F RI DAY, JA NUA RY 31, 2020
GU Tube
Vloggers on the Hilltop
ILLUSTRATION BY: DOMINIC PHAM/THE HOYA
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FRIDAY, JANUARY 31, 2020
THE HOYA
Student YouTubers Focus on Creativity, Authenticity ALLAN NAVARRO Hoya Staff Writer
Jaydon Skinner (COL ’21) went home for Christmas break in 2018 feeling unaccomplished at Georgetown University, having devoted most of his on-campus energy to activities he did not find rewarding or satisfying. After watching YouTubers over break, Skinner resolved to make his own channel and upload regularly in a way that satisfied his creative impulses. From providing an authentic view of the first-year experience to simply creating something separate from academic work, student YouTubers use the platform to showcase themselves and their identity. While students can struggle to balance making videos with schoolwork, leading to occasional hiatuses in posting, the end result always makes the process worthwhile.
STUDENT PRODUCTION
From dorm tours to club culture, student YouTubers use their insider lens to break down the filtered facade of Georgetown as an institution to prospective or first-year students who want to learn more about the school before they get to campus. Julia Lo (MSB ’21) started her YouTube channel focused on makeup tutorials in middle school, but an offhand comment on one of her videos in 2016 led her to shift her focus to her Georgetown experiences. “When I got into Georgetown, I mentioned it briefly, and then I got like one or two comments being like, ‘Oh, how did you get in?’” Lo said in an interview with The Hoya. “And then my mom was like, ‘Why don’t you stop wasting time talking about makeup and talk about college?’” Lo’s channel, which has just under 1,000, features videos like “10 THINGS I LOVE AND HATE ABOUT GEORGETOWN UNIVERSITY” and her series “HoyAdventures.” The lack of videos showcasing Georgetown’s academic and social experience surprised Lo, who decided to solve this problem for future students. “When I was about to come to Georgetown, and I was looking at dorm room tours or any YouTubers, there was maybe one, and she wasn’t very informative,” Lo said. “I was like, ‘Okay, I’ll just do it myself.’” These videos offer a more authentic view of Georgetown than the promotional content put out by the university, according to Lo. “The YouTube videos that Georgetown themselves puts out are obviously filtered, and they’re watching what they say,” Lo said. “Versus the video I made about 10 things I love and hate — I think when you choose a college, you want to know what’s bad as well as what’s good.” On the other hand, Grant Bernero
(MSB ’21), whose channel has just over 400 subscribers, focuses his videos on acclimating first-year students to the Hilltop. While Lo is focused on her own experiences, Bernero aims to make new students feel more comfortable on campus. “I did them because I think a lot of freshmen are looking for something like that,” Bernero said in an interview with The Hoya. “I remember when I was applying to college, all the websites are the exact same. It’s just kind of hard to tell what a school is actually like so I figured — I watched some people who did stuff similar to what I do now, and I thought, ‘Oh, I should probably give back.’” Bernero’s video topics include a dorm tour of Harbin Hall, 10 tips for college freshmen and expectations versus realities on a college campus. These more genuine videos have made Bernero feel like something of a celebrity among new freshmen, which he views as affirming. “It’s probably like 100 or 150 people who have recognized me from my videos, especially it’s really common during move in — it’s probably like 10 people a day during move in,” Bernero said. “It’s always just really cool, especially when they say something like, ‘I decided on Georgetown because of your videos.’ It’s just like, wow — it kind of makes it all worth it.”
JAYDON SKINNER/YOUTUBE
Students like Jaydon Skinner (COL ’21) have embraced YouTube as a platform, uploading videos that showcase their creative sides outside of a university context. By focusing on their own lives, these videos allow for their imagination to shine through.
FRIDAY, JANUARY 31, 2020
THE HOYA
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LEFT: GRANTVLOGS/YOUTUBE, RIGHT: JULIA LO/YOUTUBE
Grant Bernero (MSB ’21), left, and Julia Lo (MSB ’21), right, focus their content on Georgetown admissions and experiences. By uploading videos that showcase a genuine Georgetown experience for freshmen, Bernero and Lo aim to demystify college and provide more relatable content for incoming first-year students or prospective applicants.
ESCAPING STRESSORS
While admissions videos have made certain students public figures on campus, uploading videos to YouTube can also be a way for students to express themselves creatively outside of day-today student life. Feeling out of place in Georgetown’s hypercompetitive environment, Skinner started making YouTube videos about a year ago to disconnect from the busy nature of academics and club culture. By mixing genres of content and creating his distinct style of videos, Skinner uses YouTube as a creative outlet to express himself in ways not possible through campus extracurriculars. “I started making them because I felt like I was channeling a lot of energy that I had at Georgetown into stuff that I didn’t really care about,” Skinner said in an interview with The Hoya. “And I felt like there wasn’t really an outlet for my type of personality to really have something tangible that I could be proud of in my time at Georgetown.” Each video Skinner uploads has a different topic, ranging from a vlog on traveling to attend the music festival Camp Flog Gnaw Carnival in Los Angeles to a video simply titled “the PER-
FECT banana bread recipe.” Through these videos, he aims to showcase his creativity and wide range of interests. While some of Skinner’s videos do include his experiences at Georgetown, they usually serve as a backdrop for the other things happening in his life. By not making his channel entirely dependent on Georgetown, Skinner is able to tell his story in a more well-rounded way and cope with his experiences on campus. “The videos have helped me a lot with coping with being at Georgetown and finding things that I like about Georgetown,” Skinner said. “When I started, I definitely didn’t want to make my videos all about Georgetown — there’s like a nice separation sometimes.” This merger of creativity and selfexpression is a common theme among student YouTubers, as making videos can offer a fun side hobby to create something special that the students can be proud of, according to Bernero. “This was a fun way to create something,” Bernero said. “I’m not artistic — I don’t do anything like that. I had no idea how to do video editing. So I learned it all as just a cool way to create stuff.”
