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F RI DAY, FEB R UA RY 7. 2020

D L I W S E T A M M O Pets on O R Campu s

ILLUSTRATION BY: JASON OMORI/THE HOYA

FRIDAY, FEBRUARY 7, 2020

THE HOYA

Pets on Campus Provide Stress Relief, Companionship

YU YOUNG LEE & ALLAN NAVARRO Hoya Staff Writers

Puppy pettings have become a routine occasion every finals season, with a variety of student groups offering opportunities to pet animals for a small fee as a way to relieve stress. However, some members of the community have taken these opportunities to its furthest extent, adopting animals into their campus spaces. While not all these animals serve the same purpose, from a family pet to an emotional support animal, their presence around campus can serve as a welcome sight for stressed students and a happy companion for their owners.

ROAMING AROUND TOWN

Professor Elizabeth Grimm (GRD ’10), her husband Jacques Arsenault (COL ’01, GRD ’07) and their two sons, 7-yearold Hugo and 3-year-old Andre, live in McCarthy Hall with their dog Crouton. Grimm and Arsenault adopted Crouton, who has three legs, a year ago, according to Arsenault. Crouton is a 5-year-old Labrador Husky, and his story is a remarkable one: he was shot in Texas, leading to the amputation of one of his legs. Crouton was later left him in an animal shelter where they kill the animals when the capacity of the facility is reached, according to Grimm and Hugo. Crouton was later adopted by the Grimm and Arsenault family and has recovered from his injuries to become an incredibly healthy and active dog, according to Grimm. “He’s actually incredible on the stairs,” Grimm said in an interview with The Hoya. “He’s really, really good at running. And so Jacques and I will often — a couple times a week we’ll take him out running. I mean, he is the world’s most perfect dog. He is the best.” Due to his distinctive appearance and affable demeanor, Crouton is also frequently recognized by members of the Georgetown University community when he goes on walks, according to Arsenault. “The nighttime walk is sometime between eight o’clock and midnight, and there’s a number of people that will call out by name, ‘Hey Crouton!’ or ‘Can I pet Crouton?’ Arsenault said. “Dozens, in any given walk, especially when it’s a later walk on a weekend night.” Dogs are not the only pet members of the Georgetown community sharing their living space with students. Jada Huang (COL ’23) cares for Sweet Pea, a 1-year-old diamond dove, in her Village C East dorm room. While Sweet Pea does not usually leave Huang’s dorm room, he travels around the room freely without a cage so he can find comfortable spots in the campus environment. “Yeah, so he does fly around a little

bit, but he definitely has preferences for certain places in the room,” Huang said. “Also, doves naturally tend to be on the ground more than most birds would, so he doesn’t mind having a smallish space, although it’s pretty spacious for him because he’s tiny.” Getting approval to have a pet in a dorm room can be a tedious process, with students having to coordinate their plans through both the Academic Resource Center and Residential Living, according to Huang. According to the Academic Resource Center, requesting an emotional support animal in a dorm room requires proven documentation from health care providers, as well as vaccinations and licenses that are required through Washington, D.C. law. Students also have to abide by certain rules, including restrictions on where they can dispose of their pet’s waste to official surveys

of the living space to determine its suitability. While this process can take a while, the end result is worth it, as Sweet Pea is less as a pet that needs to be taken care of and more a friend, according to Huang. “He’s one of my best friends, I spend a lot of time with him and he likes to cuddle and stuff,” Huang said. “He does so many things that are just cute and goofy, and I can like feed him a lot of the different foods that I actually eat. Yeah, he’s very sweet.”

CAMPUS LIFESTYLE

Life on any college campus can occasionally be a difficult adjustment for animals, given the strange, artificial surroundings of a college campus. Dog owners can struggle to find open spaces to play with their dogs in because of the urban college environment, according

to Grimm. “We’re a little far away from the nearest dog park, which can be an issue,” Grimm said. “We also don’t have a yard, so we’re pretty careful about taking him off leash.” Crouton, however, quickly adjusted to his new life and loves his new home at Georgetown, according to Grimm. “You would think he’d be very traumatized around humans, that he’d be very skittish,” Grimm said. “He is the literal opposite of that. He loves loves loves people, loves kids.” Since Crouton cannot go to every class Grimm holds weekly because of the possibility of students being allergic, his appearances around campus aren’t very common. Grimm takes Crouton to her office to do work and to her smaller senior experience classes to create a more intimate environment for her students, Grimm said.

YU YOUNG LEE/THE HOYA

Faculty-in-Residence Elizabeth Grimm (GRD ’10), who lives in McCarthy Hall with the rest of her family, includes three-legged dog Crouton as part of her family. Crouton has become a popular sight around campus for students and outsiders alike.

FRIDAY, FEBRUARY 7, 2020

THE HOYA

COURTESY JADA HUANG

Students like Jada Huang (COL ’23) use their dorm space to house their pets. In her Village C East room, Huang allows her 1-year-old diamond dove named Sweet Pea fly and roam around freely, while occasionally traveling with him in a plastic carrying container. Sweet Pea offers Huang an oppurtunity to bond with animals in a novel way. He also joins the family on their school drop-offs daily in the Georgetown neighborhood, while other children at the local elementary schools asd also marvel at Crouton. Interacting with these children allows Crouton to be seen as a symbol of perseverance, according to Grimm. “I brought him in one day to Andre’s preschool class, and all of the 3-yearolds brushed him and pet him,” Grimm said. “And it’s just such a good way to say to kids: ‘No matter what happens in your life, you can get through it; you can overcome it.’ He is a true model.” On a similar note, not all of Sweet Pea’s habits are ideal for campus life, namely his fear of the dark and need for attention, which can occasionally cause sleepless nights for Huang. “I was getting like horrible sleep because I had lights on and he would like bang into things at night because he was having nightmares,” Huang said. “He can also be very persistent with his calling when he wants attention, which can be a little annoying. It’s really not that bad, though. He’s pretty quiet.” Despite all this, Sweet Pea loves to meet new people, be it for the first or the 50th time, and creates a more en-

gaging campus experience for both Huang and her friends, according to Huang. “He’s pretty good about it, like he’ll fly on top of other people’s heads pretty regularly within the first or second meeting,” Huang said. “He doesn’t like hands, but he’ll go on their head or like one arm.”

