelike synth lead, but not before transitioning into a deluge of abrasive and postapocalyptic sounding guitars for the song’s second half. Throughout the album, JPEG manages to achieve a balance between sonically pleasing and experimentally bold sounds in a way that is both digestible and disorienting at the same time. In this way, the rapper effectively pioneers new ground in rap while still being coherent to contemporary listeners. The track “Grimy Waifu” also reveals the artistic growth and versatility since JPEG’s last release. The song is as layered as one would expect one of his songs to be, but it feels distinctly different in that it still manages to be remarkably light and airy. The refreshing sound of an

acoustic guitar, paired with JPEG’s soft singing voice, demonstrates the rapper’s sensibility when it comes to incorporating diverse sounds to further enhance his own. As jagged and unpredictable as many of the instrumentals off this album may be, “All My Heroes” hardly ever loses momentum, in large part because of the album’s nonstop, visceral energy. JPEG sounds at his most comfortable when riding the mania of his beats to transcend the boundaries of any one track, fleshing out the project’s entire tracklist and creating one cohesive album. The album’s value does not only stem from its musical production. In terms of lyrical and thematic content, JPEG offers many refreshing ideas that complement the record’s standout production. As an artist and as an up-and-coming cultural phenomenon, JPEGMAFIA rests on the fault line of both old and new internet culture, and his fluency in all things internet-related comes off more clearly than ever on “All My Friends.” Certain tracks on the album, such as “BasicB---hTearGas,” a reinterpretation of TLC’s hit song from the 1990s “No Scrubs,” and the shoutout to the 1990s show “Kenan & Kel” on the aptly titled “Kenan vs. Kel” signal a desire to look back to the time right before the internet

launched into popular use. The rest of the album’s tracks, on the other hand, attempt to illuminate other features of modern online culture. “Post Verified Lifestyle,” for example, speaks to the rapper’s elevated status that comes from gaining the “verified” status on social media. Another track, “JPEGMAFIA TYPE BEAT,” pokes fun at the ubiquitous “type beats,” or instrumental tracks based on already popular rap styles that can be found on YouTube, a self-aware move that exemplifies the tongue-incheek lightheartedness that keeps the album sounding young and relevant. The tension that JPEGMAFIA highlights between these two generations of the internet is interesting, but most importantly, it shows how much more pervasive and relevant internet culture is today, and how it has entirely transformed what modern fame looks like. Overall, “All My Friends Are Cornballs” feels satisfying in a way that is sonically pleasing enough but that also manages to push the limits of hip-hop. It feels progressive, even as far as modern rap goes. JPEGMAFIA is paving the way for a new era of music intimately in tune with the online culture it exists in, and the avantgarde production on “All My Friends” is just innovative enough to make this vision successful.

@JPEGMAFIA/INSTAGRAM

JPEGMAFIA’s “All My Friends Are Cornballs” is an exciting and well-crafted album that captures the anxiety of living in a world of internet hyperactivity. The album blends the brash and the familiar to introduce the listener to a vision that is more melody-driven than past projects, even as it keeps his taste for the disorienting intact.

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

MANAGING READS

‘If We Were Villains’ Tells Gripping Shakespearean Tale Catriona Kendall If you’ve ever wondered what happens when a group of William Shakespeare nerds studying theater get too into their roles, M. L. Rio’s novel “If We Were Villains” gives a transfixing answer: murder. When the book opens, Oliver Marks leaves prison after serving a 10-year sentence for murder, and the book slowly reveals the details of the gruesome crime. Retiring detective Joseph Colborne is desperate to know the truth about what happened a decade earlier, and Oliver agrees to tell him — insisting, however, that his account is not an apology. The story that unfolds is a gripping retelling of how a group of seven friends at an elite arts college brought each other to mutual ruin, jumping between Oliver’s past and present. Each of the seven characters has a distinct role to play, in both their Shakespeare performances and in life. As their personalities shape their performances on stage, the attributes of the characters they play bleed into their real lives. James Farrow, effortlessly handsome and

