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F RI DAY, OC T O B ER 4, 2019

ILLUSTRATION BY: SAMUEL NELSON/THE HOYA

FRIDAY, OCTOBER 4, 2019

THE HOYA

Photographers Forge Global Careers, Redefine Art HALEY RESNICK AND MOLLY ZHOU Specials to The Hoya

From the restaurants of Washington, D.C., to the ongoing protests in Hong Kong, Georgetown University photographers are able to use their lenses to contribute to the narratives guiding how the public sees major global events. In an increasingly digitized visual world, photographers continue to break boundaries and reshape how we see the world. For students and alumni alike, photography is not only an expressive outlet for people to explore their inner emotions, but also a powerful vehicle for documenting and publicizing vital societal issues.

LOOKING THROUGH THE LENS

Before taking a monumental photograph that changes the world, though, photographers have to start by learning the techniques of their craft. On campus, this learning process can be self-taught or learned largely through the photogra-

phy classes offered on campus. Some student photographers, like Francis Shad (COL ’21), practice photography independently, supplementing their learning through their own efforts and honing their craft, according to Shad, who shares his work on his website. “I did take one class at Georgetown my freshman year that taught me a lot about lighting,” Shad said. “For the most part, it’s just self-taught.” Everyday opportunities get certain photographers invested in the art form and then lead them to take the first steps to make their craft their own, according to Shad. “I’ve always been interested in taking pictures at family functions. When I was younger, my dad had a digital camera and I would always use his camera,” Shad said. “When I got in high school, I finally worked a summer job and saved up to buy my own camera.” The places and people most familiar to the photographer can be the best starting points for diving into the art form,

according to Shad. “Definitely take pictures of your friends — start off doing that,” Shad said. “Try to have themes with your projects and look at your life around you, based on things that you are inspired by.” But photography still requires a sustainable passion to make it meaningful, according to Shad. “Don’t start doing photography because everyone else is — make sure you’re truly passionate about it,” Shad said. “Every moment and every picture has a story and a specific distinct emotion and memory to it.” Sometimes forgoing professional training can actually make for better, more adventurous photographers, according to professor Bruce McKaig of the department of art and art history, who teaches the introductory photography class. “Naivety can be a tool, right? A little bit of information might be sufficient to box you in. You’ve been shown how it’s supposed to be so you try hard to make it be that,” McKaig said. “When

@DCFOODPORN/INSTAGRAM

Alumni like Justin Schuble (MSB ’17) have managed to reach massive online audiences, proving the power of social media in boosting a photographer’s influence. With the rise of these networking platforms, a photographer’s potential reach has increased.

you haven’t even been shown that, you might just stumble forward.” Starting off as a self-taught photographer, however, does not prevent photographers from turning their creative hobby into a self-sustaining career. This form of art allows photographers like Shad to combine their artistic talent and creativity with the needs of their clients, according to Shad. “I get a lot of models who want to begin their portfolios, a lot of clients who want me to shoot events and a lot of clients who want me to do headshots,” Shad said. “That’s more my creativity and their vision with me bringing their vision to life.”

A CAREER WITH A CAMERA

Outside the classroom and off campus, Georgetown student photographers and alumni can be found across the world in a wide range of professional fields. Some alumni, such as Justin Schuble (MSB ’17), have taken their photography talent to social media and advertising with incredible success, according to professor Kelly Carr of the department of art and art history, who teaches photography at Georgetown. Schuble’s Instagram now boasts over 500,000 followers and documents his travels through close-up photos of decadent food, a trend often called “food porn.” “[Schuble] was huge with food on Instagram. He had 85,000 followers, and he didn’t understand why he was taking these photographs and why they were coming out so good,” Carr said. “We broke it down into design and composition, and we also talked about lighting. Now he’s way up there, and Burger King is doing an advertisement with him; he’s doing ‘dcfoodporn’ and he travels to all different countries.” But, across the world, Georgetown photographers have been able to do much more than document the restaurants of D.C. For some photographers, their work takes them to dangerous places, and they put their lives on the line to share images that humanize and document world events. Austin Tice (SFS ’02), a United States Marine Corps veteran, was working as a freelance photojournalist for outlets such as CBS News and Al Jazeera English reporting on the civil war in Syria when he was abducted in 2012; Tice has not yet returned home, and his disappearance had led to a sustained advocacy campaign to find him. Tice briefly audited one of Carr’s spring semester photography classes before he began his work in the Middle East, according to Carr. Tice’s work allowed him to capture intimate portraits of the community he reported on. Tice’s images allowed an authentic connection with his subjects, according to Carr. “A lot of his subjects were kids, and they really liked him. They really identified with him, or he was empowering them,” Carr said. “They might have had

FRIDAY, OCTOBER 4, 2019

THE HOYA

a big scar down their belly, and he’s making them feel [courageous] and strong and instead of being scared” Today, Georgetown photographers like Aidan Marzo (MSB ’19) continue to pursue careers documenting some of the most pressing political moments of the present day, like the ongoing protests in Hong Kong, according to Carr. Marzo is a freelance journalist documenting the current democracy protests in Hong Kong that started in response to an extradition bill proposed by the mainland Chinese government. Marzo shares his work on his website. “I have another student right now who’s in Hong Kong, and he’s in the thick of it,” Carr said. “He’s focusing on the tension and stress [of the protests], and he wants to make a difference.” Photography can be a particularly effective tool for amplifying important causes and underrepresented voices, as Shad did with his first film “flowerboy,” a project that started as a photo series and Shad eventually turned into a short visual. “That project kickstarted me doing photography at Georgetown specifical ly,” Shad said. “It was a project deconstructing black masculinity, and a lot of my projects surrounded queer identity and black masculinity, those sort of themes.”