CONNECTING THE COMMUNITY

Students like Natalie Chaudhuri (SFS ’22) and Chloe Kekedjian (COL ’22) use their love for dogs to serve the community. They founded the Instagram account @doggosofgeorgetown last fall. Though the account holds a relatively small presence on the social media platform, their feed boasts a mix of dogs photographed on campus and in the Georgetown neighborhood. Chaudhuri and Kekedjian started the page to simply share photos of cute dogs they saw on campus with their friend group, according to Chaudhuri. “Whenever we saw a dog, Chloe was always really excited,” Chaudhuri said. “We would take pictures and send them to just our friends to kind of make their days better. It’s still something we do. But then Chloe was like, ‘We should make an

Instagram page and have our friends follow that.’” Some of the dogs featured on the account are more recognizable celebrity dogs, like Georgetown’s own mascot Jack the Bulldog in their “Jack spotting” series. Other photos are candids, with the account featuring close-ups of dogs posing in Red Square or slightly blurry paparazzi style shots of dogs far off in the distance. While the latter of these photos are not ideal, the end goal of showcasing cute dogs is always the same, according to Chaudhuri. “The pictures are, of course, always better when we get the consent of the owner,” Chaudhuri said. “But sometimes, we end up taking kind of stalkerish photos.” Although most pictures are taken by the account owners, excitement over these Georgetown pets is not just limited to them, according to Chaudhuri. Many other students are on a constant lookout for these canine friends to share on the account. Kekedjian and Chaudhuri request in the bio of the account to send them pictures of dogs around campus. “We love it when people send us pictures of the dogs,” Chaudhuri said. “It’s more fun, because sadly, we only get to

see so many dogs per day. We’d love to increase the count.” While the pressure of being a busy Georgetown student can occasionally take a toll, @doggosofgeorgetown aims to provide relief, according to Chaudhuri. “Chloe sometimes jokes that this account is like the only thing getting her through the academic stress that comes with Georgetown,” Chaudhuri said. “I feel like that the account is just a small thing we can do to help push people through it.” The dogs on campus are no strangers to helping Georgetown students destress from their busy lives. During events organized by community directors in the Southwest Quadrangle, many dogs, including Crouton, gather to ease anxious students nearing their finals or midterms. The Hoya has also aimed to highlight the role dogs play on campus as stress relievers with “The Hoya Dog Series,” a collection of videos posted to Facebook throughout the past several years that feature the stories of student dogs. “Crouton just loves this life of being on campus. He loves seeing students. He loves that interaction. Nothing fills him with more joy,” Grimm said.

FRIDAY, FEBRUARY 7, 2020

THE HOYA

MOVIE REVIEW

‘Bombshell’ Fails With Poor Writing, Character Development Directed by: Jay Roach Starring: Margot Robbie, Charlize Theron, Nicole Kidman IYANAH LANGA Hoya Staff Writer

This movie review discusses sexual assault in the workplace. Please refer to the end of the article for on- and off-campus resources. In 2016, Fox News faced sexual misconduct allegations from Gretchen Carlson against Roger Ailes, the then CEO of Fox News and Fox Television Stations. Jay Roach tackles this allegation, and some of the 22 others that would follow, in his film “Bombshell.” Despite the fascinating and terrifying story, Roach and writer Charles Randolph struggle to properly dramatize the story, lacking depth on key points. With the #MeToo movement prominent in public conversation, “Bombshell” could have fashioned itself as a meaningful look at sexual harassment in the United States, but fell short of its intentions. The A-list cast is wasted because of poor writing and cheesy dialogue, and they are often unable to rise above it. Roach, who worked on “Trumbo,” and Randolph, who worked on “The Big Short,” try to recreate the wit, drama and irreverent humor of those previous films, but fail to match their charisma. The resulting movie does not fit into a specific genre, feeling more like a Lifetime movie with a larger budget and voice-overs that felt goofy and out of place in a film of such heavy emotion.

“Bombshell” has a plethora of missed opportunities and intentions, which struggle to tell this powerful story. Kayla Pospisil (Margot Robbie) is by far the most compelling member of the cast. Unlike Megyn Kelly (Charlize Theron) and Gretchen Carlson (Nicole Kidman), Kayla is an amalgamation of several survivors who spoke to the filmmakers, and not a specific, actual person. This level of removal forms her into a character that is written for the screen and meant to appeal to all viewers. Kayla is a typical Fox journalist: sensitive and a little naive, but equipped with determined ambition. Perhaps it is because she is fictional, or because we see her sexually harassed on screen, but Robbie establishes a close relationship with the audience that Kidman and Theron simply do not, even though their characters are based on real people. This is not to say that the film attempts to make the harassment faced by Kelly and Carlson humorous, but instead further complicates them as human beings who are attempting to do their jobs. “Bombshell” does not shy away from their political views, but rather works to cement the the idea that all people should enjoy a workplace free from sexual harassment. John Lithgow playing the part of Richard Ailes departs from his more frequent role as a comedic character, making Ailes as terrifying to watch as he is sickeningly

charming. There are parts of the film where it is difficult to separate Lithgow from the role he is playing before he forces someone to pull up their skirt, or makes sexual comments about their legs. This eerie feeling Lithgow’s character evokes pulls viewers into the film, and while successful, ultimately falls short with redeeming the narrative components of the film. As the type of man who usually gets away with exactly these sorts of crimes every day, it is powerful when he begins to head toward his own ruin and is ultimately fired from a network he helped create. “Bombshell” does not shy away from the fact that Ailes’ supporters still work at Fox News or that the environment of Fox News is primed to protect and hide other sexual predators, a reality that leaves viewers with a sense of discomfort about the world. Jess Carr’s (Kate McKinnon) storyline of a closeted liberal lesbian at Fox is uninspired and bland, with McKinnon playing another version of the character she always plays, featuring a mixture of edgy humor, bluntness and a wide-eyed stare. Her character does not develop or change in any way, meaningful or otherwise, and only attempts to add humor to an otherwise unfunny situation of workplace harassment and assault. If her character had been omitted, it would have left room to further develop the three main female