FINDING TIME
On a socially and academically hectic college campus, some student YouTubers find it hard to balance their life on campus with putting out YouTube videos. Making time to write, record and edit these videos can prove difficult, especially as most of these creators view themselves as students first. Skinner aims to edit his videos to fit his creative vision, with quick cuts, color effects and zooms that highlight his ironic sense of humor. Making these edits, though they contribute to his artistic vision, can take a lot of time to perfect, according to Skinner. “I like to edit my videos a particular way, so it takes a lot of time to dedicate to doing that,” Skinner said. “And I like to do it more at once rather than splitting it up, so it’s hard to find dedicated hours of the day where I can sit down and just dedicate it to making videos.” Bernero and Lo each have not uploaded a video to the site in several months. Bernero attributes this hiatus to a busy oncampus schedule and the time it can take to produce a video he would be proud of. “I spend a lot of time on editing, so I write a script for what I want to do and then I probably spend four hours editing
a video,” Bernero said. “It’s not that bad, but when you put on a lot of school work, it can be a lot.” While the road to making YouTube videos is not always the easiest, the end product makes the process worthwhile. These videos’ authentic view of campus can ultimately encourage students to attend Georgetown, according to Maya Hambrick (COL ’22), who watched Lo’s videos before arriving on campus. “I felt like it really gave me a good sense of the Georgetown’s atmosphere, campus, and student life,” Hambrick wrote in an email to The Hoya. “I think it’s helpful for all prospective students to see both the good and bad when making their decisions to attend any university.” The most important aspect of making YouTube videos on campus, however, is to not let the pressure of making them and the hateful comments about Georgetown interfere with positive feedback, according to Lo. “Just don’t put too much pressure on yourself,” Lo said. “There’s going to be a lot of hater comments that are balanced out with everyone else who’s like, ‘Oh, thank you so much. It’s just — you want to know what you’re saying and then enjoy it, too.”
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FRIDAY, JANUARY 31, 2020
PERFORMANCE REVIEW
‘The Wolves’ Evocatively Depicts Adolescence, Friendship ABIGAIL CORRAO Hoya Staff Writer
“The Wolves,” presented by the Nomadic Theatre in collaboration with Black Theatre Ensemble, is a 90-minute performance depicting a story of teamwork and self-discovery. Set in an indoor soccer stadium, the production depicts nine teenage girls’ journeys towards individuality and success despite the struggles of adolescence and provides a fulfilling experience for all viewers. The play, running until Feb. 1, is directed by Jenni Loo (SFS ‘21) and produced by Raphy Hupez (SFS ‘21) and features a 10 person cast. Nine of the cast members serve as teammates on the youth soccer team, while the tenth cast member is the Soccer Mom, who appears only in the last scene. The show also includes an extensive coaching and production staff, with students of all Georgetown schools and classes, as well as two cocurricular advisors who oversaw the production. The production team has worked diligently on the show since April 2019 in order to produce this well-executed depiction of Sarah DeLappe’s 2016 play. Nomadic Theatre has encouraged con-
temporary, technically innovative and socially charged productions to the Georgetown campus for 38 years. “The Wolves” is their second of three productions during the 2019-2020 academic year and fulfills their mission of encouraging actors to embrace challenge. This production team brings a relatable story, rich in symbolism and creativity, to the stage of the Village C Theatre. The show highlights the balance between the importance of originality and the power of being supported by a group. The nine member soccer team, appropriately named “The Wolves,” function as a cohesive unit of warriors despite the continuous stream of battles they face. The girls must overcome their internal conflicts while simultaneously discovering themselves during times of criticism and rejection. While the plot of the show focuses on the power of teamwork and self-discovery in the face of difficulty, the grand message of the production is more focused on the individual aspect of the growth undergone by the teammates, according to cast member Grace Hermes (COL ‘22). “The biggest message that I’ve taken away is reinforcing inclusivity,” Hermes
said in an interview with The Hoya. “Everyone has a cool story and just listen to people.” The production opens with an uncomfortable dialogue riddled with judgment as the girls explore their teammates’ living situations and relationship history. As the girls repeatedly practice and compete together, they become more accepting and supportive of each other’s differences and difficulties. Through their disagreements, the team grows closer together, allowing them a greater bond when tragedy strikes in the play. In their darkest times, the team comes together to play one final game, encapsulating the spirit of unity evolved throughout the play. Each girl’s imperfections are appreciated as they form their strongest friendships. The Wolves become an unbreakable group of powerful young women, equipped to handle anything as a team. The girls’ cooperation is evident both on and off stage. The cast’s sense of teamwork extends into their relationships during practice and rehearsal. The most powerful lessons the cast learned from the production radiate into their relationship as castmates and as friends.
The play served to use all elements of developing relationships: humor, heartbreak, joy, sorrow, acceptance and growth to strengthen bonds. In spite of misfortune, arguments and cultural differences, the girls remind the audience of the importance of life lessons, according to cast member Joy Kim (COL ‘21). “At first glance, everything seems pretty shallow,” Kim said in response to her greatest takeaway from the production. “It’s pretty much like girls talking, but in the little things, there’s a lot of deep, larger life themes.” The Wolves’ spirit and vigor was evident throughout the entire production. Their fiery, cohesive spirit amplified the theatrical production to a level of empath distinct in a production. “The Wolves” tackles complex issues of individuality within a team that are hard to discuss in college settings. The production is necessary to raise awareness to these difficult topics and facilitate uncomfortable conversations. “The Wolves” is a thoughtful and provocative production, highlighted by the inspiring execution by the Nomadic Theatre cast. The show activates a spectrum of emotions that leaves viewers feeling fulfilled, inspired and contemplative.
