Issuu

the guide F R I DAY, N O V E M B E R 2 , 2 0 1 8

IILLUSTRATION BY: ELOISE OWEN/THE HOYA

THE HOYA

the guide

FRIDAY, NOVEMBER 2, 2018

DC Jazz Landscape Adapts to Evolving Challenges

SARAH CAMMAROTA AND NICK OKERLUND

Hoya Staff Writer and Special to The Hoya

Despite being a fixture of Washington, D.C.’s rich and multifaceted history of jazz for almost a century, the Bohemian Caverns finally shut down in the face of financial struggle that had plagued the establishment for decades. Once a hub for jazz legends in the 20th century like Billie Holiday, Louis Armstrong, and the great composer and bandleader Duke Ellington, these smoke-filled clubs in neighborhoods like the U Street Corridor once frequented by these musical giants have closed their doors as a result of higher rents and changing demographics. Unless the city attempts to rectify the challenges posed by gentrification, it risks losing a part of the city’s culture in which the District had historically distinguished itself through this musical tradition.

‘GREAT BLACK MUSIC’

Since the 19th century, D.C. has fostered the development of music born out of the black experience. Uniquely situated as a city with a large free black population before the end of the Civil War, D.C. was home to many black mu-

sicians of varying backgrounds. By the beginning of the 20th century, D.C. was the city with the highest percentage of black people, according to Cultural Tourism D.C. Maurice Jackson, a professor in the history department and African American studies program, discusses the history of jazz in his recently published book, “DC Jazz: Stories of Jazz Music in Washington, DC” The root of what he refers to as “Great Black music” can be found in the legacy of slavery and its impacts on the black community, according to Jackson. “Jazz developed in many forms coming from the polyrhythmic notions of African music but also here during slavery,” Jackson said in an interview with The Hoya. “African-Americans sang the slave songs, the negro spirituals, all of this music comes from the AfricanAmerican experience.” But jazz also grew from a number of different influences, including classical music, folk songs and even marches, according to Jackson. These influences interacted to create the distinctive form of jazz. “In philosophy you have concept of the dialectic, where ideas clash, and as they clash they form a higher order, and this happened in jazz,” Jackson said.

Because D.C. was segregated until 1953, the growth of jazz was constrained to the predominantly black U Street Corridor and Shaw Neighborhood. Once known as Black Broadway, the area was home to venues like the Howard Theatre on T Street, Lincoln Theatre and the Republic Theatre on U Street that prominently featured black artists. However, segregation within the city also meant that many black musicians were denied the ability to perform — or watch performances — at certain venues. Notably, the celebrated contralto singer Marian Anderson, who needed a bigger venue for her performance, was not allowed to play at Constitution Hall near the National Mall, run by the women’s service organization Daughters of the American Revolution, in 1939, as they did not allow people of color to perform there. In Anderson’s case, first lady Eleanor Roosevelt — an ardent supporter of desegregation who wrote a letter of resignation from the DAR after the group prevented Anderson from performing — and Secretary of the Interior Harold Ickes made it possible for Anderson to perform in a public, integrated setting. Through her performance, Anderson was able to advance the desegregation movement and the development of civil

rights. “Eleanor Roosevelt and the secretary of the interior, Harold Ickes, made it possible for [Anderson] to perform on the Lincoln Memorial,” Jackson said. “This was really the first great demonstration on the mall, and of course this led to the 1963 civil rights march.” While D.C. had an extensive jazz community through Black Broadway, segregation posed challenges for performers’ access to the city resources. D.C. jazz today faces new challenges. As the demographics of traditionally lower-income neighborhoods have changed, D.C. jazz has begun to lose its historic home.