 characters of the film and give it the depth it was sorely lacking. Overall, “Bombshell” relies too heavily on its cast and sensational plotline. It should have provided a closer look at the women whose lives and careers were negatively affected by Roger Ailes and Fox News for protecting and supporting him. Despite its shining moments, “Bombshell” fails to give the women in the story the character depth they deserve. It falls flat in adding anything compelling to this uncomfortable situation. Resources: On-campus confidential resources include Health Education Services (202-687-8949 or sarp@georgetown.edu) and Counseling and Psychiatric Services (202-687-6985); additional off-campus resources include the D.C. Rape Crisis Center (202-333-7273) and the D.C. Forensic Nurse Examiner Washington Hospital Center (844-443-5732). If you or anyone you know would like to receive a sexual assault forensic examination or other medical care — including emergency contraception — call the Network for Victim Recovery of D.C. at 202-742-1727. To report sexual misconduct, you can contact Georgetown’s interim Title IX coordinator at 202-687-9183 or file an online report here. Emergency contraception is available at the CVS located at 1403 Wisconsin Ave NW and through H*yas for Choice. For more information, visit tinyurl.com/GUselfcare.

LIONSGATE

The story of Roger Ailes’ sexual harassment case across his time as CEO of Fox News is incredibly compelling. However, director Jay Roach and screenwrtier Charles Randolph fail to translate this story effectively to the screen, not developing the victims in these situations enough, despite an impassioned performance by Margot Robbie.

FRIDAY, FEBRUARY 7, 2020

THE HOYA

MOVIE REVIEW

‘The Rhythm Section’ Suffers From Staggering Action, Poor Plot Directed by: Reed Morano Starring: Blake Lively, Jude Law, Sterling K. Brown HALEY RESNICK Hoya Staff Writer

“The Rhythm Section” seemed promising on paper in the wake of female-heroine blockbusters like “Atomic Blonde” and “Captain Marvel.” Contrary to expectations, however, the film’s lack of realism and entirely action-based plot detracts from Blake Lively’s superb acting, making “The Rhythm Section” subpar at best. Adapted from Mark Burnell’s 1999 thriller novel of the same name, the film tells the story of Stephanie Patrick (Lively) as she seeks revenge on the people who orchestrated a plane crash that killed 239 people, including her parents and two siblings. On her path for vengeance, Stephanie is trained by a former MI6 agent Iain Boyd (Jude Law) who places her through weeks of intense physical exercise and often tells Stephanie she will not succeed. For starters, the story is far from believable, detracting attention from what is a serious movie. In the first few minutes of the film, it is established that after losing her family in the crash, Stephanie, a top student at Oxford, becomes a drug addict and a prostitute. After only a few weeks of training, however, she is a seemingly

impenetrable master spy with the capacity to kill. The seriousness and tragedy of Stephanie’s situation makes the lack of realism in the plot all the more problematic. The director repeatedly tries to make the viewer see Stephanie as a changed woman, but this does not feel believable, considering viewers never get to see Stephanie improve. Admittedly, there are a few moments throughout the film that portray Stephanie’s weakness, such as her continuous crying while performing a car chase and her inability to kill a man once he reveals he has a daughter. These few genuine moments, however, are minimized by the lack of realism in the rest of the movie. The fictitious nature of the film made the ending predictable and wrapped up too neatly, which minimized the struggles Stephanie dealt with throughout the course of the film. Dealing with issues like terrorism and organizations as serious as the CIA and MI6, the storyline should have tried to be more accurate, something the producers seemed to miss. Perhaps a twenty-something drug addict can become a brilliant assassin who fights terrorism but “The Rhythm Section” fails to show that transition on the screen adequately.

Moreover, while the writers do a decent job indicating the trajectory of the plot, the majority of the movie seems disoriented by jumping across different locations. Stephanie is always moving and the film transports the Tangier, Morocco; Marseille, France and New York all within minutes, without giving the viewer a moment to pause and take in what is happening. While the fast-paced nature is appropriate for an action movie, the constant changes in Stephanie’s location, interlocutors and objectives seemed to be a ploy by the director to make up for the lack of context and reality surrounding Stephanie and her actions. The one redeeming quality of this movie is Lively’s acting. Best known for playing a privileged teenager on the TV show “Gossip Girl,” she manages to step away from her “it girl” reputation and is

 almost unrecognizable as Stephanie. She commands each scene and each of her many personas, from a hopeless girl in the beginning to an assertive woman by the end. Her versatility of emotions and ability to show layers of fragility while simultaneously serving as a heroine deserve praise. Not to mention the fact that Lively broke her hand in a scene with Law — perhaps a testament to her dedication to the role. Ultimately, Lively’s vulnerable performance makes up for the lack of reality otherwise prevalent in the film. “The Rhythm Section” is admirable for its attempt to spotlight a strong female heroine, but its full effect is limited by a flawed plot. To allow Lively to shine, the writing and direction of “The Rhythm Section” needed to be more refined. The film has many flaws — too many for Lively’s stellar performance to save.

EON PRODUCTIONS

Although Blake Lively puts up an impassioned performance in “The Rhythm Section,” the movie as a whole suffers from half-baked ideas and poor execution. The action-based plot of the film is not befitting its cast members, as they stumble along attempting to bring emotion and expressiveness to the narrative of a female heroine saving the day.