@NOMADICTHEATRE/INSTAGRAM
Nomadic Theatre and Black Theatre Ensemble collaborate on the touching performance “The Wolves,” a show about nine teenage girls on a soccer team. Through the bonds of friendship, they learn to love themselves and each other and engage in meaningful, honest conversations about acceptance and growth as well as about heartbreak and sorrow.
FRIDAY, JANUARY 31, 2020
THE HOYA
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MOVIE REVIEW
‘Just Mercy’ Calls Attention to Issues of Family, Injustice Directed by: Destin Daniel Cretton Starring: Michael B. Jordan, Jamie Foxx, Brie Larson CHRISTIAN JOSEPH Hoya Staff Writer
Excitement and expectations were high and even tangible for “Just Mercy” as the audience sat in anticipation at the AMC Georgetown 14 theater. The film comes at a timely moment in entertainment media as attention to prison reform has grown, with projects like the documentary “13th” and miniseries “When They See Us” gaining critical acclaim. Based on a true story, “Just Mercy” depicts the effects of the corrupt justice system on the wrongly accused and their families. “Just Mercy” stars Michael B. Jordan as Bryan Stevenson, a Harvard graduate and defense attorney from Delaware who attempts to get a murder conviction overturned for Walter McMillian, played by Jamie Foxx. Stevenson suddenly becomes involved in the McMillian case after McMillian is wrongly accused of killing a woman named Ronda Morrison. This true story highlights themes of comradery and family within the United States’ complex legal system and its issues, with racism at the forefront of the discussion. The film, directed by Destin Daniel Cretton, is based on “Just Mercy: A Story of Justice and Redemption” written by Bryan Stevenson. The title of
the film fits perfectly with the story, as the police department of Monroeville, Ala., seems not to care about whether there is in fact evidence to support the prisoners’ crimes. Stevenson tries his best to prove McMillian’s innocence amid obstacles thrown at him by Sheriff Tom Tate (Michael Harding) and his lawyer Tommy Chapman (Rafe Spall). Despite these setbacks, Stevenson attempts to uncover the truth of the story with assistance from McMillian’s family, including his wife (Karan Kendrick) and son (C.J. LeBlanc). While justice is ultimately achieved for McMillian, viewers get the opportunity to see McMillian’s life in jail with his cell neighbors Herbert Richardson (Rob Morgan) and Anthony Ray Hinton (O’Shea Jackson Jr.). “Just Mercy” successfully conveys themes of determination and perseverance with its optimistic perspective. The expert staging and set design bring attention to the hope and desperation that comes out of McMillian’s imprisonment. The natural colors and lighting are dynamic from scene to scene and emphasize the reality of the story being told by creating an atmosphere fitting for the tone and the plot. For example, the use of gloomy lighting during the scenes in jail symbolically represents the unfairness of McMillian’s imprisonment.
Whenever Stevenson and McMillian are together, however, the lighting is brighter, symbolic of the hope that could come out of Stevenson trying his best. The screenwriting is commendable for its thoughtful symbolism, especially its views of McMillian’s life before imprisonment as a pulpwood worker. A scene of McMillian looking up at the sky between the pulpwood trees before cutting them down symbolizes a glimpse of his freedom amid the tall trees of his imprisonment, which, though it a painful and seemingly defeatist experience, is actually a negotiable arrangement. Though Cretton weaves a thoughtful tale, the story could have been taken further to give it a complete resolution true to the actual life of McMillian. A look at McMillian’s life in his later years and Stevenson’s legacy as they main-
tained contact successfully contributed to the sentimentality of the story, but this point could have been expanded upon in reenactments to truly complete the plotline. The film could have gone further to encourage viewers to sympathize with Stevenson by portraying his later accomplishments in pursuit of justice, like his development of the National Memorial for Peace and Justice in 2018. While many true stories have been adapted into movies, “Just Mercy” stands out as a film with themes particularly relevant to 2020. This film is as touching as it is compelling with its struggling protagonists and spotlight on the flawed judicial system. It brings critical awareness to some of the greatest issues currently in need of fixing in this country.
PARTICIPANT
Michael B. Jordan shines in “Just Mercy” portraying the inspirational defense attorney Bryan Stevenson, who fought to defend wrongfully convicted people like Walter McMillian, played by Jamie Foxx. The film tackles the issue of racism in the criminal justice system while also taking a zoomed-in look at the lives of those victims.
