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F RI DAY, SEPT EMEB E R 27, 2019

ILLUSTRATION BY: SAMUEL NELSON/THE HOYA

FRIDAY, SEPTEMBER 27, 2019

THE HOYA

Fashion Expands, Redefines Political Branding SUSANNA BLOUNT Hoya Staff Writer

On Feb. 5, 2019, the floor of the U.S. House of Representatives was a sea of white; white jackets on white slacks on white blouses as far as the eye could see. The record number of newly elected Democratic women were using fashion to make a statement during President Donald Trump’s State of the Union Address to honor the women’s suffrage movement, which often used white as a symbolic color. Coverage of women in politics can focus too much on appearances and likeability. And while critics are often right to call out pundits’ focus on appearance, politicians, especially women, also have the power to use fashion as a tool to amplify their beliefs and share their backgrounds with the public. When used and interpreted correctly, fashion can benefit and complexify female politicians, rather than merely saddle them with sexist stereotypes.

BIGGER CLOSETS, BIGGER STATEMENTS

From the politics of former secretary of state and 2016 presidential candidate Hillary Clinton’s pantsuits to Democratic majority leader and the Speaker of the House Nancy Pelosi’s (D-Calif.) burnt orange Max Mara coat during an Oval Office showdown with Trump, women in politics have used their style choices to make a statement and spread their message. Pelosi’s coat sparked such intense public discussion that Max Mara decided to reissue the piece six years after it was originally sold. Politicians will always benefit from a wider array of options when it comes to how they present themselves, according to Georgetown University government professor Lise Howard. “Anyone in the public spotlight will be scrutinized about every decision, including fashion,” Howard wrote in an email to The Hoya. “It seems to me that women in politics actually have more leeway than men to dress in ways that make them feel authoritative, authentic and at ease. Men only have a choice between this or that dark suit.” Women have used the entire color spectrum and a multitude of silhouettes to make an impression, but some men have been able to shirk the limits of their closets to make statements through their clothes, like 2020 presidential candidate Andrew Yang’s choice to forgo a tie or former Texas representative and 2020 presidential candidate Beto O’Rourke’s constant rolling up of the sleeves. Even though many men find their options limited, they too can craft a brand for themselves that explains what kind of candidate they hope to be, according to Kate Bennett, CNN White House reporter who covers fashion in politics and the first lady of the United States. “It would feel weird if Bernie Sanders put on a Hugo Boss suit with a slim-cut trouser and a skinny tie and a pocket square, right?” Bennett said. “So it works both ways, for men and women, I think.” A plethora of options make fashion a more flexible and powerful medium through which to share a political message, according to Emilia Ferrara (COL ’10), who teaches a fashion journalism course at Georgetown and serves as editor-in-chief of Capitally, a

Washington, D.C. fashion magazine. “I do regard fashion as an imminent vehicle for strategy and excellence,” Ferrara said in an interview with The Hoya. “The more options in your arsenal, the more power you have.”

DRESSING FOR A GLOBAL SPOTLIGHT

Personal style creates a visible, dynamic platform to share a politician’s cultural point of view with an international audience, making fashion a tool of diplomacy. Politicians and diplomats can wear clothes that draw attention to their personal cultures and represent their communities with pride, according to Howard. Former Liberian President Ellen Johnson Sirleaf’s fashion choices, which shared traditional Liberian clothing with the world, perfectly exemplified this stylistic strategy, according to Howard. “She is always elegant and confident, while demonstrating her commitment to Liberia by wearing Liberian fashions,” Howard wrote. Wearing a silhouette found across West Africa, Johnson Sirleaf takes traditional garments like the gele, a tied headscarf, and revamps them for the modern era and shares them on an international stage, fashion historian Amber Butchart wrote in a Google Arts & Culture editorial feature. Lawmakers like Rep. Rashida Tlaib (DMich.) and Rep. Deb Haaland (D-N.M.) wore clothes that honored and showcased their traditionally marginalized and therefore politicized personal backgrounds. Tlaib wore a Palestinian thobe, a traditional embroidered gown, in tribute to her mother.

@KAMALAHARRIS/INSTAGRAM

Some politicians, like 2020 presidential candidate Senator Kamala Harris (D-Calif.), forge an individualized style that they constantly wear to build a consistent image.

@SPEAKERPELOSI/INSTAGRAM

Politicians, no matter how much they may try to avoid drawing attention to their outfits, will always face media attention to every aspect of their image. As a result, some like Speaker of the House Nancy Pelosi (D-Calif.) have embraced bold fashion statements.

FRIDAY, SEPTEMBER 27, 2019 Haaland, one of the first two Native American women elected to Congress, wore traditional clothing, moccasins and jewelry from the Pueblo tribe, of which she is a member. Former secretary of state Madeleine Albright used pins to send a message in diplomacy, according to Ferrara. After an Iraqi media outlet referred to her as an “unparalleled serpent,” she wore a snake pin on her next trip to Iraq in 1994. “She picked a pin that was extraordinarily tied on a deep level to the situation she was in,” Ferrara said. “Her pins always had a remarkable point of relevancy.” Albright’s pins became such an integral part of her diplomatic repertoire and messaging strategy that the Smithsonian Castle featured them in a 2010 exhibit titled “Read My Pins: The Madeleine Albright Collection.” Regardless of the policies they represent, these fashion choices represent how women can use their clothing as a way to make a statement that transcends mere aesthetic value. Choosing what pin to wear to any given event helped amplify Albright’s own political stances in a subtle but powerful way, the former secretary of state said in a 2009 NPR interview. “As it turned out, there were just a lot of occasions to either commemorate a particular event or to signal how I felt,” Albright said. In foreign policy, as well as in Congress, leaders make strategic choices about fashion to serve their goals and further their countries’ agendas. To argue that these choices are somehow less important because they happen to take the form of clothing diminishes the importance of visuals in communication and the power of the ability to harness fashion as a storytelling medium.