undeniably talented, always plays the hero. Alexander Vass, with his snark and vampiric smile, is their resident villain. Richard Sterling, an ill-tempered bully, impresses and intimidates audiences as the tyrant. Meredith Dardenne, beautiful and fierce, takes the role of the seductress. Wren Sterling, with her classic girl-nextdoor delicacy, is the ingenue. Filippa Kosta, “cool and chameleonic” and impossible to typecast, only ever serves as the extra. Rounding out the cast is Oliver, who finds himself aggressively average, relegated to the sidekick. Their individual archetypes lay the basis for their on- and offstage selves, blurring the lines between performance and reality, only to be disrupted when a production of “Macbeth” switches up the usual roles that each character would have received. The seven, once insulated, codependent and guided by their expected roles, see their group dynamic begin to shift and warp as they try to play their new parts. New tensions arise and existing ones escalate until one of the characters ends up dead. The plot of “If We Were Villains” marks it as a thriller, but as Oliver tells it, the story transforms into an introspective Shakespearean tragedy. I stayed up all night to finish this page-turner, but Oliver’s storytelling manages to feel unhurried as it pulls the reader in. He doesn’t just want you to know what happened; he wants you to live through every triumph and misstep and

horror, through all the joy and destruction. “If We Were Villains” is addictive. It draws you into the thespians’ world of parties, drugs, secrets and obsessions, infecting you with the inability to look away, even while knowing something dark looms. After all, as Oliver explains, “That is how a tragedy like ours or King Lear breaks your heart—by making you believe that the ending might still be happy, until the very last minute.” The novel presents the quintessential dark academia story, an unofficial subgenre of the “campus novel” that features college-aged academics in one way or another reeling from the psychological consequences of their actions — usually murder. What sets dark academia apart from typical murder mysteries is the focus not necessarily on who did it, but rather why they did it, and “If We Were Villains” explores this question with relish. It’s fun for me to read a novel set on a college campus, even when these students’ experience is radically different from mine. As a new adult book, “If We Were Villains” serves as a fascinating navigation of a point at which we are all vulnerable to pressures and passions and emotions. On the surface, this book may seem profoundly pretentious. If I ever met people like these characters, who quote Shakespeare as often as they breathe and compare every moment of their lives to one in a play, I’m certain I would find them unbearable. Yet when Oliver explains,

“Our sheer capacity for feeling got to be so unwieldy that we staggered under the weight of it, like Atlas with the weight of the world,” I got chills. “You can justify anything,” he continues, “if you do it poetically enough” — and I had to see what he meant by that. These Shakespeare nerds may not be the people you want sitting next to you in class, but something about them will make you pause, maybe even make you like them, as I did. Perhaps it is their desperation to understand human nature and their conviction that the words of Shakespeare will afford some answer. Perhaps it is the intensity and confusion of their emotions, their inability to separate themselves from their characters. Regardless, these seven overdramatic thespians sunk their claws into me, and I let them. This novel is not a light read, but its quick pacing enthralls. Rio’s meticulous, thoughtful characterization makes the characters likable even when they shouldn’t be, the tension of the plot is palpable at every turn, and the incorporation of Shakespeare is never overbearing. “If We Were Villains” offers a dark and intoxicating exploration of humanity, written so exquisitely that it will — hopefully — haunt me forever. Catriona Kendall is a graduate of the School of Foreign Service. She formerly served as managing editor at The Hoya. MANAGING READS appears in print every other Friday.

FOOD FOR THOUGHT

A Stroll Through Georgetown’s Asian Eateries Tyler Chan For a lot of Asian American kids, restaurants hold a special place in our hearts; they are where we met up with other families, played on our handheld video game consoles for hours on end and also where our parents teased us in the middle of sharing a meal in front of the whole family. Georgetown has a surprising amount of Asian restaurants despite its small size; each manages to celebrate its own cultural heritage, even though some offer a much more enjoyable dining experience than others. Of all the Asian restaurants in Georgetown, my least favorite is Kintaro. This restaurant is a small ramen shop I used to frequent if I ever wanted a quick bowl of ramen, but I eventually grew tired of going when every