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THE HOYA
START/SELECT
Pokémon and Politics: Child’s Play or Social Commentary? Mac Riga “Pokémon Sword” and “Pokémon Shield,” the latest entries in Nintendo and Game Freak’s blockbuster franchise, were released this November amid a wash of public complaints about what the game wouldn’t include. The news surrounding the games in 2019 was marred by massive leaks from pirated copies, rumors of debilitating performance issues within the game and, most notably, “Dexit” — Game Freak’s decision to include just 400 of the series’ 890 Pokémon. A side effect of the public outcry directed towards the games is that their content of the games, especially their themes and messaging, have been ignored. This is a particular shame as “Sword” and “Shield” mark the franchise’s first foray into the world of political messaging and could signal a massive tonal change for the industry in the years to come. Fans of the series will know the Pokémon games have never shied from posing deep and philosophical questions. Despite the fact that the games are marketed toward
children, past entries have tackled complex issues like climate change, free will and the morality of society. Regardless of the depth of these issues, these debates have been packaged in a saccharine and simplistic way, presented in a black-and-white vacuum with little exploration of links to real-world analogies. “Sword” and “Shield” mark a turn from this approach. The games take place in Galar, a fictionalized version of Great Britain, and follow the protagonist taking part in a new, tournament-style Pokémon contest. As players progress toward the championship, they discover that Chairman Rose — CEO of the megacorporation that holds a monopoly on commerce in the region — has hatched a scheme to solve the looming energy crisis in the region. Facing a quickly depleting stockpile of energy and total societal collapse, Rose attempts to persuade Leon, the players’ role model and Pokémon celebrity, to aid him in harnessing an unstable, dangerous and ancient Pokémon to delay the onset of the oncoming disaster. Leon refuses, claiming the issue is too far in the future to worry about, and insists on focusing on the tournament championship instead. Rose goes forward with his plan alone, triggering a cataclysmic event, and it’s up to players to defeat Rose and put a stop to his plans before the region falls into “eternal darkness.” At first glance, this plot seems to follow the standard Pokémon video game format fairly
closely: a megalomaniacal villain summons dangerous Pokémon to achieve his or her selfish goals, loses control of the situation and is thwarted by the quick thinking and Pokémon prowess of the nearest 10-year-old. A closer inspection, however, reveals more nuanced plotting, especially in the character of Chairman Rose. Unlike in past titles, he isn’t some cartoonishly dressed gang leader with a half-baked scheme. Smartly dressed in a three-piece suit, he is the face of a powerful corporation and seeks to use a dangerous and destructive force to feed his capitalistic plan for the future. The location and stakes of “Sword” and “Shield” are grounded and realistic; after all, they’re pulled right from our own headlines. Rather than the tired tradition of setting past games in regions loosely based on Japan, “Sword” and “Shield” represent an advancement in specificity of locale, explicitly connecting gameplay to real world events. The game is speaking directly to the energy and environmental crises facing Britain — and the whole world — at this very moment. However, the game does not perfectly achieve its social awareness ends. The ultimate thesis of the game is essentially, “The way forward is placing trust in the next generation and giving them the responsibility of righting our wrongs,” which is an infuriatingly blase conclusion to draw from a crisis that is destroying our world. The politicization of these entries is significant. Pokémon is the highest-grossing
media franchise of all time, and both the Pokémon franchise and Nintendo as a whole have proven themselves to be major trendsetters in the industry. With an influential and youth-targeted franchise like Pokémon working to tackle political issues in a more complex and nuanced way, it seems likely that the next few years will see massive steps forward in political messaging in games throughout and beyond Nintendo. 2019 saw a more activism-centric zeitgeist than ever before take hold with Hideo Kojima’s distinctly political, if poorly executed “Death Stranding” and a generally improved approach toward accessibility-focused game design. Meanwhile, 2020 already has a few titles slated for release that seem wellsuited to presenting even stronger political messages like CD Projekt Red’s “Cyberpunk 2077,” Naughty Dog’s “The Last of Us 2,” and Square Enix’s “Final Fantasy VII” remake. “Pokémon Sword” and “Pokémon Shield” are far from flawless games, but we may look back at their relatively bold political stance as trailblazing and critical to bringing political awareness into mainstream gaming. “Pokémon Sword” and “Pokémon Shield” are far from flawless games, but we may look back at their relatively bold political stance as trailblazing and critical to bringing political awareness into mainstream gaming. Mac Riga is a junior in the College. START/ SELECT runs online and in print every other week.
DINING ON A DIME
North Italia Offers Flavorful Dishes, Trendy Atmosphere Natalie Keramati Three things immediately stood out to me upon entry into North Italia: a spacious and welcoming layout, contemporary and chic décor and an enticing truffle aroma that greeted me as soon as I stepped through the door. The trendy and modern take on Italian cuisine truly creates the feeling of being in a hip lounge in Los Angeles or Manhattan as sounds of music playing over the speakers and vibrant conversations combine to create a lively atmosphere. North Italia is located in a prime area, just a few blocks over from the Foggy Bottom metro station. It’s no wonder the restaurant looks fully packed with patrons when you first enter. In spite of the
crowd, the hosts were surprisingly very accommodating and did their best to get my party in, even without a reservation. While it’s nearly impossible to get a table anywhere else in Washington, D.C., on a Friday night without a reservation, the odds are slightly better at North Italia. To start off your evening, the restaurant offers a happy hour that is completely worth the price with a very vibrant atmosphere. It’s obviously a spot that many students and employees finishing up their workday come to enjoy at an affordable price, with glasses and appetizers starting at $5 each. The food is nothing short of excellent and did not disappoint. Fresh and prepared in-house, it made for a purely sensational experience. To start, the white truffle garlic bread offers a new spin on traditional garlic bread with succulent homemade ricotta that melts in your mouth. The garlic is not overpowering, however, as the olive oil balances out the flavor. The arancini, a dish of fried and stuffed rice balls, is cooked to perfection with just the right amount of risotto
inside and topped off with a red sauce that creates the perfect harmony of zesty and sweet flavor. Of course, the pizzas and pastas are the star entrees. The broad pizza selection includes fig, mozzarella, pepperoni, Italian sausage and a beguiling “Chef’s Choice,” but I’m a complete sucker for anything with mushrooms and found the funghi pizza to be cooked and presented to absolute perfection. The roasted mushrooms, cipollini onion and smoked mozzarella are paired to create a light yet satisfying pizza that is rich with flavor and cheesy goodness. Among the pasta selections, which are homemade and can be made glutenfree with multiple vegetarian options on the menu, the Bolognese is the house specialty. It’s the perfect meal for a student away from home who finds themselves craving a hearty, homemade meal, as the meat sauce is fresh and delightful and brought back some of my own childhood memories eating my mother’s Bolognese. The least expensive of the entrees, a
$22 chicken parmesan, is out-of-thisworld fantastic. The aged provolone and mozzarella are gently grated and melted over the chicken, and the rigatoni with cream sauce provides a different take on chicken parmesan, which is traditionally served with spaghetti and marinara sauce. North Italia provides a fine dining experience that doesn’t break the bank. The service was completely flawless, as servers and managers were prompt and considerate. The continued check-ins were appreciated, especially given that the restaurant usually appears as though it has reached its maximum capacity. The trendy atmosphere appeals to many age groups, as its patrons include young 20-somethings, families, businesspeople, coworkers coming in for happy hour and tourists. Ultimately, though, it’s the food that lives up to expectations. There is a place for anyone and everyone at North. Natalie Keramati is a graduate student in the Graduate School of Arts & Sciences. DINING ON A DIME runs online and in print every other week.