FASHION FAUX PAS

While women can benefit from the multitude of ways to express themselves and their cultures through their clothing, they also face more pressure and face severe sexist critiques. Making bold fashion statements also can lead to criticism that centers the conversation solely around the visual appearance and gendered connotations of their clothes, according to Ferrara. “The flip side of that issue is when people say, ‘Well, aren’t women always criticized for dressing too sexy or aren’t women always criticized for dressing, you know, too much like a little girl,’” Ferrara said. Some female politicians may try to wear clothes that do not attract attention in order to bring attention back to their ideas, but this can bring criticism as well. Clinton’s style when she transitioned from being first lady to perfectly captured this phenomenon, according to Bennett. “She was sort of ‘anti-fashion” fashion. She just assumed, like, if I wear this pretty standard-issue — although it might be Ralph Lauren, it might be a pretty highend designer, — pretty standard issue suit, no one’s gonna be able to critique,” Bennett said. “She had to find clothes that made her sort of disappear in that sense.” However, the think pieces and articles

THE HOYA

that major publications ran during Clinton’s 2016 presidential campaign examining her fashion choices prove that even trying to hide behind inconspicuous clothes would prove an unsuccessful media strategy. Likewise, female politicians themselves may object to the relevance of their outfits, but clothes make important claims that cannot just go ignored in certain contexts, according to Bennett. On a diplomatic trip to Kenya in 2018, First Lady Melania Trump wore a white pith helmet, a hat worn frequently by European explorers and a symbol of colonialism. “I was the one in Egypt who asked her about her clothing scandal from the day before, where she had worn the pith helmet in Kenya and created a hubbub. The next day in Egypt she did a quick Q&A with the press, and I asked her about that and she looked and me and she said, ‘I wish people would focus on, you know, what I do and not what I wear,’” Bennett said. “I mean, I would love to do that, too, Melania, but no, I don’t think we can.” Analyzing the role of fashion in women’s political careers requires nuance, but it carries value. Dismissing reflections on fashion choices ignores a valuable part of many politicians’ messages, according to Bennett. “People who sort of dismiss politics and fashion or that kind of coverage, again, are overlooking a multibillion dollar industry and a really viable way that politicians can and probably should be using their looks, their fashion, their style, to send a message,” Bennett said.

TOP: CONGRESSWOMAN DEB HAALAND/FACEBOOK, BOTTOM: @JACKSONLEETX18/TWITTER

Congressmembers like Deb Haaland (D-N.M.) use their platforms to represent their cultures and spread messages of awareness.

FRIDAY, SEPTEMBER 27, 2019

THE HOYA

MUSIC REVIEW

DJ Cashmere Cat’s Attempt at New Sound Falls Flat PRINCESS CATGIRL

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DJ Cashmere Cat CHRISTIAN JOSEPH Special to The Hoya

A consistent lack of substance and character ruins Norwegian DJ Cashmere Cat’s sophomore album “PRINCESS CATGIRL,” a project that highlights the DJ’s penchant for distorted and futuristic vocals. The album departs from his usual repertoire of dance tracks featuring A-list artists and remixes of hot songs, instead focusing on Cashmere Cat’s personal music skill. But this attempt to branch off from his usual work falls flat with songs that make a lot of noise but do not say much. “PRINCESS CATGIRL” consists of seven tracks fronted by an animated figure, the eponymous Princess Catgirl on the cover of the album. This animated figure represents Cashmere Cat’s alter ego, who allows him to take risks with his music that he otherwise would not feel confident enough to embrace. In a recent press release, Cashmere Cat emphasized the degree of separation between Princess Catgirl and himself and dove into different aspects of his artistry that emphasize the character. “I created Princess Catgirl to be the face of my music,” said Cashmere Cat, “She makes me feel safe.”

While Cashmere Cat still showcases his ability as a progressive producer to combine elements of dance, electronica and trap music, he enlists talent from a mixture of well-known and unknown producers, helping his production stray from the typical mainstream DJ scene. Unlike all-star DJs Calvin Harris and David Guetta, Cashmere Cat has an odd and innovative production style that is special but unfortunately still lacks the meaningful messages needed to make it memorable. Seven tracks are not enough to prove Cashmere Cat’s highly anticipated return as a producer, especially two years after his debut album. Even the mere length of the release disappoints — most of the tracks are under three minutes and the entire project clocks in at an underwhelming 18 minutes. Benny Blanco, the musical mind behind hit songs such as “California Gurls,” “Love Yourself” and “Diamonds,” is the co-producer of six of the seven tracks on “PRINCESS CATGIRL.” Despite the sheer industry talent working on the record, the album sounds rushed and half-baked. Even though Cashmere Cat did not

work with his usual stars for features, he still heavily relies on samples to kill time on the tracks. The misuse of his samples is abundantly clear on “WATERGIRL,” a play on words of the sample track, Christina Aguilera’s “What a Girl Wants.” The opening features a synth-pop driven beat that has potential, but the song ultimately goes nowhere. Even though the sample loops and increases in pitch to reach a higher tone, the track falls flat when the beat drops. While the original song told a story of one girl’s desires for her partner, this updated version of the track simply repeats the lyrics, “What a girl wants / What a girl needs.” No message is conveyed, and it starts to sound as if the sample just fills out the track rather than being a meaningful production choice. Throughout the album, Cashmere Cat shows that he can clearly produce music, but the tracks fail to capitalize on his talent to make one cohesive story that would give the album merit. The vocals on this album struggle to convey a message. As a result, nothing of substance gets told. Because each song does not change much from the beginning of one track to its end, Cashmere Cat builds no