A CHANGING TIDE

Around the end of the 20th century, many former fixtures of the jazz scene in D.C. have closed their doors as many musicians have moved out of the area because of outpricing and gentrification. Once-notable clubs have closed under the pressure of higher rents and changing neighborhood cultures. On the corner of 11th and U streets, the Bohemian Caverns — which once featured famed musicians like Cab Calloway, Miles Davis and Ellington in the mid-1900s — closed its doors permanently in 2016, citing irreconcilable financial problems as the cause. Many

TOP LEFT: SHANIKA HOPSON; TOP CENTER: NATIONAL MUSEUM OF AMERICAN HISTORY; TOP RIGHT: HOWARD THEATRE; BOTTOM LEFT: FILE PHOTO: MAGGIE CHEN/THE HOYA; BOTTOM RIGHT: CINEMA TREASURES

Since the 20th century, a rich tradition of jazz music has thrived in the District, predominantly centered around the U Street Corridor and the Shaw neighborhood, which came to be known as Black Broadway because of the abundance of venues that featured black artists. However, segregation enforced systemic challenges for performers.

the guide

FRIDAY, NOVEMBER 2, 2018

jazz clubs in the U Street Corridor have faced the same fate, like the Howard Theatre that closed in the ’80s, though it reopened in 2012. Already hampered by rising operation costs, the neighborhoods that were once hotbeds of nightlife have also faced changing cultures because of gentrification. One way that clubs have been replaced is with residential buildings touting names indicative of their past function, like The Ellington, apartment complex. As the areas have become more residential, clubs have received backlash from the community, said Anna Celenza, a professor of music in the department of performing arts. “There was an arts identity in these areas, so people wanted to be a part of that,” Celenza said in an interview with The Hoya. “But the problem with that is when those people come in they think, ‘Oh it’s wonderful, but it’s 10 o’clock at night, and I would like to go to sleep, and I don’t want to hear this anymore.’” Despite these gentrifying effects on the jazz climate in the District, the city’s leadership has recently made a concerted effort to combat these changes. Celenza is a member of the Music Policy Forum, a public policy organization that advises governments and businesses in their engagement with the music community. The forum had its annual summit Oct. 26 and 27 at Georgetown to explore topics such as D.C.’s music climate.

“We are announcing at the conference this weekend that through funding from the university and funding from the city, we’re doing a census of the music ecosystem in Washington, D.C.,” Celenza said. “We’ll have all this data, and with that data we can really transform the music community.” While the larger D.C. area has a readily apparent jazz scene, the Georgetown community also has a vibrant and wellestablished jazz community of its own. Going back many years, the Georgetown jazz program ranges across students, teachers and the larger community to link the University to the D.C. arts setting.

FROM U STREET TO UNIVERSITY

Founded in 1944, and proclaiming themselves the Georgetown Rhythm Boys, the first official Georgetown jazz dance band started with 14 original members and provided invaluable entertainment for the dwindling student body as students were drafted to serve during the World War II. The Georgetown Rhythm Boys dissipated in 1947, however, because of failing enrollment only to come back the following fall as a new sect of the Georgetown Band known as the Georgetown Collegians, until eventually also going away in the ’80s. Following these trials, tribulations and tryouts, a new group of young jazz enthusiasts — now the Georgetown Jazz Band — drafted and ratified a constitution that has en-

dured through today, which officially establish the band as an independent organization in 1994 with its own director. Paul Bratcher, a jazz connoisseur and renowned organist hailing from Philadelphia, was hired to direct the jazz band, one of Georgetown’s student music ensembles, for his first semester in September 2018. Already well-situated within the D.C. jazz scene as associate chair of the piano at the Levine School of Music, Bratcher brought his talents to Georgetown to direct the Jazz Band. “One of the things we try to do is to let younger and new incoming students know about the program before they got there,” Bratcher said. “There are some student leaders who helped us hit the ground running.” Sean Berman (SFS ’19), one of these student leaders, is a senior saxophonist and four-year veteran of the Georgetown Jazz Ensemble, a group of students dedicated to a love of jazz; he has noticed Bratcher’s effect on the band. “The band has already gotten a million times better,” Berman said. However, in the age of the all-powerful Spotify Top 50 chart, live jazz music has slipped out of the campus spotlight, especially in comparison to the prominent Georgetown a cappella groups. Berman admitted many listeners prefer vocal performances to the instrumental jams of jazz groups. “It’s pop music, and it’s words, and the modern ear likes words,” Berman