FRIDAY, JANUARY 31, 2020
THE HOYA
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ART REVIEW
NATIONAL MUSEUM OF ASIAN ART
Photography exhibit at the Smithsonian National Museum of Asian Art “My Iran” gives a voice to six female photographers who cultivate a multifaceted picture of a country that is becoming more and more relevant. Through poignant snapshots of monumental moments for Iranian women throughout the last 40 years, the display is breathtakingly powerful.
‘My Iran’ Imagines Iran Through the Lens of 6 Women MICHELLE BROWN Hoya Staff Writer
Six women use the power of their camera lenses to illustrate the societal change in Iran since 1979. With a focus on what it means to be a woman living under an oppressive regime, Hengameh Golestan, Newsha Tavakolian, Shadi Ghadirian, Malekeh Nayiny, Gohar Dashti and Mitra Tabrizian use powerful images that play with color, setting and expression to give American viewers a look into Iranian life before and after that landmark year. The exhibit, entitled “My Iran: Six Women Photographers,” is on display at the Smithsonian National Museum of Asian Art until Feb. 9. Golestan opens the narrative in March 1979, planting viewers right at the flashpoint of the Iranian Revolution, which saw a dramatic change in cultural life within Iran. Golestan, 27 years old at the time, depicts women’s resistance to the imposition of policies that diminished their role and status in society. An untitled photo from Golestan’s series, “Witness 1979,” depicts a dense crowd of impassioned women, just before they were legally required to wear hijabs in public, bracing the cold and the snow to express their defiance toward the revolution in protest. Caught mid-sentence with their fists raised, the energy of the
crowd in the black-and-white image is palpable, compelling and remarkable as compared to the realities of life for Iranian women today, where their role in society is subjugated. The explicit displays of freedom and civil disobedience that make up Golestan’s collection stand apart from the portrayals of modern-day Iran that Dadhti and Ghadirian have to offer, yet those portrayals also convey a degree of discontent and protest, albeit more subtly. Ghadirian’s untitled series from 1999 creatively stages modestly dressed young women in the style of 19th-century portraits. The sepia tone and dated backdrops of the portraits contrast with the objects the women are holding, like a Pepsi can in one and a newspaper in another. These symbols of modernity contrast with the vintage, creating an eerie effect of a country stuck in the crossroads between two time periods. Amidst the traditional elements of the portraits, little present-day props and signs of western influence cleverly indicate small acts of rebellion. Though obviously different in composition and mood from Golestan’s “Witness 1979” images, the rebellious spirit within these artists has not disappeared. Unlike Golestan and Ghadirian, Gohar Dashti was born after the Iranian Revolution, and the most historic and formative
event of her lifetime was the Iran-Iraq War. Her work is centered on the persistent legacy of that conflict and introduces another layer of complexity to the exhibit with photo series such as “Slow Decay” and “Iran, Untitled.” An untitled photo from “Iran, Untitled” in 2013 shows 11 women, head to toe in black, seated on a couch in the desert. The far-away shot expresses the desolation of the women’s surroundings. Their expressions are somewhat unreadable; most are looking away from the camera, others’ faces are obscured by large sunglasses and a few look down to read the books in their laps. Each appears to be in her own world, highlighting the social isolation of women in Iran. With attention to these details, Dashti packs her photography with profound meaning and commentary. Nearly 40 years later in the modern day, the most recent look at life for Iranian women is Tavakolian’s “Blank Pages of an Iranian Photo Album.” Tavakolian’s focus with her work is social documentary. Her portrayals of marginalization and resilience in photos like “Somayeh” resemble the themes conveyed in Dashti’s photography. “Somayeh” depicts a young woman situated among gray, barren branches with a cold and impersonallooking city in the far background. Perhaps the most stylistically creative
of the collections belongs to Nayiny, who uses digitization to combine photos from her own family albums with other images and different backdrops in abstract, visually dynamic ways. She combines old and new by injecting people from the past into modern settings. Nayiny’s approach looks admiringly to the past as compared to some of the others’ critiques in the exhibit of both the past and present. “My Iran,” though focusing largely on the experiences of Iranian women, also gives attention to broad issues affecting Iranians both inside and outside of Iran, such as migration. Tabrizian’s “Border” expertly captures the pain associated with leaving one’s homeland, even though staying would mean tolerating oppressive rule. All six photographers present compelling images which work together to fill out a complete and multi-dimensional picture of their Iran, their home. They highlight moments in modern Iranian history that defined culture and society with attention to the experiences of women over time — Iranians who have left their home and Iranians wistfully looking to the West as a better future. The narrative they collectively weave, though embedded with moments of pain and loss, ultimately expresses courageous resilience and hope for the future of women in Iran.
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FRIDAY, JANUARY 31, 2020
THE HOYA
What to Do in DC
MUSIC
New Releases
MEGAN WEE
Hoya Staff Writer
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YU YOUNG LEE Hoya Staff Writer
HIDDEN GEMS TREASURE HUNT THROUGH APRIL 11, 12 P.M. TO 5 P.M. | $30
The O Street Museum in The Mansion on O Street is hosting a treasure hunt on its premises. The hunt will take place in the museum’s 100 rooms, among them the Log Cabin, the John Lennon Suite and Mrs. Rosa Parks’ Room, featuring 70 secret doors and passageways. Treasure seekers will have to find the top 10 items of the museum, including signed guitars and Prince’s Purple Rain jacket.