tension and the album fails to engage its listeners. The opening track, “FOR YOUR EYES ONLY,” begins with a distorted voice repeating the same lines, “Show every part, oh, every part of me / For your eyes only / I don’t wanna know, I don’t ever wanna know.” While the lyrics could be vulnerable and moving, the voice singing them does not display the emotion needed to deliver such heartfelt lyrics. With “9,” Cashmere Cat’s debut album, the DJ seemed poised to become one of the most prominent producers of the next decade, showcasing an eclectic production style and a good eye for features. With “PRINCESS CATGIRL,” Cashmere Cat seems to have released an album just to get his name back into the minds of music listeners. By releasing such a short album, the Norwegian producer and DJ needed to make every song a smash to make its sub-20-minute runtime worth it. While Cashmere Cat showcases that he has enough creativity to make provocative music, anticlimactic and confusing production choices hold his entire project back.

@CASHMERECAT/INSTAGRAM

On his most recent project,“PRINCESS CATGIRL,” Norwegian DJ Cashmere Cat explores both a new identity and a new sound through the eponymous Princess Catgirl, a fictional and animated character of his own creation. Though the album features stellar sampling, it ultimately disappoints with a short tracklist, flat instrumentals and shallow lyrics.

FRIDAY, SEPTEMBER 27, 2019

THE HOYA

THEATER REVIEW

‘The Woman Who Turned into a Tree’ Offers Cautionary Tale SARAH KEISLER

Special to The Hoya

Daphne (Julia Kwamya) wants to be “a girl with class.” This mantra seems relatively harmless, but in “The Woman Who Turned Into a Tree,” her fascination with how she is perceived by others is nothing short of obsession. The story follows Daphne’s preoccupation to its extreme ends and delivers a suitable allegory for the evolving pervasiveness of maintaining one’s image, even if the performance itself has room to improve. Swedish playwright Lisa Langseth may be onto something when she creates the haunting world of “The Woman Who Turned Into a Tree” with a timely and pessimistic view of the modern world. The structure of the play follows the story of the water-nymph Daphne from Greek mythology, but substitutes the unwanted, ever-watching eye of Apollo with a different kind of overseer. This weekend, the Georgetown University Theater and Performance Studies program partnered with the Swedish Embassy to produce a reading of a new play titled “The Woman Who Turned Into a Tree.” The reading was one of four shows playing from Sept. 19 to 28 as a

part of the festival “Borders and Their Shadows,” a Georgetown event featuring new plays depicting the different kinds of borders present throughout life: countries, social class and states of being. This particular show was a dramatic reading: The actress sat on a stool, reading from the script and acting with her voice and physicality only. This simplicity did not mean the story did not evoke color and imagery. Daphne wore a twopiece cotton candy-colored suit to assist in initially developing her character, and the script’s rich writing attempted to transcend the bare set design with mixed success. Daphne is not your typical heroine. Far from an easy character to root for, her worldview is jaded, superficial and calculated; she looks at other people only as avenues for attention and status. She drones on incessantly about what she wears and how much it costs and the quality of the sofa she sits on. She reduces everything in her world to its cost and materials. Even when alone, Daphne must act and attempt to play the part of someone watchable and interesting. Her existence is interwoven with how she is seen, and this pressure gradually begins to weigh heavily on her soul.

The show depicts her journey hitting rock bottom, so desperate to convince herself of the status she so desires that she seduces a married man, buys thousands of dollars worth of designer clothes and then quits her job. The story reaches its climax as she becomes so overcome with loneliness that she materializes into the fir tree outside her window as she does in the Greek myth. The title of the show should have warned you. This fantastical outcome could have some sort of real-world meaning: Perhaps she took her own life, and the tree symbolizes her reaching peace in the afterlife. Maybe she imagined the tree in a moment of hysteria, the whole thing a fever dream after a night of trauma. However, one interpretation remains: Perhaps she really did turn into a tree. Choosing to be still, strong and content with herself could finally save Daphne from the suffocating gaze of society. Emulating the tall tree, if she is still, she can escape the burden of constantly being viewed. The cost, however, is disconnecting from the only world she’s ever known and living life in complete solitude. The story managed to pose introspective and thought-provoking questions. The execution and performance could

have used more time. Although it was a simple reading and should not be held to the standard of a full-blown play, the delivery of the lines was less polished, and more eye contact with the actress on stage would have fleshed out and humanized Daphne’s obsessive character. With such a simple setup, the eye starved while the mind feasted. It’s almost as though “The Woman Who Turned into a Tree” would have succeeded more as a podcast than a play in its current form. The writing was transportative and thought provoking, though the delivery needed some finishing touches. This lack of polish, however, did not overtake the experience entirely. The piece itself was a true work of art, commenting poignantly on modern life and our obsession as humans with how others perceive us. “Dare to be still and everything will turn out well,” the fir tree outside Daphne’s window called to her in a pivotal moment of distress. This show intended to disturb its audience, pointing out the grotesque way in which we measure our happiness through how we look. As such, Langseth’s message is unforgiving and harsh: Make an effort to look inward and be mindful against a watchful world, because a point of no return exists.