THE HOYA

said. “It’s just the way it is, and we try to contend with that.” And they do contend: Berman is also a member of the New North Collective, a separate student quintet that attempts to bring jazz to the student body by playing intimate shows on campus. “We’re trying to connect with Georgetown students who maybe don’t think that they like jazz because they’ve never had that exposure to it. They see it as elevator music,” Berman said. “There’s more to it, and I think when you see it live, you get that real connection.” The New North Collective is not the only champion of jazz on campus; Bratcher promised future Jazz Ensemble performances once the spring semester is in swing. The department has also been in contact with dance organizations in the D.C. area to promote jazz District-wide and rekindle the style’s cohesive power. “Jazz has always been a grassroots experience, from the beginning,” Bratcher said. “We’ve got to create opportunities for people outside the concert hall to experience the music.” Jackson echoed this sentiment. While institutions like the Kennedy Center and Smithsonian actively support formal concert hall jazz performances, they are not necessarily approachable for the modern listener. “The city and others have to be willing to open venues and make the music accessible,” Jackson said. “Where there’s a will, there’s a way, but you have to have the will to do it.”

TOP LEFT: FILE PHOTO: MAGGIE CHEN/THE HOYA; TOP CENTER: LINCOLN THEATRE; TOP RIGHT: OLD TIME D.C.; BOTTOM LEFT: FILE PHOTO: JULIA ALVEY/THE HOYA; BOTTOM RIGHT: BOHEMIAN CAVERNS

Now, gentrification poses the greatest threat to D.C.’s iconic jazz scene. Unless the city makes policy changes that turn this tide, more clubs like the Bohemian Caverns will continue to close. Student dedication to jazz also helps keep the tradition alive by making the genre more approachable for a generation unfamiliar with its storied roots.

THE HOYA

the guide

FRIDAY, NOVEMBER 2, 2018

Alumnus Disputes Arts-Science Dichotomy in Education MEGHAN DECOURCEY Hoya Staff Writer

For nearly 70 years, nonprofit regional theater Arena Stage has masterfully conveyed the U.S. spirit on stage, and its Gold Standard Musical this fall is no exception. “Anything Goes” is a classic full of mischief and amusement. This lively show would not be complete without its iconic tap dancing, and one of its tappers happens to have attended Georgetown. Mickey Orange (GRD ’18) graduated from the university’s master’s program in biohazardous threat agents and emerging infectious diseases. Orange spoke to The Hoya about his time at Georgetown, his experience working at Arena Stage and the importance of theater in education.

What were you involved with during your time at Georgetown?

It wasn’t specifically at Georgetown, but while I was in school, I did a show out in Lorton, Va., which is about 20 minutes from campus. It was at the Workhouse Arts Center. I would also drive back to Pittsburgh sometimes, because I’m part of a jazz band there, Glass City Swing Band. They’re a nonprofit organization that supports disabilities awareness and preserves history through the use of a nostalgic 18-piece group playing music of the 1930s and 1940s. Over time, I found that I liked to audition for organizations that use musical education programs to enhance the lives of children and adults as well.

This is your Arena Stage debut. What has it been like working there?

I could not be more honored to now be a part of the Arena community. It was a little intimidating at first, because Arena has this series of firsts that’s unmatched in our country: They were the first theater to take a play behind the Iron Curtain, they were the first theater to have an endowment, they were the first theater to be racially integrated in [Washington,] D.C., first theater to have a production go to Broadway, and they were the first theater to receive the Regional Tony Award. The bar is set pretty high here, and it’s a lot of expectations to live up to but definitely a blessing to work with the people here, both the creative team and the cast.

It sounds like it has been a really great experience there, and “Anything Goes” is such a fun show. What would you say makes the Arena Stage production unique?