SONY MUSIC ESPAÑA
ROSALÍA
@ETHANGRUSKA/INSTAGRAM
ETHAN GRUSKA
‘JURO QUE’
‘BLOOD IN RAIN (FT. MOSES SUMNEY)’
After nearly three months since “A Palé,” Catalonian singer ROSALÍA has dropped another solid single with the release of “Juro Que.” Her ethereal singing defines the piece, especially with her ability to hit high notes effortlessly. Though punctuated with silences, the brief pauses heighten the crescendos and clamour of the flamenco, making it all the more animated. It’s impossible not to clap along with all the energy that ROSALÍA brings.
Self-described “Grandma nominated” singer-songwriter Ethan Gruska is joined by Moses Sumney for a mellow interludelike song, laced with forlorn, but heartfelt lyrics. Grounded by instrumentals from the piano, the song comes across as an improvisation of jazz, and Sumney’s buttery voice blends well and deepens the earnest emotion of the song. From coproducing with Fiona Apple and Phoebe Bridgers, Gruska now confidently affirms his own sound with maturity and nuance.
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O MUSEUM IN THE MANSION
LUNAR NEW YEAR FESTIVAL WEDNESDAY, JAN. 29, TO SATURDAY, FEB. 1, 5:30 P.M. SUNDAY, FEB. 2, 4 P.M. | FREE
As a part of Lunar New Year celebrations, South Korea’s Embassy and the Korean Cultural Center in Washington, D.C., is collaborating with the Kennedy Center to debut 100 stunning Winter Lanterns. The lanterns are made up of 10,000 colored LED lights that were crafted by Chinese artisans. Alongside the lanterns will be Korean cultural performances, such as a drum show, spinning dishes and a Hangul calligraphy performance.
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THE KENNEDY CENTER
‘FUTURE SKETCHES’ EXHIBIT ARTECHOUSE | THROUGH MARCH 1, 10 A.M. TO 6 P.M | $8-$20
ARTECHOUSE’s latest exhibit, “Future Sketches,” is the first solo exhibition for artist Zach Lieberman in Washington, D.C. Lieberman’s work, which places an emphasis on “sketching with code” asks visitors to explore the body, human gesture and voice in art. The exhibit features an interesting piece of note that transforms people’s silhouettes on a screen into music. @PEACHPITMUSIC/TWITTER
@SOPHIEMEIERS/INSTAGRAM
PEACH PIT
SOPHIE MEIERS
‘SHAMPOO BOTTLES’
‘UNFORGETTABLE’
“Shampoo Bottles” is Peach Pit’s latest release, and it aptly fits their aim for music to “feel like a close friend telling you a story.” Slightly frisky, frank, and spirited, it tells the tale of a lover caught between his desire to get back with his ex and the reality that he’s put himself in his own misery. With endearing, pointed lines such as “I’ve run out my Speed Stick, honey / So I have been using yours,” the band gives their fans another song for any feel-good playlist.
From her robust collections and collaborations on SoundCloud, “unforgettable” is a single by sophie meiers that hints at what the 20-year-old artist will offer in her official debut album later this year. With a edgier sound than her past lo-fi dominated discography, “unforgettable” may divide followers of her previous tunes; however, sophie meiers showcases her potential with a very distinctive personal style, blending a myriad of genres together.
4
ARTECHOUSE
THE DC COMEDY SHOWCASE COMEDY CLUB DC | THROUGH MARCH 28, FRIDAYSATURDAY, 9 P.M. | $5-$7.50
Located in Adams Morgan, the DC Comedy Showcase will feature Laugh Buzz Comedy hosts, local comedians and acts from from HBO, Showtime and Comedy Central. The showcase will cover comedy in a range of styles. The comedy club, which is only open to people 21 years or older, also features an extensive menu of food and drinks that you can enjoy while watching the comedians, making it a memorable night of laughter for all.
DC IMPROV COMEDY CLUB/FACEBOOK
FRIDAY, JANUARY 31, 2020
THE HOYA
B9
TV REVIEW
Season 2 of ‘Sex Education’ Merges Comedy, Representation Created by: Laurie Nunn Starring: Asa Butterfield, Gillian Anderson, Ncuti Gatwa SEAN FULMER Hoya Staff Writer
“Sex Education” returns to Netflix for a stellar second season, widening its narrative and providing more representation to groups sorely lacking in representation in art. Superficially a hilarious look at teenage sexual troubles, “Sex Education” is a deeply empathetic look at how children are not properly prepared for life by adults and must take the initiative to fix things themselves. The sophomore season of “Sex Education” does not shy away from graphic depictions of teen sexuality, opening with a masturbation montage that demonstrates Otis Milburn’s (Asa Butterfield) sexual awakening since his ambivalence about sex in the first season. Despite this personal growth, Otis faces a daunting emotional journey — his first relationship with his girlfriend Ola Nyman (Patricia Allison). Although the relationship could easily lean into teen cliches, queer awakening and emotional hang-ups keep the narrative interesting.