GEORGETOWN COLLEGE DEPARTMENT OF PERFORMING ARTS

“The Woman Who Turned into a Tree,” a play based on the Greek myth about Apollo and Daphne, is largely a success. Despite a handful of lackluster performances, the strong writing offers a poignant and reflective view of modern life, posing thought-provoking questions about self-obsession and happiness.

FRIDAY, SEPTEMBER 27, 2019

THE HOYA

RECORD REWIND

Muse Showcases Consistency Across Decades of Change Ellie Yang These days, the Internet has made it harder to stay relevant and shortened the lifespan of bands and artists unwilling to put in the necessary work; to constantly deliver content that pleases fans and sells out venues year after year proves to be an increasingly difficult task. However, Muse, an English trio from Teignmouth, England, seems to have found a way to do it since releasing their first album in 1999. When I went to their concert at Capital One ArenalastApril,Muse’simpeccableinstrument work and fabulous set production drew in a full stadium of people whose ages seemed to span many decades and generations. Despite a discography that began before the turn of the century, Muse has managed to progress sonically and keep their audiences listening with each consecutive release. By comparing their first album, “Showbiz,” with their latest release from last year, “Simulation Theory,” the reasons for their longevity and sustained relevance become

clear to me: their ever-evolving sound and their openness to emotional development. Released in September 1999, 20 years ago, “Showbiz” comes off as surprisingly mature work for a nascent band. One sign of their maturity can be seen in the similarity between their music and that of another English rock band, Radiohead, which already had three albums at the time. Because of this similarity, record labels in the U.K. were initially hesitant to sign Muse, but an American label fortunately gave the band a chance to prove their worth. “Showbiz” guarantees a rewarding listen, even today. On the album, Matt Bellamy demonstrates the astounding range that would eventually become emblematic of the band throughout their career. The band’s precise grip on rhythm, along with flourishing drum beats, guitar and bass guitar all paved the way for Muse to turn their debut album into a decadeslong career. The band used their instrumental ability, however, to tell cynical and dark stories without much emotional resolution. Collectively, the lyrics peel open some of the band’s wounds to show the depths of the pain they experienced without offering a way to mend the deep cuts. One of the last songs on the album “Sober” captures the band’s starting point. In it, Matt writes and sings about his love

for various whiskeys: Royal Canadian, Wild Turkey, Aberlour and Jameson. The burning sensations of taking a swig of a drink are the only reason he could “remain unfrozen.” Muse, in their earliest stages, embraced their self-destructive tendencies, which built up their authenticity but put limits on their emotional maturity. The overall mood of the album is quite somber and, frankly, almost hopeless. While the band found a home in the darkness, this only left room for its members to grow over the coming decades. Fast forward 19 years to the November 2018 release of their latest album, “Simulation Theory,” and Muse can now tout themselves as a veteran band that has experimented with many stylistic variations. From featuring more falsetto singing to embracing classical influences to playing church organs, the band toys with many of their various techniques picked up over the years to finally suggest a resolution to the pain of the world. The album has a neon-colored theme that draws upon the imagery of the 1980s, and songs in the album portray a bleak world that pushes people to the edges, causes war and cages people in despair. Although these descriptions of a dark environment sound like more of the same from the angsty rock band, their lyrics pivot

to shift the blame. If “Showbiz” implies that pains come from within an individual, “Simulation Theory” argues that the fault is not in ourselves, but in the world itself. What we can do, Muse posits, with love in our hearts. The band’s newfound positivity does not so much mean that its members no longer experience hardship, but rather that they have grown out of their melancholy apathy toward trying to fix the difficulties they face. For instance, bassist Chris Wolstenholme went to rehab in 2009 for his alcoholism and it was his bandmates who forced him to do it. This work isa refreshing change that humanizes the band’s music. Taken with their discography as a whole, “Simulation Theory” reflects the ability of Muse to not only switch up their sound for new swaths of listeners, but also to grow emotionally alongside their long-term fans. The band has come a long way over the past two decades, and I for one am excited to see how they continue to keep things fresh and genuine. Luckily for Muse, their changing sound and style have only pushed them forward and guaranteed their success within each passing year. Ellie Yang is a junior in the College. RECORD REWIND appears in print every other Friday.

BECOMING U

Accepting Yourself Within Club Culture Nicole Marion The mid-September rejection season is officially upon us. The magical sense of wonder from arriving on the Hilltop has begun to fade as the stress has started to settle in. Finding your community at college is stressful enough, but at Georgetown especially, it can be a little terrifying. Rejections from clubs that do much of their recruiting at the beginning of the semester riddled the first month of my college experience and forced me to consider who I wanted to be in this new chapter of my life. Competitive applicant pools for clubs made for an intimidating mix of anxiety and anticipation. Craving belonging among my peers and communities came as human nature to me, but sometimes this desire led only to further isolation by comparing my very few acceptance emails to the lucky few

freshman around me who managed to be a good fit for each club I had also applied to. With an aggressively prominent competitive club culture, my determination to belong quickly turned into a persistent pressure to fit in with any club, regardless of whether I actually felt like it would be a good fit. I applied to many in hopes of finding one that would take me, but found it hard to convince any of them that I would make a good addition to their rosters. As it turns out, though, many prominent clubs are truly just hard to get into. Although some of the biggest clubs like the Georgetown University Alumni and Student Federal Credit Union and the Blue and Gray Tour Guide Society have stopped releasing their acceptance rates, the last known numbers show the clubs didn’t even accept over 15% of applicants. Rejection brought out my deepest insecurities and incentivized me to do anything to fit in. After I spent a year getting rejected from various universities only to arrive at Georgetown and get rejected from club after club, I couldn’t help but assume that I would never be good enough for many of the communities I saw forming around me in the clubs I couldn’t get into. This fundamental