time I went I left almost as hungry as I was when I entered. Kintaro is my least due to its miniscule serving size. The ramen bowls leave me unsatisfied every time I eat there. In addition to ramen, Kintaro also serves sushi, small plates and entrees, such as teriyaki and gyu-don, a type of beef bowl. Zannchi is a Korean restaurant located on Wisconsin Avenue that specializes in bibimbap – rice bowls that come with a mix of vegetables and protein in a heated stone bowl. I love bibimbap in general, and even though Zannchi’s offerings can’t compare to anything you can get on the West Coast, their food comes closer than any other Korean restaurant I’ve been to. Each bowl at Zannchi features a wide array of well-prepared ingredients; carrots, lettuce, bean sprouts and green onions fill the bowl to the brim, but each bowl itself is fairly small, which makes their food overpriced. There’s no wrong way to eat bibimbap, but I recommend mixing everything up so you can get a mouthful of each different texture and flavor with every bite. The store itself is pretty small, but its convenient location right below Kung Fu Tea makes it a great spot to grab a meal and then

wash it down with some boba tea. When it comes to Asian restaurants in Georgetown, Mai Thai is a serious contender for the best in the neighborhood. This is probably the closest restaurant to campus, and it specializes in Thai food. I always go here, not only because of its location, but also because I know I will always be stuffed after coming. Some of my fondness for Mai Thai also stems from the many heartfelt and difficult conversations I’ve had with friends over a tasty Thai meal. I’ve taken my friends from Las Vegas here and they loved it — as did my mom. I always order the Pad See Eew, which is a flat rice noodle dish that comes with vegetables and a meat of your choice. This place gets crowded and loud, but I always make great memories whenever I go here; the raucous ambiance provides the perfect environment to have an enjoyable dining experience in community with friends. However, almost no restaurant can compare to none other than Dumpling & Beyond. I really like this place, partially because it’s been catered to so many club events on campus. Regardless, this place is a great spot to get downright delicious

dumplings. I’m a regular pork and vegetable dumplings person, so I frequently get that order. The shape of the dumplings themselves are somewhat irregular from traditional dumplings, but what they lack in aesthetic value is made up in each dumpling’s flavor and heartiness. D&B probably has the most “authentic” flavor out of all these restaurants. Much like Mai Thai, I love D&B because of the layout that reminds me of restaurants back home; it might just be something as simple as the lighting and tables, but something about D&B always fills me with nostalgia and makes every visit a meaningful time, whether it’s with my new friends from Georgetown or with my parents when they come to visit me. The streets around Georgetown University offer a surprising amount of delicious Asian food that draws upon culinary traditions from a diverse swath of the continent, making for plenty of opportunities to try new foods and enjoy your old favorites. Tyler Chan is a junior in the College. FOOD FOR THOUGHT appears in print every other Friday.

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

ART REVIEW

CONCERT REVIEW

SMITHSONIAN AMERICAN ART MUSEUM

Artist David Levinthal explores the romanticization of post-World War II American culture with toys in “American Myth & Memory.” By analyzing the role popular culture plays in cultural understanding, Levinthal identifies a new, refined image of the recent history that has shaped much of modern American society.

Levinthal Exhibit Examines Culture Through Toys MICHELLE BROWN Hoya Staff Writer

Photographer David Levinthal uses figurines, doll furniture and other miniatures to meticulously piece together dioramas that recreate images — or imaginations — of American society. Employing important pieces of Americana, Levinthal seeks to represent collective and idealized notions of American identity with over 70 photographs. “American Myth & Memory: David Levinthal Photographs” at the Smithsonian American Art Museum, which runs from June 7 until Oct. 14, takes a fascinating look at the icons and events that have shaped American post-World War II identity through an unusual and striking medium: toys. Levinthal’s retrospective encourages his audience to examine the norms that have dominated American culture. He poses questions about popular culture, womanhood and colonialism through the guise of a playful diorama depicting American culture, with the technique of using focus as a magnifying glass guiding viewers to the sections of pieces that raise these concerns. This exhibit brings together six different photography projects by Levinthal,