A MEDIUM IN FLUX

Photography, like other forms of media and art, can shape the narratives surrounding and influence how the public views an issue. This influence is not just limited to the art world — the impact of a photograph’s interpretation has real consequences and import in all sorts of fields, including the legal and highly visual world of forensics, according to McKaig. “Not understanding photography is the contemporary form of illiteracy. Our information world is visual, not text anymore,” McKaig said. “Forensics is one of the disciplines in photography, and in trial cases the defense attorney shows the jury a photograph and says this proves he’s innocent. The prosecutor then shows the same exact photograph and says this proves he’s guilty.” However, photography’s strong potential influence makes it important for society to have the tools to interpret images, according to McKaig. So, if you’re not visually literate, you’re subject to whose story you believe. If you can’t read photography, you have to rely on the stories they’re telling, and they have an agenda,” McKaig said. Photography is coming to be considered as fine art on campus and in the broader art world. A semesterly community photography project that McKaig runs as part of his photography class is one of the ways he gets people involved in photography. One of the projects was in Midnight Mug, one of the storefronts of Students of Georgetown, Inc., commonly referred to as The Corp, and featured a large, interactive and accessible way for any of the service’s patrons to have a hand in creating a community art project, ac-

@AIDANMARZOFFICIAL/INSTAGRAM

Some Georgetown photographers, like Aidan Marzo (MSB ’19), have gone to the front lines to document monumental political events as they happen around the globe. Not just an artistic endeavor, photography showcases important stories. cording to McKaig. “A few semesters ago, in the Midnight Mug in the library, we installed a muralsized piece of darkroom photo paper. There are recipes where you don’t have to use toxic darkroom chemicals; the developer of the photo was coffee, so the coffee shop was the perfect place for it,” McKaig said. “The cave art references — just these handprints — was what we invited the public to do for two weeks: Just spray this stuff on your hand and leave a handprint on this piece of paper.” Advances in technology have helped gain more support for photography as a fine art medium, according to Carr. “When I first went to school it was separate, but now it’s becoming much more of a fine art, especially when digital cameras first came out,” Carr said. “Instagram has also shot it through the roof, so, yeah, I’m excited for the field itself.” Even with the powerful societal potential of photography, though, the path forward lies in its full acceptance as fine art, according to Carr. “Originally, all the painters were like, ‘Oh, you didn’t put any effort into it,’” Carr said. “Now, I’m excited with the whole idea of conceptualism in photography, and developing a whole storyline and meaning. It’s just beautiful.”

@FRANCISSHADD/INSTAGRAM

Photography is also a growing form of fine art. For photographers like Francis Shad (COL ’21), photography provides an avenue to highlight topics important to them.

THE HOYA

CONCERT REVIEW

FRIDAY, OCTOBER 4, 2019

MOVIE REVIEW

Pond Mesmerizes With Theatrical Dreamscape

BRON STUDIOS

Joaquin Phoenix’s brilliant performance carries the latest iteration of “Joker.” Offering poignant social commentary on the role and the oppression of people with mental illness in society, Todd Phillips’ adaptation of the character serves to highlight his internal emotion, from the humorous to the wretched to the chaotic.

‘Joker’ Paints Stunning Photo of the Iconic Villain Directed by: Todd Phillips Starring: Joaquin Phoenix, Robert De Niro, Zazie Beetz HARRISON HUNT Special to The Hoya

Powered by a standout performance from Joaquin Phoenix as well as pointed social commentary, Todd Phillips’ “Joker” offers a chilling portrait of the mind of the unstable clown prince. Set in 1981 Gotham City, a fictionalized New York City and Chicago, the film tells the story of Arthur Fleck (Phoenix), a mentally ill, impoverished stand-up comedian who works at a clown-for-hire company. Fleck finds himself repeatedly battered physically and mentally by a society that has deemed him an outcast, unfit to rise in any social category and ultimately doomed to keep failing. His ostracization stems largely from his mental illness, which causes him to laugh or cry uncontrollably whenever the intensity of any situation rises, a condition known as pathological laughter and crying. Fleck’s therapist tells him that Gotham has stopped funding the program that gives him the treatment

and medicine that allow him to be a functioning member of society. After many unfortunate events, Fleck gives in to his inner demons, describing his descent into the eponymous character of the Joker with a poetic phrase. While smoking a cigarette, he declares, “I used to think my life was a tragedy, but now I realize, it’s a comedy.” Inciting strong responses, this film offers viewers an eye into a neglected portion of society. All the humor in the film is dark and disorderly, and no sense of relief is offered from the misery the character seems to endure. The only way for Fleck to cure himself is to inflict the total chaos that rains upon Gotham after he becomes his final and true form: the Joker. The movie can be seen as humorous commentary on someone who would be invisible to society, so disregarded that no average citizen would ever associate with them. It is dedicated to the idea of the nobody, a person in a society that is already assigned a fate by eyes that over-

look them, and how this nobody flips the script simply by declaring that “enough is enough.” The message in the film is as important as it is dangerous. It makes the audience uncomfortable, as it challenges the social archetypes that distance viewers from the protagonist. The movie counters the human condition of labeling the strange as evil without truly contemplating on how society transformed the otherwise normal. However, “Joker” is, in the most literal sense, art. Phoenix’s performance is brilliant and enveloping, as he welcomes the viewer into the center of the Joker’s madness and offers a plausible justification for his heinous actions. While the performance is not as dynamic or powerful as Heath Ledger’s in “The Dark Knight”, Phoenix’s performance still offers an engrossing view into the mind of the villain. The grim visuals and uninviting set design only enhance the mental state of the character and create an inescapable void from societal repression. The movie’s en-

 vironment and visuals seem deliberately designed to cultivate this image and create a sense of restriction and containment within this world. While the film offers no clear standout message, it can be seen as a tale of caution, alluding to the formation of someone like the Joker if society remains ignorant and how many people exist in a society that can explode at any given moment. Gotham City makes it impossible for Fleck to be happy and leaves him seeking complete and utter disarray as a means to crumble the foundations of a society that never allowed him a chance for a better life. The film does a wonderful job of portraying this disorder and illuminates many of the problems the mentally ill may face within society. “Joker” paints a moving portrait of the madness and motivation within the iconic comic book villain that will leave viewers questioning their place within their societal framework and hoping for a more secure future.