FRIDAY, FEBRUARY 7, 2020

THE HOYA

THE REEL DEAL

Oscars Marred by Flawed Voting Practices, Pursuit of Profit Tucker Oberting On May 16, 1929, 270 people sat in attendance at the Hollywood Roosevelt Hotel as awards for movies were dealt out to little fanfare. The event quietly wrapped up following the final presentation of a small golden statuette for outstanding picture. And with that, the first annual Academy Awards came to a close. This year marks the 92nd Academy Award ceremony. Over the years, the ceremony, as well as the organization behind it, has become the subject of intense public scrutiny. It’s been called insular and elitist, often excluding women and people of color from its nominations. A critical investigation of the Academy’s motives and voting process reveals how the Oscars are fundamentally flawed and illuminates the disconnect between Hollywood and the general public. Who and what the Academy celebrates is not always a matter of artistry, but rather a consequence of the Academy’s own agenda.

The voting system employed by the Academy is not a directly democratic process. First, the almost-7,000 industry members who comprise the Academy are divided by profession. Writers, for example, are responsible for deciding their ideal choices for the best screenplay categories. Nominations are open to all members for best picture. This system has its benefits; it ensures that selections among each category are made by a well-informed voter base. Those with little or no direct professional experience in a particular field are dissuaded from promoting entries that comparatively don’t quite make the cut. However, there is no practical way to ensure that each member of the Academy will be able to watch all of the potential nominees. Personal bias represents another complication as a result of dividing the constituency among specialized groups within an already restricted pool of Hollywood contributors. This reinforces the insular nature of the nomination process. Winners for all categories but best picture are determined by a plurality “winner-takesall” method. For best picture, voters rank their preferences for best picture rather than simply voting for one film. This means that the best picture winner has the broadest support, which unfortunately often results in popular films rather than edgier, risk-taking

films winning the award. In addition to its fundamentally flawed voting processes, the fact that the Academy is a distinct institution with its own interests and agenda also colors its decision-making. Its objective remains to maximize viewership, ratings and revenue toward the industry. This promotes nominations that are not solely based on artistic merit, but rather what will advance those objectives. For example, ratings for the awards have been historically higher when box-office hits receive many nominations. Nearly 20 million more viewers tuned into the 70th Academy Awards — in which the blockbuster “Titanic” was up for nomination — than the 78th Awards, where indie-hit “Crash” was selected for best picture. The defining characteristic of the voting system behind the Academy Awards is the complete absence of the perspectives of general audiences, which means the Academy’s verdicts represent their singular, elitist perspective. From start to finish, the entire process is decided among members of the Academy alone. Thus, the Academy may be out of sync with the views of the broader public when it comes to what sort of films they choose to award. Based on its structure and size, the Oscars may be mired in a debate it simply can’t win. Art is inherently subjective, and there will always be detractors in an argument over

what makes a particular film, or an aspect of its creation, “the best.” The voting system is designed to narrow down the most popular choices from thousands of votes, but from there it’s anyone’s game. What the Academy says is the best shouldn’t be looked to as a definitive verdict. Despite its flaws, the Oscars still serve an important function. The results create the basis for a discussion that highlights aspects of the industry that require greater attention or improvement. Failure, after all, is the best way to learn. Our continued attention to and protest of the Oscars as unfair to certain groups is important. The Academy isn’t a credible determiner of artistry in film. Their determinations of which films and actors deserve praise are limited by their motivations for profit and viewership, as well as the limitations of their nomination processes. Still, if for nothing else, the event is otherwise perfectly designed for a fun drinking game — take a shot every time a celebrity forces an awkward political joke. All the better to dull the pain when your favorite artist or film of the year is overlooked yet again. Tucker Oberting is a junior in the College. THE REEL DEAL runs online and in print every other week.

EXPLORING EATERIES

Simply Banh Mi Impresses With Savory, Authentic Cuisine Hal Rogers Only in Georgetown, with its long history and international influence, can you grab an authentic Vietnamese meal and tour a sprawling and architecturally impressive museum just down the street. Enter Simply Banh Mi and the Dumbarton Oaks House and Garden. These two unlikely partners collide to form an exciting excursion that is foreign, historic and secluded just six blocks from campus. As a self-proclaimed expert on the Washington, D.C. pho scene, I can confidently assert that Simply Banh Mi is the best anywhere. This no-frills location on Wisconsin Avenue provides the perfect setting for indulging in an authentic Vietnamese experience. Brother and sister duo, John and Diana Tran, opened this shop with a simple goal: delivering the Vietnamese food their mother, “Mama Tran,” had raised them on. Not only do they succeed in doing this, but they do so at an exceptional price — $7.50 per

sandwich — and with a personal, homey flare that isn’t found elsewhere. Upon entering, you will find owner and founder John Tran taking orders, waiting tables, in the kitchen and cleaning dishes, all with a smile and zeal that is scarce in contemporary dining. The employee’s dedication is admirable, and the environment they create is friendly and welcoming. As their name suggests, they whip up Banh Mi, French-influenced Vietnamese sandwiches, masterfully. If you decide a sandwich is in your future, you have plenty of options, but I suggest the barbeque pork belly, lemongrass pork or chicken. The barbeque pork belly has a savory and rich flavor that is complemented by the plentiful portions of fresh cilantro, cucumber and carrots that line the sandwich. Likewise, the lemongrass pork and chicken are crispy and tender with a perfect smokey and citral balance in each bite. Simply Banh Mi is multi-talented as its pho is equally as impressive as its banh mi. This iconic Vietnamese soup has exploded in popularity in the United States, and for a good reason. These brothy, hearty bowls of delectable vermicelli noodles and tender meats leave you satisfied without feeling gorged or guilty. In D.C., pho is plentiful and reliably delicious at a number of locations. Simply Banh Mi distinguishes itself from the area’s abundant competition with its conspicuously delicious broth, which is flavorful without being