Rather than use my own words, I will actually address what [artistic director] Molly [Smith] discussed with us during the first week of rehearsals. She talked about how America is in an “anything goes” moment, and you can be anything you want to be and fool most people in the process. Although this musical was written in the 1930s, this production is unique because the cast is representative of America right now. Molly’s indomitable attitude has coalesced into a day-to-day ideology of a multicultural arts platform that is revolutionizing American theater. And you will definitely see that in this production of “Anything Goes.” It should stir people, it should get them talking,

and it should inspire them to think and feel in new directions. Expect to experience the best and wildest tap dancing you’ve ever seen [on] the Fichandler Stage, as well as a string of brilliant comics singing their hearts out in classic Cole Porter style. Arena Stage will bring this classical musical into the current moment.

I want to pivot back to Georgetown for a moment. How did your time here help you get to where you are today?

I always love comparing the liberal arts education to the theater arts. I think there’s a symbiosis between the two. Over time, I found that the relationship between my Georgetown education and my background as an actor was pretty mutualistic, and both have benefitted from the other in one form or another. Georgetown’s liberal arts education and mission [have] strengthened my intellectual, ethical and spiritual understanding of the world around me. By educating the whole person through exposure to different faiths, cultures and beliefs, I have found that philosophy supports these invaluable life skills that the performing arts spectrum looks to instill [in] children, teens and adults alike. Likewise, the creation and attending of theater contributes to both education and literacy. I think it’s pretty important at an early age to expose kids to theater. Watching characters converse requires sharp attention, quick mental shifts and nimble language skills. I really encourage school districts that cut funding from the arts to reconsider and take heed to the advice of its teachers and students. To the parents out there: If your kid likes being a part of both worlds, like I was, don’t force them to choose between the arts or science. Encourage them to participate in both. It will only help improve their professional skills down the line.

Do you have any advice for young people who want to pursue a career in theater?

If you want to pursue a career in theater, surround yourself with productions that are diverse and innovative. Theaters today cast triple-threat performers, meaning you have to be able to act, sing and dance all together now to a high standard. My advice would be to set the bar for yourself and actually become a quadruple threat. For a show like “Anything Goes,” I would say that means being a good actor, singer, dancer and a comic. I found that additional skills can open unexpected doors. When you go into an audition, don’t psyche yourself out by watching the hundreds of others there as well. Take a deep breath, be yourself and show that you are passionate, exuberant, profound, deep, dangerous and, most of all, that you’re having a great time. And to all the young boys out there in dance class: Tights, ballet slippers and tap shoes might not be cool now, but trust me, it will be worth it in the end.

“Anything Goes” is showing from Nov. 2 to Dec. 23, 2018, at Arena Stage. The original book was written by P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russel Crouse, and this production is using a new book written by Timothy Crouse and John Weidman. Tickets will range from $51 to $105. For more information, visit www.arenastage.org.

TOP: ARENA STAGE; BOTTOM: MICKEY ORANGE

Mickey Orange (GRD ’18) emphasized the importance of theater education from an early age and advised students who want to pursue a career in theater to develop multiple performance skills.

the guide

FRIDAY, NOVEMBER 2, 2018

THE HOYA

RESTAURANT REVIEW

KIKI SCHMALFUSS/THE HOYA

District restaurant chain Guapo’s has been serving fajitas, tortas and tacos at its original Tenleytown location for 27 years and recently opened up a new location at the Georgetown waterfront. Both outlets feature delicious tex-mex cuisine, but the Tenleytown location had colorful paintings and a hectic, hip feel, while the new spot has a more formal and corporate atmosphere.

Waterfront Guapo’s Lacks Charm, But Food Satisfies GUAPO’S



3050 K Street NW, Washington, D.C. 20007 ERIN DOHERTY Hoya Staff Writer

High on a hill in Tenleytown, about 3½ miles north of Georgetown on Wisconsin Avenue, sits the restaurant Guapo’s, where cheesy enchiladas and fajitas sizzle so intensely that their distinct smell stays on clothes after leaving the restaurant, and limitless baskets of chips attract crowds of American University Park residents every weekend. Tenleytown is the original location of Guapo’s, soon to be joined by a new location on the Georgetown waterfront. I went to the Georgetown location to test whether it lives up to its classic counterpart to the north. Having grown up in AU Park in Washington, D.C., I have always known Guapo’s as the site for my family’s birthday celebrations every year for the past 25 years. It was the go-to spot when my brothers returned from college and it hosted more than a dozen end-of-season soccer parties. When I broke my wrist in second grade, of course my family went to Guapo’s that night, and my server gave me a bright pink Guapo’s baseball hat as a get-well-soon present. I donned that hat at the beach this summer. Needless to say, the Guapo’s on Wisconsin Avenue has morphed into a symbol of my childhood. Many celebrations, heartbreaks and reunions were accompanied by