FRIDAY, OCTOBER 4, 2019

THE HOYA

ALBUM REVIEW

Tove Lo Makes Brighter, Lighter Music on ‘Sunshine Kitty’ ‘SUNSHINE KITTY’

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TOVE LO MEGAN WEE

Hoya Staff Writer

Swedish popstar Tove Lo returns from her two-year hiatus with her newest album “Sunshine Kitty.” The singer takes a new, happier direction on this LP and distances herself from the somberness and pain of the records that blasted her to fame. To this day, she is perhaps still best known for her 2014 breakout song “Habits (Stay High).” The reason for the song’s mass appeal back then was her ability to capture the raw pain of heartbreak, expressed against the backdrop of a perfectly melancholic electropop song that would be overplayed in clubs everywhere. “Habits” still elicited positive feelings after leaving the club itself, as its message transcends the fun-loving environment. The track’s ideas of pain, excess and loss were relatable, and it felt good to hear them in a brash, unapologetic pop hit. Since then, Tove Lo has cultivated her pop stardom, releasing two more albums with even more smash hits like “Cool Girl” and “disco tits,” and collaborated with Australian DJ Flume on the uber popular “Say It” before taking a two-year

hiatus. “Sunshine Kitty” sees Tove Lo taking a step back from the state of mind she exhibited on “Habits,” pivoting to a new perspective: She is now in a happier place, and decidedly not bingeing on twinkies from “Habits.” After years of bad relationships, drugs and vices that inspired songs like “Queen of The Clouds,” “Lady Wood” and “BLUE LIPS,” Tove Lo moved to Los Angeles and left her troubled state of mind behind in Sweden for a new beginning in the United States. Her newfound happiness manifests itself in the opening track “Glad He’s Gone,” which was released as the album’s lead single earlier this year. With its catchy melody and chorus, the track is an absolute earworm. It sweetly blends acoustic guitar and Tove Lo’s prototypical electropop beats. Above all, it is a healthy affirmation of girl power — her friend has gotten rid of a toxic ex-boyfriend’s presence in her life and she is much better for it. In a lot of ways, “Sunshine Kitty” is reminiscent of Tove Lo’s past work. On “Bad as Boys,” she does not stray away from her typical personal and provocative topics, such as her bisexuality and

her performative quirks. Tove Lo is the same artist known for taking her top off during live performances of “Talking Body,” baring all onstage. Songs like “Stay Over” are satisfyingly confessional, showing her take the plunge to tell her lover that she wants something more from their relationship than sex. “Stay Over” is reminiscent of “Habits” but this time, Tove Lo’s innermost thoughts are filtered through a changing personal life that helps form her discography. “I was definitely going through some s--t on ‘Lady Wood’ and ‘Blue Lips,’” Tove Lo said in an interview with Billboard. “This album is written from a calmer place so, naturally, it’s me looking out instead of in.” Besides the overall tone, “Sunshine Kitty” also boasts more features than ever before, most notably from Kylie Minogue on “Really don’t like u” and viral sensation Doja Cat on “Equally Lost.” On “Really don’t like u,” Kylie and Tove Lo share an honest dialogue on girl-on-girl crime. They are open and admit that, despite it all, Kylie and Tove Lo hate their ex’s new girls on the account that they exist and fill a hole that they were once there to

patch up. Tove Lo’s daringness and drive to be open points to the current state of modern female pop and where it is going. She is a multidimensional artist and has no reason to hide her thoughts because they are authentically hers. While she has had the label of being “Sweden’s darkest pop export” before, “Sunshine Kitty” proves that Tove Lo can simultaneously be happy, sad, hateful and everything in between. On the chorus of “Sweettalk my Heart”, Tove Lo reiterates the line “I can be yours now” over and over. This new Tove Lo is someone who does not have to fill the void of missing someone with vices like she did five years ago. Rather, she is the best version of herself, now ready to let someone entirely new into her life. “Sunshine Kitty” ushers in a new era of one of today’s most prominent alt pop stars, and while the changes in her life have made her grow both as a person and as a musician, their inspiration for a new sound does not fall short. This new direction manifests itself in a more open and free sound that paves the way for Tove Lo to open up in a way that few other pop stars can manage.

TOVE LO/FACEBOOK

Tove Lo, usually known for her depictions of intense clubbing and partying throughout her music, keeps the same energy but shifts her subject matter with her latest album “Sunshine Kitty.” The music manages to portray a portrait of the pop artist that pushes her emotionally and shifts her club aesthetic for the better.