spanning from 1984 to 2018: “Modern Romance,” “American Beauties,” “Wild West,” “Barbie,” “Baseball” and “History.” “Modern Romance” is the first of Levinthal’s American culture explorations, exploring the effect of postwar entertainment, mainly television and movies, on ideas about relationships. Photographs from this set portray hazy, out-of-focus street corners and movie theaters bathed in a warm, dark red glow, creating a dreamlike depiction of the late 1940s and early 1950s. One untitled photo even depicts a theater advertising the 1951 Hollywood Golden Age dramatic romance “The African Queen,” showing the way in which Levinthal manages to convey the essence of these time periods while still drawing on specific, concrete moments in culture. Following this set of images is a more concentrated focus on portrayals of American women in “American Beauties.” The figurines that make up this collection include pinups in bathing suits, lounging in a way that implies equal parts innocence and sexuality, with the use of literal dolls making the photos quite literally objectifying. Like in “Modern Romance,” Levinthal’s photographs are blurred except for one strategic area of focus. In one untitled photo, the camera focuses only on the

doll’s outstretched legs. “Wild West” takes a different direction than the previous two projects, departing from images of interpersonal romance to romanticized images of American history and the frontier. A sepia cowboy with an authoritative wide stance and pistol in his hand evokes the sense of rugged individualism and vigilante justice that characterizes retellings of the history of the wild west. Images of rearing horses, the docile prairie woman and the cowboys and Indians rivalry fill out this fantastical notion of the frontier life, and the apparent fabrication of each shot — these are dolls deliberately designed and posed — reflects the historical creation of the narratives that Levinthal represents. “Barbie” is a rather self-explanatory set of images. Notably, it is the only set that breaks free of Levinthal’s use of limited focus. The stitching and texture of Barbie’s carefully crafted evening gowns and the carefully painted makeup she dons are in clear focus. Photographs of Barbie posing alone, with friends and with dates bring this cross-generational plastic doll to life and point out her longevity and her impossibly effortless lifestyle. Lastly, and perhaps most powerfully, is Levinthal’s “History,” which identifies defining moments across American his-

tory. Levinthal includes both moments of great triumph, like “Washington Crossing the Delaware” and “Iwo Jima,” as well as moments of profound sorrow, including “Dallas 1963” and its depiction of the assassination of President John F. Kennedy and “Helicopter,” a symbol of the Vietnam War. These emotional images are so indelibly etched in the minds of Americans that, in spite of Levinthal’s intentionally blurry recreations, the scenes are immediately recognized with great clarity. “American Myth & Memory” prompts viewers to reconsider the meaning of American identity. Levinthal shows us which individuals, events and ideas have been exalted in conceptions of American identity to the point that they are static figurines and idols rather than actual, historical people and ideas. Despite all of this questioning, however, he leaves it to the viewer to answer what, or who, has been excluded. Crucially, Levinthal’s images of American identity through the use of dioramas and toys suggest that our collective memory of American history and culture is, in many ways, highly constructed. The exhibit inspires a critical look at the artificial retellings and glamourized idealizations of American culture that have given credence to particular objects and images as national icons.

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

What to Do in DC

MUSIC

New Releases

STEVEN BOTSOE Hoya Staff Writer

ZAIN SANDHU Hoya Staff Writer

A NIGHT WITH ASYLUM SEEKERS: STORYTELLING AT THE PHILLIPS COLLECTION

Hear six clients from the Asylum Seekers Assistance Project tell their stories, centered around the theme of hope at The Phillips Collection, followed by an audience Q&A. This event comes as a part of The Phillips Collection’s exhibition, “The Warmth of Other Suns: Stories of Global Displacement,” and offers the chance to be educated and enlightened by unique art and installations depicting stories of human displacement. Tickets to the event are included with the Collection’s special exhibition admission fee — $12 for adults or $10 for students — or free for members. @MILEYCYRUS/INSTAGRAM

MILEY CYRUS, ARIANA GRANDE, LANA DEL REY ‘DON’T CALL ME ANGEL’ “Don’t Call Me Angel,” a track inspired by Elizabeth Banks’ newest “Charlie’s Angels” reboot, most certainly lives up to the potential one would expect from a collaboration of this magnitude. While the song is not exactly cinematic, Miley Cyrus, Ariana Grande and Lana Del Rey use their respective talents to successfully channel the film’s female power.