shift in my perception had one of the greatest impacts on my freshman year, clouding every moment under a veil of uncertainty. Frustrated with trying to seamlessly integrate myself with a group of people to accept me, I tried to mimic the professionalism and decorum that each club seemed to value so much. The combination of first-year jitters and aggressive club culture caused me to fall into this trap of losing who I really was by trying to fit into a particular and unattainable ideal of having it all together. Looking back on this experience, it finally clicked. Even if I were perfect in every way, a selection committee could still reject me simply because they do not know me and they only had so many spots. As I have learned since coming to Georgetown, accepting myself before trying to impress others can help me find communities that fit who I am rather than the other way around. Accepting those feelings of insecurity and discomfort and realizing that finding your spot on campus may not be as easy as you expected can aid in the process of finding the genuine connections that everyone hopes to achieve. The more vulnerability I shared to the people around me, the more quickly I discovered that

a lot of people felt the same way I did. From there, we could establish a bond that meant more than just a shared extracurricular. Even with this knowledge, powering through hardship is one of the surest ways to learn from these difficult experiences. The key is to recognize that getting rejected from whatever it may be — clubs, schools or even relationships — doesn’t mean that you won’t ever be accepted. Hold on to the things that make you who you are because I’ve found it’s better to be rejected as myself than it is to be accepted as someone else; keeping that charade up is exhausting and the perfect recipe for burnout. Instead of taking rejection as defeat, accept rejection as something inevitable and outside your control. For me, I now try to avoid internalizing rejection and focus on what I can learn about myself from each attempt to become part of a community, regardless of the outcome. It’ll make it much easier to put yourself out there again, which will pay off at some point, even if it’s not the first or second time. Nicole Marion is a sophomore in the College. BECOMING U appears in print every other Friday.

FRIDAY, SEPTEMBER 27, 2019

THE HOYA

CONCERT REVIEW

JULIA GIGANTE FOR THE HOYA

Rising indie duo joan impressed its D.C. audience at U Street Music Hall this weekend. joan’s concert exhibited both the musical expertise of main vocalist Alan Thomas and the electric synergy shared between himself and drummer Steven Rutherford. The newly formed pair brought fluidity and ease to its performance.

joan Amazes With Chemistry-Filled Concert NOELLE WHITMAN Hoya Staff Writer

Muted blue light cast down on the crestfallen face of Alan Thomas, the guitarist and main vocalist of the rising indie duo joan. As the eclectic sound of joan’s synth-pop music began to fill the space of U Street Music Hall, they showcase their unparalleled bond with each other and ability to form a meaningful connection with the audience. As Thomas finally gazed upward into the anticipating crowd, he murmured the first lyrics to the track “drive all night.” Energy rippled through the crowd as the song progressed from smooth new wave vocals to an energized interplay of drums and guitar at the song’s climax, demonstrating the group’s technical ability. This first song concluded with Thomas serenading the audience with “I wanna be alone with you / Follow the moonlight” while the tinged blue light replicated the luminance of the moon, cultivating a feeling of wistful, late-night dreaming. joan, an up-and-coming alt-pop duo from Little Rock, Ark., served as the opener to the better-known indie band flor as they aim to establish themselves in the indie-pop landscape. This rising duo, Alan Thomas and Steven Rutherford, formed

only two years ago with the release of their single “take me on.” Several singles and one debut EP later, joan’s growing presence in the music scene harkens to the sound like that of LANY and The 1975. joan followed their first song with “tokyo,” which also incorporated 80s-inspired synth beats and the gentle vocals of Thomas. Building off of the growing energy from the audience, joan dove into “stop and stare.” The introduction of redtoned lighting emulated the intensifying energy of both joan’s sound and their connection with the audience. During this song, Thomas performed his first guitar solo of the night, approaching the crowd and touting the black bandana decorating his electric guitar. This solo broke away from his previously more reserved, composed persona, bringing a sense of mischief and vivacity to his performance. The song “all the way” transformed the show, offering a high-energy change of pace, as Rutherford’s beats matched Thomas’ more animated persona. Green and pink tones fused together as the lights flashed, and the crowd erupted when Thomas gave a grin in the final chorus of the song. After this, joan transitioned into a new sound, diverging from their new wave in-

spiration to embrace a more current, alternative take on the genre. Rather than gentle, fluid synth beats, joan brought a more jagged sound with interrupting cowbells and more accentuated drums to the stage. The change illustrated the broader range of joan and teased out what new sounds may come with the debut of future songs. The group also showcased unreleased music during their concert with “lose your mind.” Thomas displayed his musical prowess while shifting from guitar to piano during the duration of the song. The final chorus included a guitar solo accompanied by Rutherford’s drums, giving the audience a chance to see the synergy between Thomas and Rutherford onstage as instrumentalists. Both musicians played with a shared intensity, creating a bond that supported the lively and jovial performance. After the crowd’s applause subsided, joan wrapped up their concert with a slower, more intimate sound. The first ballad of the night, “i loved you first,” brought the audience into a gentle sway as the pure vocals of Thomas echoed through the concert space. The classic narrative of lost love took on deeper meaning as the open space was enveloped in a sea of blue lighting, reminiscent

of the first song of the night’s ambiance. Thomas’ melancholic lyrics, backed by a subdued backing beat and pensive tone, offered a sense of shared somberness and represented the most reflective point of the set. With the conclusion of the serenade, joan expressed their thanks to the audience. The anticipation for their final song grew as Thomas and Rutherford shared one last glance before the beginning notes of “take me on” began. The stage lit up with kaleidoscope designs, incorporating the hues of each of the previous light designs and illuminating both the stage and the music with a vibrant tone. Thomas performed his last guitar solo to a roaring crowd with an exuberance marking the musician’s final act. Finishing with the group’s debut hit, joan paid tribute to their successful start and offered hope toward their promising future. The Little Rock duo amazed in their performance this weekend at U Street Music Hall, demonstrating both their musical talent and ability to connect with audience members. Their music, drawing on new wave as well as original sounds brought alive by the duo’s infectious chemistry, proves a meaningful addition to the ever-growing genre of indie pop.