FRIDAY, OCTOBER 4, 2019

THE HOYA

FOOD FOR THOUGHT

Asian Dining on Campus Lacks Diversity Tyler Chan Upon coming to Georgetown University, it shocked me to see just how isolated the Georgetown campus is from the rest of the neighborhood. While this provides some respite and quiet from the hustle and bustle of M Street and Wisconsin Avenue, it also means that my Asian dining options are left to the mercy of the mostly East Asian offerings of Aramark, the food service company that manages both Epicurean and Company and 5Spice, the only two robust options on campus. I have reservations about these two restaurants: 5Spice’s status as an actual restaurant rather than just a dining hall fixture is questionable, and Epicurean’s everyday offerings at the buffet vary so greatly in quality that going twice in one week can make for incredibly different

dining experiences. But sometimes, when I’m extremely desperate for a sliver of Asian cuisine, I cave and head over with my trusty GOCard to grab a meal. At 5Spice, I admire Hoya Hospitality’s attempts to encompass a wide variety of Asian cuisines — part of its modus operandi is to switch from a different country or region each week and create a showcase menu that highlights the cuisines that each country serves. The countries I’ve seen represented are: China, Korea, Vietnam, Thailand and Japan, explaining the name 5Spice. I’ve found comfort in the fact that China — where my parents are from — is represented, and I’ve enjoyed the food that has been prepared, which typically includes classic staples like fried rice, lo mein and orange chicken. When I get my bowl, I longingly smell it and try to relish the taste of the dishes with which I’ve grown up. Undoubtedly, my parents’ cooking is infinitely better than 5Spice, but the food there does a sufficient job of satisfying my taste buds and transporting me away from Georgetown, even if just for a moment. Being from Las Vegas, I rarely go home and am thus far removed from my family. 5Spice provides some of the

comfort of eating dishes back home. While 5Spice personally provides me solace, though, I have a few issues with it, including the lack of representation for other Asian countries. 5Spice endeavors to capture a broad swath of Asian cuisines, but completely leaves out the culinary traditions from a huge array of Asian countries, from India to Indonesia. Epicurean has some promising offerings but still fails to capture the diversity of Asian cuisine. This restaurant helps me feel more at home, but is still limited and disappointing in its scope of what Asian cuisine can represent. When it comes to Epicurean’s offerings, I go for one thing: the noodle bowls. I know that Epicurean has a buffet section toward the back, and there they have Asian foods such as General Tso’s chicken and kimchi. However, the quality of food at their buffet pales in comparison to 5Spice, so I wouldn’t recommend going to the back section. The noodle bowls save Epicurean’s menu, and a wide array of noodles, from udon to pho and pad thai, means that you can switch it up from time to time. I typically get the udon and pho noodles because I’m most familiar with them, and

they make the perfect late-night snack. The warm soup, with its rising steam, the various toppings, and the added protein all contribute to a well-balanced meal that satisfies my appetite for something that tastes familiar. Noodles are probably one of the more prevalent dishes of east Asian cuisine, especially in my experience, so I appreciate the fact that there is a noodle spot on campus. However, the fact remains: The relatively cheap and convenient offerings of Georgetown’s oncampus dining consistently fail to deliver a solid menu that caters to those from Asian upbringings. Both of these Asian dining areas are important because they provide me a chance to remember and enjoy a little bit of my culture, and I’m reminded of home each time I eat at these places. The power these dining experiences can have makes creating cultural and culinary spaces on campus for many of the identities found within the broad category of Asian food even more important. Tyler Chan is a junior in the College. FOOD FOR THOUGHT appears in print every other Friday.

MANAGING READS

‘Shades of Magic’ Series Builds Believable Magical World Catriona Kendall I first read the “Shades of Magic” series by V.E. Schwab on the first day of 2019, and I loved it so much I reread all three books six months later. The first book, “A Darker Shade of Magic,” opens with a description of protagonist Kell Maresh’s peculiar, magical coat: “It had neither one side, which would be conventional, nor two, which would be unexpected, but several, which was, of course, impossible.” As Kell steps out of his home realm, Red London, and into the dreary landscape of the magicless Grey London, he changes his stylish red coat into a simple black jacket, one of many magical transformations. In a series set in several parallel Londons named by color, Kell is one of the only remaining Antari, a magician with the power to travel between them. Each London is defined by its relationship with magic: Red London

lives in harmony with it, Grey London let it die, White London tries to control it amid a series of bloody regime changes, and Black London let magic run loose to the point of the city’s destruction. To prevent the spread of Black London’s corruption, the doors between worlds were sealed long ago, and now only Antari can walk between them. Kell thus serves as an ambassador for the monarchy in Red London, carrying messages to the other monarchs. On the side, Kell smuggles forbidden items between worlds to cope with feeling trapped by the watchful royal family who adopted him but keep him like a possession. When a deal goes horribly wrong and Kell comes into possession of a powerful Black London relic in Red London, he takes refuge in Grey London, where he meets Lila Bard. Another main character of the series, Lila is a cross-dressing thief and aspiring pirate. Fierce, reckless and guided by a self-serving sense of morality, she is best defined by her iconic line, “I’d rather die on an adventure than live standing still.” Lila is riotously fun and wildly infuriating, particularly when she steals the dangerous artifact from Kell without even knowing what it is, forcing him to include her in his quest to return it to Black London.

What follows is a deadly venture across worlds as assassins chase after Kell and Lila for the stolen mystery artifact. This mission complicates “Shades of Magic” with the lingering dangers of Black London, the moral complexity of the villains and the unexpected bond between the main characters. The interplay between Kell and Lila colors the series with their banter, grudging friendship and Kell’s poorly concealed exasperation. Where Kell is temperate, extremely powerful and somehow charming despite his temperament resembling that of a grumpy kitten — all qualities that make him my favorite character — Lila is his opposite in every way, bringing out fun new sides to Kell with every interaction. In addition to these deeply weird and colorful 20-year-old characters, the “Shades of Magic” series boasts incredibly intricate world-building, an essential element of good fantasy. From Kell’s magic coat to the multidimensional Londons to the incorporation of the Antari language, Schwab’s imagination is boundless and a joy to read. Each detail, rendered in her beautifully evocative writing, constructs a fascinating setting of magic and intrigue. In a series with so much traveling, I