@FKATWIGS/INSTAGRAM

FK TWIGS, FUTURE ‘holy terrain’ “holy terrain” is the second single for Briting singer-songwriter FKA Twigs’ forthcoming album “MAGDALENE.” The track, with its dark and dreamy instrumental and airy, falsetto vocals, is a promising indication of the singer’s new music. Future also makes an appearance on the track, riding the trap-influenced beat skillfully and complimenting Twigs’ singing.

MAKING A MOVEMENT: ‘TONGUES UNTIED’ SCREENING

In honor of the 30th anniversary of the groundbreaking Marlon Riggs film “Tongues Untied,” Washington, D.C.’s Brave Soul Collective is partnering with The Counter Narrative Project to screen the film, a postshow discussion around black gay movement history and the need for black gay activism in 2019 follows the show. The event is located in Eaton DC at 1201 K Street Northwest.

BRAVE SOUL COLLECTIVE/FACEBOOK

NATIONAL MUSEUM OF WOMEN IN THE ARTS – FREE ADMISSION DAY

The Smithsonian magazine’s Museum Day offers free entry to the numerous participating museums and institutions across the country. This includes the National Museum of Women in the Arts, which is the only major museum in the world solely dedicated to championing women through the arts. The event is open to the public and free with a Museum Day ticket and registration. @GREENDAY/INSTAGRAM

@LILNASX/INSTAGRAM

GREEN DAY ‘FATHER OF ALL...’

LIL NAS X, DABABY ‘PANINI’ REMIX

Green Day recently announced their return after nearly three years with the announcement of their upcoming album, “Father of All...” This track, which serves as the album’s lead single and title track, is unfortunately somewhat disappointing and lacks the excitement of songs from previous Green Day eras. Perhaps Green Day will use their upcoming album as an opportunity to expand on their sound and craft the political commentary they’re known for.

Carrying over the tradition of adding new features to tracks from “Old Town Road,” Lil Nas X recently released a remix of his track “Panini,” featuring North Carolina rapper DaBaby. Although the growing trend of remixing songs to increase their shelf life on the charts is concerning, this “Panini” remix is a success, and DaBaby breathes new life into the already energetic and lively song.

@PHILLIPSCOLLECTION/INSTAGRAM

Occupying 11 blocks of H Street NE, and featuring 15 staging areas and more than 250 businesses, restaurants, community organizations and vendors, the acclaimed H Street Festival returns to engage D.C. residents again this year. The single-day festival will feature music of different genres, dance, youthbased performances, an interactive children’s program, fashion, heritage arts, poetry and more.

@WOMENINTHEARTS/INSTAGRAM

H STREET FESTIVAL

FRIDAY, SEPTEMBER 20, 2019

CONCERT REVIEW

THE HOYA

MOVIE REVIEW

Pond Mesmerizes With Theatrical Dreamscape

NEW REGENCY PICTURES

In James Gray’s latest film, he adds to the growing genre of films set in deep space, which includes “Interstellar,” “Gravity” and “The Martian.” “Ad Astra” takes this burgeoning interest in space films and overlays a compelling and introspective story about one man’s relationship with his father on top of its gorgeous and flashy, otherworldly cinematics.

‘Ad Astra’ Brings Humanity to Outer Space Directed by: James Gray Starring: Brad Pitt, Tommy Lee Jones, Ruth Negga SEAN FULMER Hoya Staff Writer

“Ad Astra” is a thrilling entry into the ever-shrinking pantheon of excellent films that possess a blockbuster budget but the heart of a small indie movie. Similar in tone to classics in the sci-fi space genre such as “2001: A Space Odyssey” and “Solaris,” “Ad Astra” encourages viewers to consider the complex relationship between heroism and destructive masculinity, while still providing a compelling tale of adventure throughout the cosmos. Last known for the success of his 2016 film “The Lost City of Z,” director James Gray has constructed another brilliant adventure epic with a grand scale that disguises the deep philosophical premise of the movie. Largely composed of beautiful cinematography overlaid with Major Roy McBride’s (Brad Pitt) monologues on toxic masculinity, “Ad Astra” delves deep into the human psyche while still finding space for moments of levity and thrilling action. “Ad Astra” opens on McBride traveling outside the International Space Antenna to fix a malfunctioning crane. As the camera careens around to demonstrate the utter vastness of space and the true beauty of Earth when removed from hu-