FRIDAY, SEPTEMBER 27, 2019

THE HOYA

What To Do in DC

MUSIC

New Releases

MICHELLE BROWN Hoya Staff Writer

ZAIN SANDHU Hoya Staff Writer

‘CATS’ AT THE KENNEDY CENTER

The renowned Andrew Lloyd Webber production is showing at the Kennedy Center until Sunday, Oct. 6. “Cats,” which originated in the West End 38 years ago, tells the story of a tribe of anthropomorphic cats and remains one of the most iconic musicals of all time. Though the score remains the same, the Kennedy Center production will include new scene and costume design, lighting and choreography, putting a new spin on an old classic.

DABABY

MAROON 5

MAROON 5 ‘MEMORIES’

DABABY ‘INTRO’

American pop band Maroon 5 is back with their first single since May 2018. “Memories” is a rather bizarre interpolation of the classical piece “Canon in D Major,” composed by Johann Pachelbel. Unfortunately, the track is as lyrically and sonically shallow as its rollout campaign, which involved partnering with Apple to add the song to a feature of the iPhoto app.

“INTRO” is Charlotte rapper DaBaby’s lead single for his forthcoming album “KIRK” and it is a remarkably refreshing change of pace. Gone is the artist’s signature aggressive flow, punchy lyrics and hooks. On this track, DaBaby opts for a more introspective approach, reflecting on his rise to fame and his relationship with his daughter and father.

FREE NATIONALS, JID, KADHJA BONET, MIKNNA

LIAM PAYNE FT. A BOOGIE WIT DA HOODIE ‘STACK IT UP’

FREE NATIONALS FT. JID, KADHJA BONET, MIKNNA ‘ON SIGHT’

Former One Direction member Liam Payne has also returned with a new single “Stack It Up,” this time teaming up with rapper A Boogie Wit da Hoodie to deliver a crisp and catchy pop song. The track features a bouncy beat and solid vocal performances from both artists, and although it’s not particularly original as far as pop songs go, it’s likely to become a hit.

The Free Nationals, most commonly known for their work accompanying rapper Anderson .Paak’s on his albums and during live performances, recently released their single “On Sight,” featuring a suite of talented vocalists. The spacey, funk-inspired track is enthralling and makes room for its three featured artists with ease. A new Free Nationals album has yet to be confirmed, but this track leaves fans with a lot to be excited about.

TURKISH FESTIVAL

Sunday, Sep. 29, at the Freedom Plaza is D.C.’s celebration of Turkish Heritage Month. Turkish food, music, folk dancing, arts and crafts and other forms of entertainment comprise this vibrant cultural event. This year’s theme is Antioch: Mosaic of Cultures, Land of Tolerance, so attendees can expect an abundance of Antiochinfluenced cuisine, which is known for its spiciness and richness.

LIAM PAYNE

THE KENNEDY CENTER

TURKISH FESTIVAL

GEORGETOWN OKTOBERFEST

Georgetown’s rendition of the famous German beer extravaganza kicks off Wednesday, Oct. 2, and continues every Wednesday through October. Hosted by the Fairmont Washington Hotel, this local Oktoberfest features a German biergarten and a grilling team preparing German and Bavarian sausages, potato salad and pretzel bread. Early attendees will also be served traditional gingerbread cookie necklaces, rounding out this festive and culturally adapted experience.

PARTY EARTH

SMITHSONIAN ‘CRAFT2WEAR’ SHOW

Those looking to add unique and artistic pieces to their jewelry box or closet may visit the National Building Museum from Thursday, Oct. 3, to Saturday, Oct. 5, to peruse the Smithsonian’s sale of “wearable art,” which includes clothing, jewelry and accessories. All the pieces for sale are created by designers whose bodies of work range stylistically from fresh and explorative to classic and elegant.

SMITHSONIAN INSTITUTE

FRIDAY, SEPTEMBER 27, 2019

CONCERT REVIEW

THE HOYA

ART REVIEW

Pond Mesmerizes With Theatrical Dreamscape

NATIONAL PORTRAIT GALLERY

At the National Portrait Gallery’s “In Mid-Sentence” exhibit, iconic moments of U.S. history are retold in haunting, evocative photographs that highlight the power of speech. The historic impact of these watershed moments is commemorated by photos that contextualize and revisit some of the most significant orations in U.S. history.