certainly felt transported to each new location and world. My skin prickled with alarm whenever Kell ventured into White London, a city dusted in ash and fear, to speak with the sadistic monarchs who rule it. I felt warm reading about the bright red river and lively Night Market in Red London and uninspired by the drab landscape of Grey London, which closely approximates the London of our own world in the 1800s. “Shades of Magic” presents an intoxicating journey from start to finish, complete with wonderful and terrifying magic, roguish pirates, kings good and bad and dying, magical tournaments, epic fight scenes, angst, love and anything else you could want from fantasy fiction. Schwab has written perhaps my ideal fantasy series, one so spectacular I would not be surprised if I read it again before the year ends. “A Darker Shade of Magic” is the first stop on a beautifully written, high-stakes adventure to new worlds, one you won’t be able to put down until you know if everyone is safe and what all of Kell’s coats look like. Catriona Kendall is a graduate of the School of Foreign Service. She formerly served as managing editor at The Hoya. MANAGING READS appears in print every other Friday.

FRIDAY, OCTOBER 4, 2019

THE HOYA

ALBUM REVIEW

@FRANKIECOMBOS/INSTAGRAM

New York City-based band Frankie Cosmos brought its indie pop sound to the Black Cat. In front of an enraptured crowd, the group put on a series of impassioned performances that called back eras past and moved between songs with a level of ease and comfort few other live acts could match.

Frankie Cosmos Finds Joy in Sadness at Black Cat KIRA POMERANZ Special to The Hoya

The melodic and jumpy ballads of Frankie Cosmos excited the nearly soldout Black Cat on Sept. 27, following the release of their newest album, “Close It Quietly,” which has received critical acclaim. In front of a crowd of eager fans dressed in cuffed jeans and checkered Vans, Frankie Cosmos laments the sadness of mid-20s Americans while still using the upbeat melodies and childishly poetic lyrics that have characterized their previous work to address a darker, more mature subject matter. Even though Frankie Cosmos sounds more like a stage name, it is actually a band composed of lead singer Greta Kline and her backing bandmates, Luke Pyenson on drums and vocals, Alex Bailey on bass guitar and keyboards, and Lauren Martin on keyboards, synthesizers and harmonies. They broke out onto the music scene in 2016 and have cultivated their rising star within lo-fi indie rock. The two opening acts that preceded the band forwarded their tradition of

promoting and celebrating female-led bands and other female artists to attendees. Previous openers have included Ian Sweet and the band Florist, who have gone on to lead their own tours. By scoping out this talent to highlight female artists, the band helps pave the way for promising, newer artists. The first opener, Locate S,1, led by singer Christina Schneider, performed songs off their folk-rock rager of an album, “Healing Contest.” In contrast, Lina Tullgren, a classically trained singer who now makes singer-songwriter music, followed Schneider with a much more laid-back set carried by her powerful voice and subdued backing guitars. By the time Frankie Cosmos took the stage, the crowd’s anticipation was beginning to crest, but the exciting sounds of Frankie Cosmos’ music was like a shot of adrenaline. The group opened their set with “Being Alive,” a track off of their previous album, “Vessel.” The upbeat tempo is juxtaposed with the sadness-tinged hope that runs through the chorus: “Being alive / Matters quite a bit / Even when you / Feel

like s--t / Being alive.” In the heat of the song, though, the crowd embraced the energetic yet dark track and fostered a newfound sense of energy and power. The group then began to incorporate some of their newer songs, starting with “Moonsea,” the leading singe off of the 2019 album “Close It Quietly.” The tempo ebbed and flowed as the crowd danced to the melody and cautiously hopeful lyrics: “The world is crumbling and I don’t have much to say / We say goodbye, goodbye / Go slow like the train / I hope you know you’re not nothing / We’ve got everything to gain.” There was even a cameo from Frankie Cosmos’ 2015 EP “Fit Me In,” which launched them into the public eye with the songs “Young” and “Korean Food,” the latter of which they performed. Like “Moonsea”, “Korean Food” maintains the sadness that has been a staple of their music, while remaining relatable and young as Kline reveals that “I feel not the most beautiful / When you look at me / Too handsome to be drawn / I can’t help it / I, I am a love song.” However, nothing got the crowd going quite like the classics off of the band’s sophomore album “Next Thing.”

Kline’s voice was joined by the crowd on the standout tracks “Fool” and “Outside with the Cuties” that have grown their fame and critical acclaim. These tracks took on a new energy in their performance, as Kline’s passionate performance created an aura of spectacle around these older tracks. Although dealing with topics of isolation, both of those tracks are lighter and more romantic than their newer work, reflecting the youthful optimism that had previously colored all of the band’s subject matter. For example, in the song “Fool,” Kline playfully lets someone know that “You make me feel like a fool / Waiting for you / I thought we could eat bread / I thought we could talk.” By playing such a wide swath of songs, fans of every Frankie Cosmos album got to relive the band’s favorite moments. The group may now be less unshakingly positive and optimistic compared to their earlier releases, but the new lyrics still vibrantly filled Black Cat when paired with a characteristically light and peppy production that keeps listeners coming back for more.

FRIDAY, OCTOBER 4, 2019

THE HOYA

What To Do in DC

MUSIC

New Releases

MICHELLE BROWN Hoya Staff Writer

ZAIN SANDHU Hoya Staff Writer

‘HAMILTON’S D.C.’ WALKING TOUR

Inspired by the revolutionary Broadway musical “Hamilton,” Goldstar Washington’s walking tour this Saturday, Oct. 5, takes tourists to monuments and streets referenced in the musical as well as other landmarks dedicated to the “10-dollar founding father.” The tour also includes fascinating tidbits about Marquis de Lafayette and Washington, D.C. history, wrapping up, appropriately, at The Hamilton restaurant and bar.