Although Otis is technically the main character of “Sex Education,” there are at least 10 other characters with fully formed narratives that could constitute their own shows, which speaks to the thoughtfulness of the writing. Ncuti Gatwa, fresh off his breakout performance as Eric Effiong in the first season, continues to be a refreshing depiction of a queer black boy and livens up every scene he graces. Eric catches the eye of the new dreamy French transfer student Rahim (Sami Outalbali) and the ensuing romance outdoes any previous teen queer relationship on film with its unapologetic and authentic nature. Maeve Wiley (Emma Mackey) attempts to rebound from being expelled from school and deal with the reemergence of her absentee mother. She befriends her new neighbor Isaac (George Robinson), who immediately displays stunning chemistry with Maeve that sparkles brightly whenever they share the screen. It also bears noting that Isaac is played by an actor who actually uses a wheelchair, a
refreshing change of pace for Hollywood. While this casting choice has no effect on his actual narrative, it reinforces the fact that disabled people have full and vibrant lives that deserve representation and should not be reduced to a plot point. The full development of all the characters adds dynamic layers of complexity to the show. Another bright spot that emerges this season is the friendship between misunderstood athlete Jackson Marchetti (Kedar Williams-Stirling) and magnetic nerd Viv Odesanya (Chinenye Ezeudu). Viv completely dominates any scene she appears in with her hilarious physical comedy and pure heart. A particularly heartbreaking and touching plot revolves around lovable Aimee Gibbs (Aimee Lou Wood) and her sexual assault on a public bus. While most series might show the assault and create a clean resolution at the end of the episode, “Sex Education” lingers on the emotional trauma Aimee deals with for the remainder of the season. This culminates in a brilliant
NETFLIX
The second season of Netflix’s “Sex Education” focuses on underrepresented identities in traditional teenage media. While the show does fail with respect to some identities, its comedic viewpoint on issues of adolescence is a refreshing change of pace for the genre.
feminist rendition of “The Breakfast Club” that should serve as an empowering touchstone for millennial and Gen Z women. With so many narratives to juggle, it is a wonder that “Sex Education” keeps almost all of them afloat. It is natural for the show to not include certain groups because of time constraints. However, the shocking lack of trans representation throughout the show, with not a single mention of a trans character or one appearing on screen, is limiting for the series’ representation. The show seems singularly obsessed with genitalia — through graphic dialogue or doodles — and links that to gender, which is simply not how gender functions. While the focus on genitalia as denoting gender might not be notable for other shows, the move is noticeably a limitation in this series, particularly because it is so progressive in almost every other area with its representation. Another concerning aspect of season two is the treatment of Adam Groff (Connor Swindells), the homophobic bully of Eric in the first season. After the first season ended with a sexual encounter between the two, many viewers questioned the decision to romantically pair a victim with his abuser. Season two does not seem to care about these objections and continues to bait audiences into supporting the two possibly being coupled. While the show is admirably attempting to make all its teenage characters empathetic and nuanced, Adam’s growth as a person should not be linked to the individual he abused and bullied. Furthermore, portraying Adam in this manner leans dangerously into the classic trope of depicting homophobes as secretly queer. This stereotype, typically utilized by cisgender straight people, absolves nonqueer people of their complicity and places the blame for homophobia on the queer community itself, perpetuating harmful and discriminatory attitudes. Despite these issues, season two of “Sex Education” improves on the already great first season and provides needed exposure for underrepresented communities, while not focusing solely on the trauma inflicted on them. The show manages to provide beautiful depictions of often neglected people while remaining uproariously funny and deeply emotional, offering a perfect objection to people who bemoan diversity initiatives or politically correct culture. A show written and directed primarily by women does not hold back its quality, but rather enables it to ascend to a higher form in which most marginalized groups can finally claim a coming-of-age story for themselves.
B10
FRIDAY, JANUARY 31, 2020
THE HOYA
ALBUM REVIEW
Harry Styles Flaunts Emotional Fragility on ‘Fine Line’
‘FINE LINE’
Harry Styles GRACE VAINISI Hoya Staff Writer
With his second solo album “Fine Line,” Harry Styles exudes vulnerability and authenticity with a hybrid of classic rock and soft pop. The specificity of his lyrics about his romantic and personal heartbreak reveals that the former boyband singer has become a dazzling and genuine artist. Since Styles first rose to fame on “The X Factor” with One Direction, fans of his have come to love his goofy, highenergy character. Throughout the 2010s, Styles and his bandmates were one of the biggest acts in the world, releasing five albums and headlining four world tours. One year after One Direction disbanded, Styles released his self-titled debut album, showcasing his stylistic range with dreamlike melodies in songs like “Carolina” and “Ever Since New York” and dynamic crowd pleasers like “Kiwi.” In an interview last November, Styles voiced that he wanted to take more risks with his second solo album and have fun experimenting in ways he had not on “Harry Styles.” “Fine Line” does not disappoint. With the progression across tracks like “Golden” to “To Be
So Lonely” to “Sunflower Vol. 6,” Styles achieves that with flying colors. The first song of the album is “Golden,” which Styles described as “the perfect PCH [Pacific Coast Highway] song.” “Watermelon Sugar” and “Adore You” come next, delivering messages of loving unabashedly and fully, highlighted by the chorus in “Adore You”: “I’d walk through fire for you / Just let me adore you.” These saccharine lines serve to showcase the focus on love throughout the album. “Lights Up,” released as a single before the album, embodies Harry Styles’ transformation from boy-band sensation to authentic solo artist. The chorus of the song rings out, “Lights up and they know who you are / Know who you are / Do you know who you are?” and leads into the bridge, “Shine, step into the light / Shine, so bright sometimes / Shine, I’m not ever going back.” Styles expresses he has shed his former persona and now knows exactly who he is; he dresses however he wants, intentionally blurs the lines between masculinity and femininity and remains utterly unafraid to step into the light. His evolution serves as inspiration to shine, to identify one’s authentic identity and to follow through with
living it, which can be seen throughout the tracks on the album. “Cherry,” a song which sounds as sweet as the fruit and is one of the best on the album, continues these trends. Styles sings, “I noticed that there’s a piece of you in how I dress / Take it as a compliment.” Styles’ vulnerability in his relationships is a recurring theme throughout all his songs, as he delivers the honesty and vulnerability of his experiences to his audience. In the chorus, he heartbreakingly sings, “Don’t you call him baby / We’re not talking lately / Don’t you call him what you used to call me.” “Falling” is one of the most impactful songs on the album. With just his voice and the piano, the melodic rawness mirrors his emotional reflection of not knowing the person he has become and not knowing what to do about it. “What am I now / What if I’m someone I don’t want around?” Styles asks himself. Just as “Lights Up” inspires listeners to persevere proudly, “Falling” reminds listeners that it is okay to be unsure. Styles makes sure to poke fun at himself too, as on “To Be So Lonely,” which serves as a refreshing, carefree note after the two previous ballads. Styles croons about his inability to claim fault
in a relationship with an air of nonchalance that makes the song catchy and memorable. The tail end of the album offers a wide variety of different song styles, from the folksy guitar in “Canyon Moon” to the musical theater quality of “Treat People with Kindness.” This stylistic variation showcases Styles’ artistic range in a way few other artists can match. Finally, he closes his album with “Fine Line,” the smooth namesake of the album. “Fine Line” summarizes Styles’ emotional process of making the album and offers a cohesiveness to the album. With an outro of the repeated line “We’ll be alright,” Styles leads his listeners to a quiet peace that rounds out his emotionally packed sophomore album. Styles’ latest solo album is revolutionary for introducing his fans to a different side of him, both in terms of his identity and his musical capability. Styles is taking a refreshing look at masculinity and encouraging authenticity in a way few other artists have done successfully, with the content of his music as much as his Gucci suits and painted fingernails. As Styles has grown as a musician, he has effectively solidified himself as an icon of today’s pop culture.