man society, Roy notices a flash of blue light in the distance. The beautiful tranquility of zero gravity exploration is brutally interrupted by electrical malfunctions throughout the station that sends McBride spiraling down to Earth. The following sequence of Roy flailing mid-free fall back to earth is truly exceptional and deserves to be ranked in the greatest feats of cinematography and sound editing. Fortunately, and almost unbelievably, Pitt manages to survive the fall with a parachute and no small amount of luck. After this brush with death, Roy is launched into a search for his father, Clifford McBride (Tommy Lee Jones), presumed to be dead after going missing on a mission to discover extraterrestrial life that is causing the disastrous power surges that threaten to destroy human life. The plot never seems to take a break and continues to lead McBride closer to his father while still allowing plenty of quiet, reflective moments accompanied by emotional monologues. Although it reads as a cliche, McBride comes to understand fully what he is leaving behind on Earth the farther away he gets from it. Through cinematography that manages to be both simple and intricate, Gray creates beautiful imagery that still does not distract from the true emotional weight

of the film. Sequences on the moon and a desolate space shuttle are breathtaking and nerve-wracking in their slow unraveling of danger. Gray also manages to slip in genuinely hilarious moments of levity, such as Roy traveling commercially to the moon and blend McBride’s social commentary with timely jokes about the commercialization of space. It is a testament to the impressive screenplay, co-written by Gray and Ethan Gross, that a “Mad Max: Fury Road”-esque chase by pirates from the moon and a murderous primate never feel like anything other than supremely terrifying and entirely plausible in an otherwise reflective film. One cannot talk about “Ad Astra” without discussing the emotional complexity of Pitt in his portrayal of a stoic man feeling conflicted about the myth of heroism. In the hands of a less competent actor, “Ad Astra” could have been unbearably cold and devoid of emotion. However, Pitt’s emotionally icy yet honest monologues manage to have an undertone of warmth which allows the viewer to immerse themselves in the emotional growth. With an emotional facade that slowly falls during the duration of the film, Pitt fully embodies the character of McBride and generates a stunning deconstruction of a man that constantly needs to explore

 the external world rather than recognize the depth present in the people around him. Although “Ad Astra” can and should be criticized for the lack of solid female characters, there is an argument to be made that there is truly only one fully formed character: McBride. Gray does not concern himself with subplots and interpersonal conflict. Instead, he zeroes in on a single individual and his relationship with his father. That being said, Helen Lantos (Ruth Negga) is woefully underutilized as a character, but manages to single-handedly steal the few scenes in which she is present. She causes McBride to question heroism and whether he is destined to repeat the sins of his father in the pursuit of egoistic goals, tactfully driving the moral questions at the heart of the film. “Ad Astra” is a breakthrough film that combines stunning cinematography with an emotional narrative that sees Pitt candidly addressing toxic masculinity under the guise of a movie about a journey through space. Although the film might not appeal to wide audiences due to the highly introspective nature of the story, “Ad Astra” makes a convincing argument to not only be counted as one of the best films of 2019, but also added to the growing canon of great space films.

B10

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

MUSIC REVIEW

Charli XCX Continues to Revolutionize Pop Music on ‘Charli’ ‘CHARLI’

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CHARLI XCX TIMOTHY MCNULTY Hoya Staff Writer

British pop singer Charli XCX mixes authentically human emotion with nonhuman, digital sounds to electrifying success on her latest album “Charli.” The project sees Charli return to her winning formula of leading with collaboration and boundary-pushing electronic pop; the singer is an artist and a curator of the future of pop music, and both of these dimensions manifest themselves on the album. Throughout the album, Charli XCX switches back and forth between futuristic, industrial beats and production, almost making the lyrics unintelligible, and personal confessions unhidden by less-manipulated production. No song captures the exciting direction of Charli XCX’s fearless venture into industrial production that is nearly unheard of in pop music like “Click,” featuring longtime collaborators Kim Petras and Tommy Cash. A relatively simple, undulating beat runs behind Charli’s lighthearted, boastful lyrics until becoming engulfed by immersive, grinding crescendos. As the song progresses, the static and chaos increase, adding to the drama of the song before returning to its airy start. However, the last 30 seconds then dive into a grating rendition of the beat that incites a visceral, full-body reaction, exemplify-