excessively oily, a common tactic employed by pho restaurants to offset a lack of effort. Consequently, you’ll finish your meal here without the greasy or filmy feeling that ruins a meal. If you order pho, I must insist on their beef brisket. Chicken, though excellent as well, simply can’t match the flavor that beef brings to the pho. If you are not a meat eater, they have a vegan option as well. Their bowls are massive and meats plentiful, all for the astonishing price of $7.50, or $8.50 for the lemongrass beef. At Simply Banh Mi, you can order a quality appetizer and entree without breaking the $10 barrier. Throw in a bubble tea or a smoothie, and you still will find it hard to exceed $15. While dining out in Georgetown often involves overpaying and leaving hungry, Simply Banh Mi provides a respite from this aggravating proclivity. Georgetown’s inexpensive exploration doesn’t end with Simply Banh Mi. After a hot and hearty meal, a relaxing walk in the brisk winter air will most definitely complete the evening. After your meal near the corner of Wisconsin and Q Street, I recommend adventuring just two blocks north to the astonishingly beautiful and equally underrated Dumbarton Oaks House and Garden. This sprawling and secluded historical estate is, at first, entirely hidden as you walk along R Street. Upon entering, however, a

massive colonial revival mansion greets you before you make your way into the seemingly endless expanse of immaculately-maintained gardens. Lavish lawns, extensive terraces and intricate fountains decorate the property. Furthermore, a neighboring park and hiking trail flank the estate, adding to the uncanny sense of seclusion. The vast open space is welcome after eating at Simply Banh Mi which, though excellent, is limited in seating and can feel a bit cramped. This experience is not only close by and surprisingly underrated, but it is also completely free during its Winter Season, which lasts until March 14. After that, Georgetown students will pay only $5. This fee can be disappointing in a city that has an exuberant supply of free museums and historical exploits, so I recommend taking advantage of this property before mid-March. Nothing better attests to the diversity and rich history of Georgetown than an authentic Vietnamese meal coupled with a walk through a historic 20th-century estate. Embracing this diverse spirit is part of being a Hoya, so take advantage both of what’s foreign and newer to D.C. and what’s historic but never boring. Hal Rogers is a sophomore in the College. EXPLORING EATERIES runs online and in print every other week.

FRIDAY, FEBRUARY 7, 2020

THE HOYA

ALBUM REVIEW

Enigmatic 070 Shake Shines on Debut LP ‘Modus Vivendi’ ‘Modus Vivendi’

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070 Shake ALLAN NAVARRO Hoya Staff Writer

New Jersey-based rapper and singer 070 Shake proves her star power on her debut album “Modus Vivendi” released Jan. 17. By combining her dynamic singing voice with powerful lyrics about relationship and personal struggles, Shake defines herself with a soothing musical voice in the current hip-hop environment. After signing with Kanye West’s GOOD Music imprint in 2016, 070 Shake first reached the commercial mainstream through her collaborations with West in 2018 on his album “ye.” On tracks like “Ghost Town” and “Violent Crimes,” Shake’s melodic and atmospheric vocal inflections made her contributions take an ominous tone on the album about West’s mental health and struggles with bipolar disorder. She quickly became one of alternative hip-hop’s brightest newcomers and has since continued to improve her music and further mystify her public persona. Shake’s debut album is one of her first long-form music releases. Apart from brief features on GOOD Music projects and a short EP in 2018, Shake’s entire mu-

sic discography was very sparse. “Modus Vivendi” expands on the limited notes from her previous releases to create a cogent musical identity for the album. The album opens on an atmospheric and orchestral note on “Don’t Break the Silence.” Though the track serves purely as a mood setter, it introduces Shake’s ability to rap powerful and emotionfilled lines and sing wrought vocal inflections that pattern the rest of the duration of the album. The first half of the album, featuring tracks like “Morrow,” “The Pines” and “Guilty Conscience,” is easily the strongest part of the album. Shake distinguishes herself with her impeccable ability to craft incredibly catchy hooks over hip-hop-laced instrumentals, creating an engaging and hypnotizing listening experience. “Guilty Conscience,” in particular, is the clear standout track from the album. One of the album’s lead singles, the track revolves around Shake discovering her significant other cheating on her, leaving her with a guilty conscience because she was also cheating on them. This track marks a key point for Shake, as it merges her ability to tell compelling stories with building her musical identi-

ty, something newer artists can struggle with while finding their voice. Shake also shines on “Microdosing.” The track sees Shake compare her relationship and falling in love with one person to microdosing drugs, a problem that can ultimately lead her into losing control of her life. The song’s message is powerful and the constant repetition of “microdosing” in the hook enhances the emotional impact of the album. 070 Shake takes many positive notes from her GOOD Music contemporaries. Although none of the other artists on the label feature on the album, label producer Mike Dean had a significant hand in the sound of the track list. The production is also anchored by contributions from Chance the Rapper collaborator Francis and the Lights and Dave Hamelin, who has most recently worked with Leikeli47. These production choices create and enhance the hazy vibe of the entire LP. Another important facet of Shake’s musical identity is her sexual orientation. Shake, who does not label herself as queer or gay and simply states that she likes girls, refers to all of her significant others using female pronouns. With these viewpoints continuing to become

increasingly prominent in hip-hop, with artists like Tyler, the Creator, Young M.A and Kevin Abstract using their sexual orientations across their music, 070 Shake’s identity plays into much of the relationship narrative throughout the album. However, the album is not perfect. The album itself has only one feature: 1970s soul group The Ebonys on a brief 17-second interlude. This lack of variation in the track listing becomes painfully clear as the album goes on. While Shake utilizes her debut album to allow her own voice to shine, the latter half of the album quickly begins to blend together as a moody collection of sung hip-hop tracks. While this does not necessarily hamstring it, this constant repetition of sounds limits Shake’s true ability to shine. Nevertheless, few debut albums serve to affirm someone’s star status as easily as “Modus Vivendi” does for 070 Shake. The hazy and atmospheric environment of the instrumentals is only further enhanced by Shake’s own powerful vocals that ultimately make the album an incredibly compelling listen. “Modus Vivendi” allows Shake to rise out of the shadow of the GOOD Music imprint and establish herself as a star in her own right.