@HARRYSTYLES/INSTAGRAM
With heart-wrenching tracks such as “Falling” and “Cherry,” Harry Styles delivers many crowdpleasers in his latest album. “Fine Line” marks the singer’s sophomore album, which follows his 2017 debut as a solo artist. While his unmistakable, sultry voice has not changed, Styles’ latest work reveals a new, beautifully vulnerable picture of his life.
THE HOYA
FRIDAY, JANUARY 31, 2020
B11
ALBUM REVIEW
British Producer Khushi Impresses on Debut Solo Album ‘STRANGE SEASONS’
Khushi KIRA POMERANZ Hoya Staff Writer
Producer Kalim Patel’s musical project Khushi pulls the eclectic artist out of years of silence and showcases his breathtaking vocals and production. “Strange Seasons” marks Khushi’s return to the musical landscape as an engaging and captivating artist. Patel has mostly stayed behind the scenes in the music world throughout the past decade, helping to shape the sounds of other artists — most notably, English singer-songwriter James Blake and his 2019 album “Assume Form.” Now, Patel is letting his own voice be heard, working under the name “Khushi,” a Hindu word for “happiness” that was his childhood nickname. A simple album with only 10 tracks and no features, “Strange Seasons” is pristine. James Blake mixed the album with Khushi, and his presence has its influence on the album as a whole. Whereas Blake’s most recent album “Assume Form” is hectic, filled with stellar collaborations and intricate production,
“Strange Seasons” is more stripped down and atmospheric. The project has a lucid quality that is reflected in the breakout single “Freedom Falls.” “Freedom Falls” has been reimagined multiple times over the last 10 years, a journey that Khushi explained in an interview with Complex Magazine. “It’s been with me through various different bands, and I thought it never quite fulfilled its potential, but I always had faith in it,” Khushi said. “The first version of it was more like an indie band, and then I had a version that was more groove-based, it almost sounded like a weak Jai Paul impersonation.” The final product of Khushi’s labor, “Freedom Falls,” drew from a demo he had made for a friend. The mellow and thoughtful notes build in tempo and volume until a catchy beat is achieved as Khushi sings the second verse, “Now the sound of the change / All that’s keeping us sane / And you try to shut it down / But there’s no way to keep it out.” The album’s recording took place over the course of six years in a shed
next to a train station in the Hackney borough of East London. The process was slow due to Khushi’s perfectionism and his initial annoyance by the sounds of passing trains, though he came to embrace the sounds of the city on the final track “Like a City,” which ends with the howling sound of a train outside his studio. It is a charming reminder of where Khushi’s album began. Ending the song in that way fits the tone of the lyrics describing his surroundings, “Like a city drowning in its own possibilities / Like a city almost done, I could hardly keep you out.” One of the stand-out tracks on the EP is “This Is, Pt. I & II.” The song run time is over seven minutes long, but the track’s nature is so engaging that the length easily coalesces with the rest of the album. Instead of waiting for the track to end, the length allows the listener to appreciate the emotion behind the song. The song focuses on Khushi’s creative process and his perfectionist nature. Khushi admits that while he does not always know what the finished song will
sound like from the start, he accepts amendments and final cuts, letting listeners know, “And this is / Not quite what I intended / But it’s where I’ve ended, it’s where I’ve ended / It’s where I / This is / Not quite how I planned it / But it’s where I’ve landed/It’s where I’ve landed.” Another track that exemplifies Khushi’s work is the song “Call To Arms.” Khushi takes a minimalist approach, using just his voice and a piano as the primary instruments. He works in his own voice played over itself to stack up harmonies and build a multilayered, rich piece that highlights the simplistic tone of the album. For anyone needing to kick back and lose themselves to the music, “Strange Seasons” does the trick. It is a 41-minute deep dive into Khushi’s soundscape. For fans of James Blake and artists like him, “Strange Seasons” builds on an artistic genre. The meticulous process behind Khushi’s music has successfully created a dynamic album, but hopefully listeners will not need to wait 10 more years for his next project.
@KHUSHIMUSIC/INSTAGRAM
Grammy Award-nominated producer Khushi has gained fame in the music industry throughout the last decade by collaborating with artists such as James Blake. On his first solo musical project, Khushi layers atmospheric and stripped-down production with powerful and emotional vocals to create catchy songs laced with personal significance.
ILLUSTRATION BY: DOMINIC PHAM/THE HOYA