ing Charli XCX’s versatility and daring artistry. Moments like this build on the strongest parts of her 2017 mixtape “Pop 2” and continue to pioneer what is possible to include in modern pop music. By taking her music to such an inorganic extreme, though, Charli XCX ends up challenging the physical limits of what any music can sound like and transcending her usual genre. However, the distinct sound of her most bold tracks causes the others to pale in comparison, dragging down the album’s value as a whole. With such intense highs, the comedown becomes even more difficult and apparent. “Warm,” a track featuring pop rock trio HAIM, presents a cool and glossy pop song that fits into Charli XCX’s discography but lacks impact compared to other, more innovative tracks. Its placement on the album right after the experimental and groundbreaking outro on “Click” sounds disjointed and lends itself to the idea that there are two different versions of Charli XCX in “Charli” — one remaining much safer, reserved and ultimately less appealing than the other. “1999” and “2099,” both featuring Australian pop star Troye Sivan, capture this frustrating and confusing duality perfectly. The titles insinuate that the two songs are set 100 years apart, and they even sound as if they were made in different centuries.

While “1999,” released last October, is a nostalgic and carefree song about missing childhood that does not take many musical risks, “2099” is a futuristic and artistically confident track that overlays booming percussion with warped digital melodies. No matter which song is better than the other, the sheer difference between the two embodies the key dissonance on the album that keeps it from being an all-around gem, as neither creative vision guides the album. Although “Pop 2” consisted almost entirely of collaborations, Charli XCX attempts to add a handful of solo tracks onto “Charli” with limited success. It is not that the songs themselves are bad, but when compared to the rest of the album they lack impact, highlighting her curatorial taste at the expense of showcasing her own talent. Even though many of the solo songs struggle to keep up with Charli XCX’s strength as a collaborator, “Thoughts” proves that she still has an individual voice that can stand on its own. The song features wistful production reminiscent of British electronic composer Anna Meredith, and Charli XCX complements this sweeping, dramatic backing track with vulnerable and intimate lyrics. Still, “Charli” redeems any weak spots with the stellar collaborations that bring together an eclectic range of artists and create infectious chemistry, and “Shake

It,” featuring New Orleans bounce music icon Big Freedia, independent rapper CupcakKe, club darling Brooke Candy and Brazilian superstar Pabllo Vittar, represents this strength. Much like “I Got It,” a song off “Pop 2” that featured three out of the four collaborators from “Shake It,” one simple lyrical phrase provides the base to which each artist adds their own flair. Big Freedia and CupcakKe raise the raw energy with their verses while Candy and Vittar further push the track. The best collaborations like “Shake It” do not fear experimental production just because of the big names on the track: CupcakKe’s verse transitions from a whisper to a ferocious delivery, Charli XCX’s chorus at times sounds like it is being played underwater and Vittar’s vocals are transformed on a robotic yet relentless Portuguese verse. This mashup of seemingly discordant sounds actually meshes seamlessly on the track to create a dynamic listening experience. At no point does “Charli” ever feel like a step back for the artist, but it definitely has moments that feel as if not much ground has been made since her last release. Regardless, the album as a whole still takes pop music into previously uncharted territory and delivers a well-crafted vision of the future that transcends Charli XCX herself to include the innovators and artists that make the album so worthwhile in the first place.

@CHARLI_XCX/INSTAGRAM

Charli XCX’s newest release continues to see her experiment with industrial production and strange vocal inflections to add a distinct flare to her music. By incorporating these sounds along with guest features who represent a wide array of musical styles and genres, Charli XCX continues to transform the understanding of modern pop music.

FRIDAY, SEPTEMBER 20, 2019

THE HOYA

B11

MOVIE REVIEW

FOCUS FEATURES

“Downton Abbey” is revived on the big screen, featuring an in-depth exploration of unresolved plot points from the PBS series. By further exploring and understanding everything from the sexuality of characters to ideas of family, the movie recaptures the candid spirit of the series while showcasing new and old characters alike.