070 SHAKE/FACEBOOK

On her debut full-length project “Modus Vivendi,” New Jersey singer 070 Shake refines her eclectic sound into one of the most distinct and impassioned voices in hip-hop today. Shake’s powerful vocal deliveries and compelling bars perfectly flow over hazy and atmospheric production to create a innovative sound for a debut album in today’s musical landscape.

THE HOYA

FRIDAY, FEBRUARY 7, 2020

What to Do in DC

MUSIC

New Releases

MEGAN WEE

Hoya Staff Writer

ALLAN NAVARRO Hoya Staff Writer

CUPID’S UNDIE RUN FEB. 8, 12-4 P.M. | $40

Hosted alongside Penn Social, the Washington, D.C. edition of Cupid’s Undie Run is raising money for neurofibromatosis research. Participants are invited to run the mile in their underwear, or if you feel uncomfortable, a costume or onesie. All entrance fees for the run will go towards research and participants can raise more money through friends matching donations.

LIL WAYNE/FACEBOOK

@070SHAKE/INSTAGRAM

LIL WAYNE FT. JAY ROCK

070 SHAKE

‘BING JAMES’

‘GUILTY CONSCIENCE’

Lil Wayne returns with his 13th studio album “Funeral,” and “Bing James” with California rapper Jay Rock is one of the highlights. With a catchy hook where Wayne likens himself to Lebron “King” James, and an aggressive Jay Rock verse, the track is a return to form for Wayne. The song also features 24 seconds of silence at the end of its runtime, in honor of the recently deceased Kobe Bryant.

Noted for her 2018 collaborations with Kanye West, enigmatic New Jersey singer 070 Shake shines on “Guilty Conscience,” one of the lead singles off her debut album, “Modus Vivendi.” The song, which is about Shake catching a partner cheating in a relationship while she herself was also cheating, features Shake using her powerful and expressive singing voice to create an immediately infectious tune.

CUPID’S CHARITY

WINE & WHISKEY FESTIVAL WEDNESDAY, JAN. 29, TO SATURDAY, FEB. 1, 5:30 P.M. SUNDAY, FEB. 2, 4 P.M. | $45-$75

At the Union Market, a ticket to the DC Chocolate, Wine & Whiskey Festival will get you samples of chocolate, unlimited pours of premium wines, craft beers, ciders, whiskies and other spirits. The festival will also offer other sweet and salty items, like cookies, cakes, cheeses and a variety more. This funfilled event will also give visitors access to the District’s 1st chocolate fondue bar.

@CHOCOLATEWINEWHISKEY/INSTAGRAM

THE BEATLES VOL. 7 FEB. 8, DOORS OPEN AT 6:30 P.M., CONCERT BEGINS AT 8 P.M. | $25 – $75

In anticipation of Valentine’s Day, D.C.’s own Jazz ensemble Newmyer Flyer returns with the 7th edition of Love Songs: The Beatles at the Hamilton Live. The show promises a night of songs by everyone’s favorite British rock band, with over 10 musical acts that will be performing renditions of The Beatles’ classic love-infused discography. @ALLANRAYMAN/INSTAGRAM

ABOOGIEHBTL

ALLAN RAYMAN

A BOOGIE WIT DA HOODIE

‘CHIEF’

‘KING OF MY CITY’

Canadian artist Allan Rayman’s new single “Chief” continues his rise to stardom after being nominated for the Juno Award for Breakthrough Artist in 2018. Rayman is known for his mix of alternative hip-hop sounds with twangy country vocal inflections that make each of his songs instantly infectious. “Chief” continues this trend for the singer and offers fans and new listeners alike something to enjoy from the artist.

Bronx rapper A Boogie Wit da Hoodie’s new song “King Of My City” continues his trend of putting out uninspired singles that make him one of the least essential voices in hip-hop. Devoid of substance or significant meaning, the track lacks even so much as a catchy hook — something which A Boogie has usually been able to provide across his subpar discography — and declares him “King” of the Bronx, a dubious claim at best.

NEWMYER FLYER/FACEBOOK

YBN CORDAE CONCERT FEB. 14, 9 P.M. | $25 - $75

Spend your Valentine’s Day with DMV Area and Grammy-Nominated Rapper YBN Cordae at the Fillmore in Silver Spring, Maryland. Known for his collaborations with Chance the Rapper and Anderson .Paak, Cordae has been one of hip-hop’s biggest breakout stars of the last few years as his impassioned delivery and fun-loving bars have made him a fan favorite. @YBNCORDAE/INSTAGRAM

FRIDAY, FEBRUARY 7, 2020

THE HOYA

PERFORMANCE PREVIEW

BLACKMOVEMENTDANCE

Georgetown University’s Black Movements Dance Theatre will host its upcoming showcase next weekend, Feb. 14 and 15, at the Gonda Theatre. Highlighting unsung heroes throughout Black history, both local to the D.C. area and nationwide, the student group’s performance is a beautiful mix of expressive dance and compelling personal narratives.