@MEGHAN_TRAINOR/INSTAGRAM

@RVSSIAN/INSTAGRAM

MEGHAN TRAINOR FT. MIKE SABATH ‘WAVE’

FRENCH MONTANA, RVSSIAN FT. POST MALONE, CARDI B ‘WRITING ON THE WALL’

American singer-songwriter Meghan Trainor has returned from a two-year hiatus with “Wave,” a remarkably mature and progressive fusion of pop and soul. Acclaimed producer Mike Sabath injects the track with an infectious bassline and dreamlike synths, on top of which Trainor’s strong vocals sound right at home. Though short, the track is a taste of what fans can expect from the artist’s upcoming third album “Treat Myself,” which is set to release in early 2020.

Morrocan-American rapper French Montana’s newest single “Writing on the Wall” is a star-studded, trap-influenced ballad. With features from both Post Malone and Cardi B, the song is eclectic, but its lackluster and uninspired production and predictable lyrics cause it to disappoint. The track is Montana’s third single from his forthcoming album, and hopefully by the time it releases he can muster up something a little more original.

WASHINGTON WALKS

‘WOMEN OF COLOR: THE POWER OF PROTEST’ PANEL SERIES

The second discussion in a panel series examining the history of female activism will take place on Thursday, Oct. 10, at the National Portrait Gallery. This free event, hosted by the National Museum of the American Indian, will focus on and foster discussion about the resilience of indigenous women who became powerful forces for resistance but whose names are largely forgotten, including Zitkala-Ša and Susette La Flesche Tibbles.

NATIONAL PORTRAIT GALLERY

‘SEX, SCANDAL AND SINNERS ALONG EMBASSY ROW’ TOUR

Capital Photo History Tours treats tourists to a 90-minute history of the debauchery and extravagance that characterized life on Embassy Row for its ultrawealthy residents before the Great Depression. Tales include a $1,000,000 birthday party for a dog, encounters with the “cursed” Hope Diamond and a less scandalous, though just as fascinating, examination of late-19th century architecture. @NOAHCYRUS/INSTAGRAM

@MALUMA/INSTAGRAM

MALUMA, J BALVIN ‘QUÉ PENA’

NOAH CYRUS ‘LONELY’

Superstar reggaeton singer J Balvin and Colombian singer Maluma have teamed up on their latest single “Qué Pena.” The track is a dark and seductive fusion of latin trap and EDM and is bound to chart well with its catchy hook. Though Maluma and J Balvin do not differ too much from each other in terms of vocal presence and musical style, the two artists’ respective performances breathe remarkable energy into the song.

Noah Cyrus, known in part for her connection as Miley Cyrus’ younger sister, reflects inward on her latest piano ballad “Lonely.” Despite consisting of only a series of piano chords and Cyrus’ vocals, the song is rather beautiful, and both the instrumental as well as Cyrus’ voice swell into a powerful climax in the song’s latter half. Noah Cyrus still may have her sister’s big shoes to fill, but she demonstrates great potential on “Lonely.”

WASHINGTON.ORG

ARABELLA STEINBACHER AT KENNEDY CENTER

Violinist Arabella Steinbacher, hailing from Munich, Germany, is returning to the John F. Kennedy Center for the Performing Arts to perform Mozart’s Violin Concerto No. 4 from Thursday, Oct. 10, to Saturday, Oct. 12. The orchestra will be led by conductor Marek Janowski, who is 80 years old but still very much active in the classical music world, making for a promising night of musical powerhouses.

THE KENNEDY CENTER

FRIDAY, OCTOBER 4, 2019

THE HOYA

MOVIE REVIEW

WONDERLAND SOUND AND VISION

Netflix’s “Tall Girl” offers a wholesome view of self-love and body positivity. But with a lack of originality and an insensitive approach to its subject matter, the movie does not capitalize on the potential of its premise, choosing instead to feature the cliches and tropes of every other teen romantic comedy.

‘Tall Girl’ Offers Failed Commentary on Self-Love Directed by: Nzingha Stewart Starring: Ava Michelle, Griffin Gluck, Luke Eisner ELOISE OWEN Hoya Staff Writer

Last month, Netflix released “Tall Girl,” its latest in a long line of attempts to make a noteworthy teen romantic comedy. Featuring countless teen movie tropes and stereotypes — not limited to mean girls, dim-witted blondes, makeovers and unrequited loves — the movie possesses little originality. While it may bring height into the average teen movie discourse, “Tall Girl” is an unnecessary and badly written film. Throughout 2019, Netflix has churned out countless films and TV shows targeting teenagers. While some, like “To All the Boys I’ve Loved Before,” have garnered a great deal of attention, most seem to fall short. Ironically, director Nzingha Stewart’s “Tall Girl” is one of these less fortunate films, as it has made more headlines for its laughable premise than its quality. With a title as creative as the rest of the plot, “Tall Girl” revolves around Jodi (Ava Michelle), a 16-year-old girl who stands at 6 feet, 1.5 inches tall. Jodi feels insecure about her impressive stature, particularly concerning her ability to

find a suitable love interest. Despite her best friend Jack Dunkleman’s (Griffin Gluck) near constant confessions of love, Jodi wants to date a boy that is taller than her. Everything changes when Swedish exchange student Stig (Luke Eisner) comes to town. Blonde, handsome and most importantly taller than Jodi, Stig is seemingly everything that a tall girl could want. Unfortunately for Jodi, he is everything the shorter girls could want, too. Before long, Kimmy Stitcher (Clara Wilsey), the most popular girl, sets her eyes on Stig, and the two must compete for his attention. Sadly, the rest of the movie’s plot remains as formulaic and cliche as its setup. Even Jodi’s character seems to lack personality apart from her height, as even her ability to play the piano, one of her only individual traits, is linked to her large hand size. The movie hardly ever finds Jodi talking about anything unrelated to her height or her love life, leaving her character flat and underdeveloped despite leading the film. Moreover, “Tall Girl” is woefully unaware of its vapid nature and insensitive to the point of being offensive. While