‘Downton Abbey’ Updates Series for the Big Screen Directed by: Michael Engler Starring: Hugh Bonneville, Jim Carter, Maggie Smith AMBER GILLETTE Hoya Staff Writer

“Downton Abbey,” the first full-length film featuring the iconic Crawley family of the beloved PBS television series, fares better when considered an extended epilogue to the cult-favorite show than a stand-alone film. While newcomers to the world of the Crawleys will likely find the movie enjoyable, if not a bit chaotic, those viewers who have seen the previous ups and downs of the characters on the show will truly appreciate the many conflicts and arc resolutions the film offers. The film begins with the news that the royal couple, King George V (Simon Jones) and Queen Mary (Geraldine James), will be coming to visit Downton Abbey for a day. Straight from the opening scenes, fans witness a return to the grandeur of the abbey and get reintroduced to many treasured characters. The film goes on to explore the experiences of dozens of different characters, both old and new, as they balance their personal desires with the demands of their societal roles in the ever-changing hierarchy of 1930s England. However, these detailed explorations into specific characters and their conflicts prevent the film from developing one central plot line. Each character par-

ticipates in their own distinct story arcs, creating a multitude of buildups and resolutions that might be enticing if drawn out over multiple episodes. But the movie fails to create a cohesive narrative that does not require an in-depth knowledge of the source material that a film special needs. The movie revisits the lives of many characters last seen in the finale of the show. Those people who left the household in television series, such as Charles Carson (Jim Carter) and Joseph Molesley (Kevin Doyle), find their way back to the house one last time to participate in the royal visit. Those members of the Crawley family and their servants who still remain at the abbey see their stories extended in the film in satisfying and hearttouching ways. Fans of the show will be delighted to see that many of the arcs seen in the series continue throughout the movie. Violet Crawley, The Dowager Countess of Grantham (Maggie Smith), does not fail to deliver her witty remarks, particularly in regard to a renewed struggle with a long-lost relative and an issue of rightful inheritance, touching upon old plotlines and bringing life to new ones. Molesley serves yet again as an eager but clumsy character, offering comic relief that is both hilarious and embarrassing to watch. The relationships between

family members viewers came to love in the television series are just as powerful in the movie, with the whole Crawley family uniting both metaphorically and physically to make the visit of the king and queen a success. The royal visit also gives opportunities for the characters to shine in ways they did not have the chance to on the series and provides the impetus for making the film in the first place. Daisy Mason (Sophie McShera), the under-cook, reveals herself to be a staunch republican, vocally protesting the relevance of the royal family throughout their visit. Anna Bates (Joanne Froggatt), the ladies’ maid to Lady Mary Crawley (Michelle Dockery), finds herself leading the power struggle between the Downton servants and the royal attendants for control over the house. These returning characters retain their distinct personalities while adapting to the world around them, standing up for those they see as a part of their rank and standing against those who represent the conservative and stifling forces of the time. The dynamic time period and newly introduced characters allow for a refreshing update to the established characters and storylines from the television series. Similarly, the film continues to juxtapose the traditionalism of the aristocracy with the rapidly changing ideas of what family

 and identity mean to this cast of characters. Thomas Barrow (Robert James-Collier) is given the opportunity to further understand his sexual orientation in the 1930s through his discovery of an underground gay bar. The movie offers Barrow a story that differs from the series of failed romantic attempts and isolation he experiences throughout the television show, one of the many loose ends from the series given a proper resolution in the film. Lady Edith Crawley (Laura Carmichael) and her husband, Bertie Pelham (Harry Hadden-Patton), the seventh Marquess of Hexham, struggle to reconcile their desire to grow their family with the duties that the king imposes on the marquess. The difficulties that Barrow and Lady Edith’s family face allude to a changing world, one that is leaving conservatism and aristocracy behind and embracing a new vision of self-determination. Fans of the franchise need not despair: “Downton Abbey” lovingly recaptures the Crowley family’s misadventures, heartbreaks and pivotal moments while also giving almost every character from the series a meaningful ending. While newcomers to the series may feel overwhelmed, the film offers an engrossing story that will surely enthrall any potential fans.

ILLUSTRATION BY: SAMUEL NELSON/THE HOYA