BMDT Celebrates ‘Great Souls’ in Spring Showcase ELENA ERGENER Hoya Staff Writer

Next Friday, Black Movements Dance Theatre is set to perform its annual Black History Month Concert Celebration. BMDT was founded in 1982 by a group of Black female students dedicated to expanding Georgetown University’s awareness of Black history and artistry. This year’s showcase, titled “Legends, Leaders, Warriors (and Other Great Souls),” exhibits moving storytelling with pieces ranging from reflections on personal student experiences to homages to great historical figures using the wider themes of inclusivity and power that give BMDT its notoriety. “Legends” features eight dances choreographed by student company members, guest choreographers, and professor and Artistic Director Alfreda Davis. Each piece celebrates a historical figure, be them a famous political leader, iconic musician or “unsung great soul” who deserves wider recognition, as Davis refers to them. Activists and educators, some in the Washington, D.C. area, often go unrecognized but are important sources for knowledge, according to company member Aliyah Williams (SFS ’20), who has also served as a student director and cho-

reographer since her freshman fall. “We forget that, you know, we have our own leaders in our respective communities,” Williams said in an interview with The Hoya. “Recognizing these leaders has also helped me find the leader within myself, something which I’ve noticed throughout my time at BMDT, which has helped me see how those qualities have transformed in me.” Williams’ piece for this show, “BIGGER,” uses Beyoncé’s song from the “The Lion King: The Gift,” the movie soundtrack album released last year, as its musical element. The piece comes from a personal place for Williams, representing all the moments she has been down and depressed. The dance is a way to showcase how feeling lost or out of place can be a common emotion, especially for students, according to Williams. “The music progresses, the dancing gets bigger and I use an odd number of dancers on purpose just to show that, while you think you may be in sync with everyone else, sometimes you may not be in sync, but that’s perfectly okay,” Williams said. “You fall back into sync eventually, like, things don’t last forever. There’s something so much more to your life than whatever your current circum-

stance is.” Music from artists such as William Grant Still and Nina Simone accompany other ensemble performances. Still, who is often referred to as the dean of Afro-American composers, was the first American composer to have his work performed by the New York City Opera, and Simone was a versatile singer known for her musical talent and her activism advancing civil rights. Dancers execute an ambitious, graceful lift to the enchanting harp in the contemporary “Ennanga” and shift from a somber tone to a more assertive and powerful one in a dual piece choreographed by Davis using Simone’s “Four Women” and “Go To Hell.” Legendary figures not only set the soundtrack for the concert, but they also provide inspiration for the movements themselves. “A Day in Balogun,” set to an intense, high-energy drum beat, showcases a style based in traditional African dance called the Dunham Technique, which was developed by Black dancer and choreographer Katherine Dunham. As with all BMDT shows, “Legends” is produced solely by the student and faculty company members. The show requires an immense amount of com-

mitment and responsibility from all its performers in the time leading up to the showcase, but the time spent creates a powerful performance, according to Williams. “There’s a lot of behind-the-scenes work that we do in addition to just being students,” Williams said. “It’s a huge job, but it always makes us feel good.” BMDT is also one of the few media available on campus for sharing the depth of African culture, history and artistry with the wider Georgetown community while also showcasing universal global qualities, according to Davis, who hopes the performance has a wide-ranging impact across the community. “I want the audience to think, ‘I want to do that too,’ whoever they are, even if they’re not dancers,” Davis said in an interview with The Hoya. “Legends, Leaders, Warriors (and Other Great Souls)” premieres Feb. 14 at 8 p.m. and runs through Feb. 15 at the Gonda Theatre in the Davis Performing Arts Center. Showcasing themes of persistence, universality and power, the performance is sure to leave audiences ready to dance and celebrate themselves as the company has celebrated the great souls, both legendary and unsung.

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FRIDAY, FEBRUARY 7, 2020

THE HOYA

CONCERT REVIEW

930

United Kingdom-based indie rock band Metronomy brought its new album, “Metronomy Forever,” to the 9:30 Club last Friday night. By incorporating light effects and dynamic, invigorating performances, the band successfully achieved an engaging showcase of its classic songs, only matched by the colorful costume design and musical gusto.

Metronomy Provides Electric Display at 9:30 Club EMMA GINSBERG Hoya Staff Writer

The 9:30 Club came alive with brilliant light shows and an exciting musical display from the versatile music group Metronomy on Jan. 31. Just beginning their world tour featuring their latest album release “Metronomy Forever,” the U.K.based band put on a dynamic, colorful and energetic show that was truly unforgettable. 9:30 proved to be a perfect setting for the music group, as their indietronica sound — indie pop combined with electronic stylings — bled easily into the repertoire of the club and precedes similar bands that will be passing through the location in the new year, such as Echosmith and Joywave. The experience of Metronomy’s creative and multi-genre sound was enhanced by the atmosphere, creating a full sensory experience. “Metronomy Forever” transcends more genres than any of the group’s previous discography, featuring every sound from discopop to indie chill. The diversity through the album kept the live performance wonderfully unpredictable and intriguing beyond the final

song. The singular consistency between each song was that their steady and constant rhythms were reminiscent of an actual metronome. Metronomy stepped onstage for their first song through a blue light display, each member dressed in stark white jumpsuits that created a glow-in-thedark illusion. Their opening track was “Lately,” from “Metronomy Forever,” but the audience truly came alive by the second song, “Never Wanted.” “Never Wanted,” the final track on the group’s 2014 album “Love Letters,” was sped up in concert, and truly set the tone for the rest of the show with its high energy. As the performance continued, the band delighted with synchronized hopping choreography and unwavering vocals from every member. One particular highlight occurred during the showcase of “Corinne” from the band’s 2011 album, “The English Riviera.” The four male musicians all paused to highlight the vocal and musical talent of drummer Anna Prior during the bridge, prompting shouts of enthusiasm from the crowd. The thoughtfulness of the gesture made for a memorable and wholesome moment.