the movie seemingly attempts to advocate for body positivity, it does little to actually critique conventional beauty standards. At the end of the day, Jodi is a tall, blonde, conventionally attractive, upper-middle-class white teenage girl, yet she is implied to understand adversity more than any other character in the movie. In the opening scenes of the film, Jodi goes as far as to say, “You think your life is hard? I’m a high school junior wearing size 13 Nikes — Men’s size 13 Nikes. Beat that.” In this instance and more, “Tall Girl” seems to exaggerate Jodi’s plight while ignoring the possibility that any other person could face a greater issue than being tall or starved for male attention. Making more diverse and nuanced teen movies would be a more suitable direction for Netflix. This validation from a male love interest seems to be the only way Jodi can become more confident in herself. She pines for Stig before she even knows him, and only on the basis of his height does she find him interesting. At the same time, she ignores the romantic advances of Jack because he is shorter than her and therefore unworthy. In this way,

  Jodi herself reinforces the idea that she needs a tall boy to feel secure as a tall girl and offers little in terms of growth and development throughout the film. Despite its many flaws, “Tall Girl” is not a complete flop. Jodi’s best female friend Fareeda (Anjelika Washington) provides a witty and refreshing respite from the movie’s overdrawn cliches. With dreams to become a fashion designer, Fareeda is one of the most interesting characters in the film and stays loyal to Jodi throughout. The movie’s presentation of friendship is wholesome and sweet and deserved more screen time, even if it struggled to tackle true self-confidence. Regardless, the film’s attempt to discuss the journey toward body positivity and self-love is important for its demographic. At an age where little differences are exaggerated and seem significant, highlighting Jodi’s height is relatable and does connect to a problem certain teenagers do face. The fact that “Tall Girl” makes an effort to emphasize the importance of self-love is certainly commendable. However, due to its lack of originality and sensitivity in dealing with difficult topics, “Tall Girl” fails to make either a cognizant social statement or a quality film.

B10

FRIDAY, OCTOBER 4, 2019

THE HOYA

ALBUM REVIEW

DaBaby Relies on Formulaic, Repetitive Song Structure ‘KIRK’ DaBaby ALLAN NAVARRO Hoya Staff Writer

DaBaby’s sophomore album “KIRK” retains his fast-flowing, high-tempo, signature style but fails to innovate himself enough in an increasingly saturated hip-hop landscape with new artists. His failure to decide whether it is a victory lap after a breakthrough year or a pensive reflection on the loss of a loved one ultimately slows the album. Charlotte rapper DaBaby, born Jonathan Kirk, has arguably been hip-hop’s biggest breakout star in 2019. First reaching the mainstream with his song “Walker Texas Ranger,” inspired by the same country-trap fusion as Lil Nas X, DaBaby has become both a chart staple and a heavily in-demand featured artist. Kirk has cultivated a distinctive style of fast-paced flows over energetic beats, topped off with lyrics that feature a joke seemingly every other bar. This style earned him a topfive hit with “Suge” earlier this year and a top-10 album with March’s “Baby on Baby.” However, he has shown little variance in his admittedly successful formula up to this point. Nevertheless, DaBaby’s stardom has con-

 tinued to rise. He was named an XXL Freshman on XXL Magazine’s list of rap talents to watch out for in June of this year and has featured on songs by Chance the Rapper, Post Malone and YG. He has also collaborated with other breakout stars in 2019, including Lil Nas X, Lizzo and Megan Thee Stallion. “KIRK” serves as DaBaby’s sophomore album and his first since his meteoric rise to fame within the rap world. The album’s cover art features DaBaby, fittingly, as an infant in his father’s lap. The LP is dedicated to his late father, who passed away earlier this year right as the rapper began to reach musical stardom. The opening track “INTRO,” which is also the album’s lead single, reflects on the artist’s rise to fame and his father’s example for how DaBaby seeks to raise his own daughter. The track offers a beautifully poignant message and sees Kirk eschew his punchline-heavy rapping in favor of introspection over a gospel-inspired backing beat. While this track represents the potential for DaBaby’s new direction, the rest of the album returns to the sound that made him a nationwide star earlier this year. The next three tracks are all DaBaby by the numbers, featuring fast flows, catchy hooks and ear-

grabbing punchlines. DaBaby quickly realizes this repetitive sound cannot support an entire album on its own, though, as he begins to lean more heavily upon his features. “POP STAR,” featuring trap crooner Kevin Gates, has DaBaby showing off his singing chops, proclaiming “They prolly tell you I went pop / Until a n---a play with me and he get popped.” “GOSPEL,” which features vocals from Chance The Rapper, Gucci Mane and YK Osiris, sees DaBaby reflect on his relationship with his daughter and his place within the rap game over another upbeat gospel-style beat. Shockingly, the album’s best feature comes from DaBaby’s close friend Stunna 4 Vegas, as his distinct delivery adds punch and meaning to his lyrics that no other feature matches. Even though the LP boasts other features from hip-hop A-listers like Nicki Minaj, Gucci Mane and Migos, most of the features seem to phone in their verses and fall short of their true potential. While DaBaby does try to add variation to his style on these tracks, the new direction fails to capitalize on what makes DaBaby interesting in the hip-hop landscape. The album’s final track “XXL” is a repeat of his fiery XXL Freshman freestyle earlier this