‘In Mid-Sentence’ Captures Power in Iconic Speeches ANNAH OTIS

Hoya Staff Writer

A series of black and white photographs capturing some of the nation’s most pivotal historical moments have been congregated in one exhibit of the National Portrait Gallery. “In MidSentence” cleverly explores how words shape a nation’s political, racial and cultural climate by displaying photos that capture political icons and important thinkers in the physical act of speaking. The Portrait Gallery is best known for housing paintings of each U.S. president, and while “In Mid-Sentence” does feature several presidents in its catalog, other subjects including activists and community leaders demonstrate how photographs of people can illuminate a tale of the country’s history and culture. Though the exhibit space is barely more than a long closet with vaulted ceilings, the well-chosen photographs distract from any sense of claustrophobia. Each image is accompanied by an informative placard detailing the context in which it was taken, along with information on the subject. The deep blue walls are dominated by famous, powerful American icons such as Angela Davis and Lyndon B. Johnson whose parted lips are caught in the middle of

giving culture-changing speeches. More often than not, their words were caught by photojournalists or members of the press rather than professional artists. The emphasis therefore falls more on each photo’s historical significance rather than artistic prowess. Even so, these photographs are anything but unprofessional and showcase the highlights of photojournalism during the tumultuous years of the second half of the 20th century. Sharp lines and stark contrasts in lighting dominate the scenes, and the lack of color in each photo only makes these features more prominent. The few shaky images seem intentionally out of focus, as if the photographer intended to encapsulate dualities; it is an exhibit highlighting photojournalism, but the best photos manage to blur the line between art and history through their composition, framing and impeccable timing. One example of historical moments being rendered artfully in the exhibit is Garry Winogrand’s image of President John F. Kennedy during his acceptance of the Democratic Party’s presidential nomination in 1960. Harsh spotlights diffuse the atmosphere, giving the entire image a sense of surrealism. Light bounces off Kennedy’s face to create an ethereal halo, alluding to his status as

an American icon at the time of nomination and his further beatification that would occur after his assassination. Rather than seeing Kennedy head-on, the viewer gazes simultaneously at the candidate’s back in real life and at his face broadcast on a small television. The effect suggests looking towards the future and the past, both of which Kennedy spoke to during his acceptance speech. This photograph, like many of its neighbors, merits appreciation for both its aesthetic value and its historicity. The Kennedy print stands alone at one end of the gallery, but the other photos fit under one of four categories: “Public/ Private,” “Just Between Us,” “Teaching and Learning” and “In the Public Eye.” Such groupings can serve as helpful framing devices, but, in this case, there is too much overlap to make them effective. For example, “Private” or “Just Between Us” classifications are undermined by the photographer’s invisible presence. An image of Martin Luther King Jr. taken by Robert Adelman on the steps of the Lincoln Memorial during his “I Have a Dream” speech is technically categorized as “In the Public Eye.” Yet the moment could easily be classified as a teaching moment for America in which formerly private conversations on integration and civil rights became

public on some of the most symbolically hallowed steps in the country. King’s stance and posture in the center of the photograph along with his outstretched arm direct each viewer’s eye towards him; his open mouth suggests his passionate voice, even within the paradoxical bounds of a still photograph. The exhibit’s titles attempt to frame the photographs in a helpful manner, but they could just as easily and more effectively be taken together in a holistic view of an America in flux. Despite these unclear categories, the small exhibit is gratifyingly manageable; strolling through the exhibit leaves enough impact to be memorable but does not inundate you with artifacts so as to become overwhelming on a casual visit. Visitors will be treated to up-close encounters with some of the United States’ most iconic photographs that have defined the 20th century and the broadening of the public sphere that came with it. “In Mid-Sentence,” on view until March 8, 2020, is a captivating testament to the power of public and private speech in U. S. history. Its high-quality images have clearly been chosen with care, and even though the exhibit is small, each photo echoes the powerful words that its subjects once boomed into microphones or whispered to the person next to them.

B10

FRIDAY, SEPTEMBER 27, 2019

THE HOYA

MUSIC REVIEW

Zac Brown Band Reimagines Country for the Modern Age

‘THE OWL’

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ZAC BROWN BAND HARRISON HUNT Special to The Hoya

Zac Brown Band, famous for the feelgood country song “Chicken Fried,” makes a bold departure from the status quo of the country genre on their latest release, “The Owl.” The album mixes R&B, EDM, rap and country music and represents a huge step outside the band’s comfort zone and former discography, with positive results. The album combines Zac Brown Band’s classic country sound with a more heavily altered electronic production. From the drums to the guitars, each instrument gets modernized on the tracks, leaving behind the band’s toned-down acoustics. Needless to say, the album is not country by the strictest definition of the genre. Despite not adhering to the usual tropes of most country albums, the record entices a broad swath of listeners by forging a new, more daring path that keeps country music relevant and proves the musical dexterity of the group. Zac Brown Band pushes the boundar-

ies of their genre with “The Owl,” offering exciting, original content that is at times creative and daring, and at others, alienating for longtime listeners and passionate country fans. This album breaks the predefined but unwritten barriers of country with every single song. Each melody and mood conveyed is completely distinct and wide-ranging from one song to the next; there might just be a song for everyone on “The Owl.” “God Given,” in a contentious move, brings hip-hop inspired lyrics such as “Gucci bag / Stacks on stacks / Diamonds fill up the champagne glass” together with country guitar licks, offering an interesting departure from the sometimes repetitive classic country sound. The chorus, however, retains the essence of country, professing love for a woman, by declaring “You have class that they just can’t buy / ’Cause damn, girl, what you got is God given.” Still, the album at other times reflects what fans of Zac Brown Band have known and loved about the band. “Warrior,” an ode to the armed forces, draws upon the band’s more traditional

sounds and themes. The band clearly has not completely abandoned their characteristic southern rock roots, with lyrics that build off of the patriotic themes that inundate country music, like “He will miss the quiet pride of his men at his side as he leads them into victory.” The album follows the lead of many other prominent country bands by teaming up with producers and artists whose track histories are distinctly not country. It brings to mind other collaborations such as The Chainsmokers’ 2017 release “Last Day Alive,” which featured country band Florida Georgia Line. Likewise, Zac Brown Band chose to collaborate with pop stars Shawn Mendes and Brandi Carlile and superstar songwriter Max Martin, representing a significant change of pace for their new album. The progression tapped into by the Zac Brown Band reflects a wider trend occurring in country music, in which genre gatekeepers resist the inevitability of new, groundbreaking artists. For example, Lil Nas X’s “Old Town Road” was removed by Billboard after