Throughout the hour-long set with almost no breaks, Metronomy kept the energy high by providing stark contrasts between each song, switching fluidly between lyrically-void electronica, grungy pop, beachy twangs and back again. Their versatility was entrancing and made each transition a pleasant surprise, keeping the audience engaged and excited for what would come next. In addition to an incredible auditory experience, the lighting of the show was extremely captivating. At the beginning of their showcase of “Salted Caramel Ice Cream,” from “Metronomy Forever,” the stage went dark and each band member lifted their arms to the sky, followed by an explosion of pinks, greens and purples as the song began. The clever lighting choices added to the excitement of the crowd and the dynamic, full-body experience of Metronomy’s catchy beats. Metronomy closed the set with by far their funkiest piece, “Sex Emoji,” off of “Metronomy Forever.” Red and yellow spotlights dotted the stage as the audience sang along to the simple chorus and the band members gave their full energy and focus to a fantastic perfor-

mance. Although the final showcase was wonderful, the song itself did not feel conclusive, making an encore inevitable. Just a few moments after their bows, Metronomy took the stage again for two more songs. “Upset My Girlfriend” brought a more melancholy tone to the performance, and Mount’s vocals lulled the audience beautifully. By contrast, “Radio Ladio” brought back many of the electronic sounds from the main event and felt like a perfect final demonstration by the group. Metronomy’s best moments throughout their presentation came when they appeared to forget the audience in front of them and put their complete focus into their craft. When the band members showcased their true enthusiasm for their music by honing their energy, the result was a truly quality performance that gave the diverse crowd a memorable experience. As they continue their world tour, Metronomy will undoubtedly deliver with each concert, and followers of the group can only hope that their future projects will be just as entertaining as the “Metronomy Forever” production.

FRIDAY, FEBRUARY 7, 2020

THE HOYA

B11

ART REVIEW

NYU ‘Taking Shape’ Exhibit Illuminates Abstract Arab Art FARIS BSEISO Hoya Staff Writer

Over the past decade, identity has dominated both political and cultural discourse in the US. With the new decade at a nascent stage, a former Georgetown instructor looks to use visual art to expand the scope of the identitarian dialogue, starting at New York University’s Grey Art Gallery with “Taking Shape: Abstraction from the Arab World, 1950s-1980s.” With its diverse array of pioneers on display, and the various schools of abstract art it promotes, the exhibition is an excellent window into the world of Arab art for connoisseurs and diletantes alike. Sultan Sooud Al Qassemi, the founder of the United Arab Emirate’s Barjeel Art Foundation, along with curator Suheyla Takesh, are bringing the foundation’s collection of modern and contemporary Arab art to the US for the first time. The touring exhibition represents a significant step in allowing art from the non-Western world to be presented on its own terms. That artistic ownership is significant given the controversies of how Western museums acquire and keep art from other parts of the world. The title itself eliminates the conventional yet ambiguous regional marker of “Middle Eastern” and narrows the categorization from a geo-ethnic term to a linguistic

one. This framing allows the exhibition to focus on abstract art movements native exclusively to the Arabic-speaking world and the pioneers that spearheaded them. Consequently, the exhibition avoids the risk of grouping together Arabs with Persians and Turks in a way that previous Orientalist displays of art have in the past. The Hurufiyya movement works are no better demonstration of the exhibit’s emic nature. Deriving from the Arabic word for “letters,” the movement is marked by artists playfully exploring the intersection of calligraphy and abstraction to create an Islamic-inspired visual language. Since the movement’s inception in the early 20th century, there has been an abundance of interpretations for how to artistically manipulate Arabic typography. The exhibit features the more literal expressions of letters of Rachid Koraïchi, whose works almost read like artistic manuscripts, but there are also the more enterprising and interpretive pieces of Sudanese innovator, Ibrahim El-Salahi. His works, like “The Last Sound,” create abstract landscapes that open viewers up to a kaleidoscopic world of interpretations. For example, the multilinear circle could be interpreted as a clock, a series of musical notes, or even a halo around the central figure. Works like these make the exhibition a positively active and engaging ex-

perience for viewers. Hamed Abdalla’s “Al Tamazouq (Torn)” offers an ominous vision of what calligraphy could be, as the painting intentionally appears to rupture across the canvas. While much of the exhibit’s Hurufiyya works were marked by sepia tones, works from Casablancan painters offered both a pleasant and starkly polychromatic contrast. Artists like Mohamad Chebaa and Mohamad Melehi inventively experiment with primary colors, resulting in paintings as bold as their palettes. This section of the exhibit tests both the rules of symmetry and color complementarity, introducing viewers to an abstraction that transcends the simplicity of monotonous works produced in other parts of the world. Even artists outside of the Moroccan port city use simple paints resourcefully, some in provocative ways. From Huguette Caland’s bright red depiction of a rear end, to Mohammed Hamidi’s bubblegum-style genitalia, the Barjeel Foundation has not shied away from revealing to the world the more daring Arab artists of the 20th century. Selections like these combat narratives of a hyperconservative region that suppresses art in all its forms, and the effort made by Takesh and Al Qassemi is more than commendable. The representational battlefield is refreshingly extended to the realm of gender, with the exhibition including

works from the most significant women in Arab art history. Be it Samia Halaby, who was in attendance on the day of the opening, or the dynamic Lebanese duo of Saloua Raouda Choucair and Etel Adnan, Taking Shape exhibits the work of women that birthed visual movements and inspired generations of artists after them. The beauty of the exhibition’s opening was that many of these trailblazers were present and taking pictures with their works. Following a speech by Al Qassemi, who taught at Georgetown in the Fall of 2019, the crowd wandered and admired the many masterpieces on display while asking Halaby and co. about the inspirations that drove these pieces’ production. Besides the two levels of art, there was a welcome performance by the Syrian-American Jewish singer, Faraj Abyad. Accompanied by his mostly-stringed orchestra, Abyad provided attendees with a medley of songs from across the Arab world. Despite the regional variances in musical styles, playing songs from Egypt, Syria and even the Gulf, the crowd immersed themselves gleefully and celebrated the occasion and culture being honored. It marked a spectacular way to commemorate the remarkable art that emerged in a crucial four-decade span of Arab history. Taking Shape runs in NYU’s Grey Art Gallery from Jan. 14 to April 4, 2020.

GREY ART GALLERY NYU

A mesmerizing collection of bold colors and abstract concepts, “Taking Shape” highlights the expressive minds of a diverse array of Arab artists, including former Georgetown professor Al Qassemi. The exhibit is an intimate, intriguing exploration of the Arabic-speaking world and beautifully portrays a linguistic and cultural tradition while also promoting innovation.

ILLUSTRATION BY: TARIKA KUMAR/THE HOYA