year and sees him ponder on his newfound status within the rap game and how much his life has changed within the span of a few months. Bars like “Every time that the DJ play ‘Suge’ / N----s throw up they arms like a mothaf----n racetrack” emphasize DaBaby’s successes and solidify his signature style. “KIRK” is an all-around solid follow-up album for the budding rap star. He does enough across the LP to maintain his signature sound while attempting to show his range as a musician, albeit to varying degrees of success. However, the album’s true failure comes in its lyrical content. Besides “INTRO,” no track offers a proper reflection on the role his father played. The few tracks that do attempt to delve into this relationship distract from the overall message with punchlinestyle bars that do little to enhance the LP besides offering a one-off remark of mild humor and wit. Nevertheless, “KIRK” will not slow DaBaby’s ascent to rap superstardom. However, the scope of his influence will be ultimately limited unless he continues to expand his lyrical content to make music that is personalized by his experiences to help him stand out in a crowded rap field.

@DABABY/INSTAGRAM

On “KIRK,” DaBaby can undeniably write witty lines full of clever wordplay, making him one of the rap’s strongest new voices. But this formula ends up sounding old by the album’s end and limits DaBaby’s potential. Though “KIRK” is a promising showcase of DaBaby’s talent, he still needs to prove himself by enhancing his creativity and vulnerability.

FRIDAY, OCTOBER 4, 2019

THE HOYA

B11

CONCERT REVIEW

@MACDEMEME.CO/INSTAGRAM

Mac DeMarco’s distinct musical style, chaotic energy and even sartorial choices excited an audience of devoted fans at The Anthem on Sept. 20. Playing both familiar staples like “Salad Days” and newer releases like “Here Comes the Cowboy,” DeMarco’s concert featured both fast-paced beats and slower emotional melodies.

Mac DeMarco Exudes Eccentricity at The Anthem ANTONIO GRUMSER Special to The Hoya

Canadian-born Mac DeMarco embraced a very particular aesthetic at The Anthem on Sept. 20 — donning a vintage trucker hat, large ripped jeans, blue Vans and a mouthful of broken teeth, the multi-instrumentalist portrayed his distinct, casual and eccentric persona that has an infectious appeal, especially on stage. DeMarco’s performance epitomized this quirkiness with a chaotic and undeniably engaging setlist. Moments after he started playing and the introductory screams faded, the audience became immediately entranced by his silly, lighthearted aesthetic, swaying to the music excitedly. He started with tracks off his fourth and newest album, “Here Comes the Cowboy.” On this latest release, DeMarco pares back the production to keep focus on his lyrics, and the tracks feature mostly guitar and voice, with very few solos and long rests between notes. The album benefits from its calm, relaxing pace and its slow-burning melodies, which add a level of beauty to his music. Live, DeMarco successfully

created this atmosphere of emotional tranquility, as he repeated the song’s hypnotizing only verse, “Here Comes the Cowboy.” With incredible ease, and certainly living up to his mission statement, DeMarco carefully plucked his rusty Stratocaster guitar, piercing through the crowd. His voice filled the comfortable gaps between the notes but maintained the audience’s attention by sporadically screaming out of pitch, keeping the audience on their toes. The young crowd, dressed similar to DeMarco, reinforcing his cult of personality, nodded and laughed along. His comfortable and smoothly-paced songs created a sense of closeness and intimacy between himself and the individuals in the crowd. After about four songs, it became easy to tune out the mob and become completely engrossed in DeMarco’s aura of musicality. He then played his more upbeat, signature hits, including “Salad Days” and “Freaking Out the Neighborhood.” The familiar lines, “Salad days are gone, missing hippy Jon / Remembering the days just to tell ‘em so long,” animated the crowd as much as DeMarco’s wild performance. These more quickly

paced songs still featured the same carefree spirit that kept his act consistent throughout the whole set. DeMarco walked in small circles around the stage and spun his microphone on his hands like a basketball. Spontaneously, he took off his shirt and put on a bra someone had thrown on stage, embodying the main character of “Freaking out the Neighborhood,” the “first son [who] gets up to no good, starts freaking out the neighborhood.” Pandering to his enraptured audience, DeMarco lamented on how long it had been since he had last seen his fans and talked about his appreciation for The Anthem as a venue. This was emblematic of the entire show and of DeMarco’s personality, chalk full of quirky idiosyncrasies that help him stand out from singer-songwriter contemporaries. DeMarco played more crowd favorites and did his part to lull the crowd into a sense of relaxation and calmness. “Chamber of Reflection” was one of the final songs in his set, reinforcing the aura of solemnity in the venue with its atmospheric production and powerful vocals, which added more character to the song in a live setting. As he finished his show, he pretend-

ed to leave the stage prematurely to solicit encore chants from the crowd, which succeeded. People screamed; he waited, then came back, and people screamed more. In a surprising twist, rather than playing his own songs, he decided to cover old rock ‘n’ roll hits instead. DeMarco took the drumsticks and his drummer got up and sang an outof-tune rendition of Nirvana’s “HeartShaped Box.” The encore featured a strange mix of goofy vocals and hardrock covers. DeMarco conveyed his respect for 80s and 90s rock and its influence, then added his own flare to it by adapting it with his indie, lo-fi sound. The audience had a mixed reaction, with some forming animated mosh pits in the audience, and a few others walking out early, having had enough of DeMarco’s big and perhaps brash personality. Even though not everyone stayed and was engaged with that portion of the concert, the fans that remained matched his energy. DeMarco might have cut his original music shorter than some attendees may have expected, but his unfamiliar, unorthodox and rowdy show made for a memorable experience that devoted fans adored.

ILLUSTRATION BY: SAMUEL NELSON/THE HOYA