it topped its Hot Country chart, only to achieve worldwide success and acclaim. Based on the recent popularity of Lil Nas X and his many “Old Town Road” remixes, though, it seems that Zac Brown Band’s shift to appeal to this newer country sound is a wise decision. Zac Brown Band has indeed changed their sound and approach, and they have also chipped away at the barrier that determines what defines country music. However, the band has not embraced the change wholeheartedly, opting instead for an album that lies somewhere between the old world of classic country and the current, changing landscape of both the genre and the music industry as a whole. The times are changing, sure, but based on Zac Brown Band’s release, it is a change worth celebrating. Country music could afford to incorporate electrifying jazzy riffs and stadium-filling bass drops, especially when paired with Zac Brown’s deep, charming voice. Genres are constantly evolving, and Zac Brown Band helps lead the way with “The Owl.”

@ZACBROWNBAND/INSTAGRAM

Zac Brown Band’s latest album forges the sound of modern country with star-studded collaborations in a welcome breath of fresh air for the genre. By merging electronic production and hip-hop inspired lyrics with the traditional sounds and tropes of country music, the group pushes the boundaries of the genre into the future with great results.

FRIDAY, SEPTEMBER 27, 2019

CONCERT REVIEW

THE HOYA

B11

MOVIE REVIEW

Pond Mesmerizes With Theatrical Dreamscape

ELECTRIC PANDA ENTERTAINMENT

Director Justin Chon brings the Korean American experience of coping with the love of family to the silver screen. Powered by a touching and powerful performance by lead actress Tiffany Chu, the film offers ruminations on the idea of care for family in an increasingly modernizing age and grapples with possible solutions to this pressing problem.

‘Ms. Purple’ Spotlights Themes of Love and Family Directed by: Justin Chon Starring: Tiffany Chu, Teddy Lee, Octavio Pizano JAMES KIM

Hoya Staff Writer

Complex and moving ruminations on the meaning of family along with impressive acting by Tiffany Chu make “Ms. Purple” a touching and heartwrenching gem. However, the movie still fails its standout performances with a somewhat rushed and incoherent beginning. Justin Chon, actor of “Twilight” fame, further proves himself as a directorial talent to look out for. His first film, 2017’s “Gook” managed to secure critical acclaim for a debut and detailed an unlikely partnership between Korean and African Americans in Los Angeles during the Rodney King riots. The film introduces Kasie (Chu), a young Korean American woman living in Los Angeles’ Koreatown who must take care of her ill father. Kasie knows her father is about to die but refuses to put him into hospice. Instead, she works as a karaoke hostess, barely making a living for herself and her dying dad. When her estranged brother Carey (Teddy Lee) shows up to help her take

care of their father, Kasie must make a choice for both herself and their father. The desire to take care of family and the limits on this love provide the driving themes throughout the film. The two siblings present opposite responses to familial trauma and this contrast gives the film its structure. While Kasie gives up her dream of becoming a pianist and spends her life taking any job she can to care for her father, Carey’s absence for much of this time presents an effective foil to her devotion. However, Kasie’s unceasing love does not make for a morally didactic movie that falls over itself to praise her selflessness. Carey’s presence helps Kasie reimagine what familial love can look like by pushing against the draining way in which she has loved her father. The film then remains in a thematic gray area that avoids any overarching generalizations, making for a film that is less immediately satisfying but allows viewers to grapple with these questions of obligation and commitment on their own. Even though the film poses strong questions, the premise in which Kasie

and Carey’s current state of affairs comes about remains unclear. This framing ends up making the details of the siblings’ situation confusing and vague, limiting the power of their emotional responses. For instance, Kasie and Carey’s parents are divorced, and their mother has already disappeared by the time the film begins. There are hints that the divorce and the relationship between the siblings’ parents were toxic and traumatic, but the motives of Kasie’s ardent caretaking of her father and Carey’s estrangement from the family are left unsatisfyingly hazy. The film manages to offer a candid look at various responses to familial trauma, but its lack of specificity leaves these reactions floating without any solid plot foundation. Almost in spite of the backstory that begs to be expanded on, Chu’s acting commands each scene through its sheer control and range of emotions. The film is not filled with dialogue, but what Chu does not explicitly say is portrayed through her facial expressions. Kasie’s often feeble and defeated ex-

 pression speaks to the hardships she has had to endure, even though the film leaves everything she has had to face largely unspoken. Similarly, each furtive moment of joy she experiences with Carey or her friend Octavio (Octavio Pizano) is perfectly captured by Chu’s face. In these moments, she manages to let go of the tension that her face usually carries throughout the film. The notion of having only a few lines of conversation at first appears to drag the film down and leave it without substance. However, this lack of dialogue allows for stellar acting performances like Chu’s that breathe life into the movie and outweigh any weaknesses in the film’s sparse plot. At its core, “Ms. Purple” is an artistic, soft-spoken family drama that centers on the difficult decisions that nearly all families must make when loved ones near the end of their lives. The film does not try and claim that there is any right answer to these painful moments. Instead, it examines some of the potential solutions to such impossible problems in minute detail despite its shaky premise.

ILLUSTRATION BY: SAMUEL NELSON/THE HOYA