an order of Guapo’s chicken fajitas and endless baskets of chips. Earlier this year, my dad emailed my family — subject line: Guapo’s — a PoPville tweet, which announced Guapo’s opening on the waterfront in Georgetown. My immediate reaction was mixed. On one hand, I was thrilled — all my college friends would be able to experience the magic that is Guapo’s. Yet I was hesitant. How could Guapo’s, the place touted in my mind as my family’s restaurant, be replicated? Although trained as a news writer for The Hoya, I decided to take the leap into arts and culture to review Guapo’s. In my mind, no other writer would be able to do this Tenleytown staple justice. I went to the Guapo’s on the waterfront in Georgetown on a sunny Tuesday afternoon in late October, after the restaurant had been open for about two months. My friend and I happened to go to the restaurant when lunch specials apply — between 11 a.m. and 3 p.m. — including discounted prices on tortas and tacos. Upon entering the restaurant, there were about three other tables of diners inside and three outside. We were not thrown off by the vacant tables — it was a Tuesday at 2 p.m., after all. After being greeted by a team of friendly hosts, we were seated at a table next to a window looking onto where the Georgetown ice skating rink would be in the winter

months. Almost immediately after sitting down, we were brought corn tortilla chips and salsa. After that first bite, I knew I was home. The chips and salsa combination was perfect — the chips were not too salty, and the salsa was neither too spicy nor too sweet. After munching on chips and salsa, I ordered steak and chicken fajitas and an order of carnitas tacos. The food was brought out in a timely manner, and our waiter, who politely answered our many questions throughout the meal, carefully explained our dishes as he arranged them on the table. Each dish was served with beans and yellow rice. The order of fajitas was solid. The chicken was tender and had picked up seasoning from the grilled onions that formed the base of the platter. The steak portion of the dish was slightly less impressive. The steak was very chewy, which made it difficult to eat in a taco. My friend and I both agreed that the steak would have been strong had it stood alone, but it didn’t work well in a corn tortilla. The carnitas tacos were delicious. The taste of the carnitas was complemented well with a tomatillo salsa and onion. My friend and I agreed that although we were not usually lovers of carnitas, the dish was tasty. On the side, we nibbled on chips and salsa and yellow rice throughout the meal, which tasted incredible.

Overall, I was very pleased by the food I ate at Guapo’s. The chips and salsa kept me occupied as I waited for my food, the chicken fajitas were tender and flavorful and the carnitas tacos were a welcomed change up. Yet good food is only half the battle. The restaurant, though very clean and well organized, lacked character. The Guapo’s I am used to has colorful paintings hung on the walls, a tortilla maker in the back and the servers coming out periodically with shakers to sing “Happy Birthday” to guests. The Guapo’s on the waterfront was very plain — my lunch companion noted it felt corporate. The food was delectable, the servers were friendly and it was pleasant sitting by the waterfront. I missed, however, the atmosphere of the Wisconsin Avenue Guapo’s. As a college student, going out to dinner usually means I strive for either cheap eats or a hip environment, preferably both. The food was solid, but the environment was nothing special and the food was a tad pricey. Nothing made this location particularly special. Unless this location spices up their interior, the next time I’m craving Mexican, I am inclined to make the trip to the location on Wisconsin Ave. Perhaps I’m biased, but I appreciated the Tenleytown Guapo’s for its hectic, perfectly imperfect feel. The formality of the Georgetown Guapo’s feels wrong.

the guide

THE HOYA

FRIDAY, NOVEMBER 2, 2018

DIRECTOR’S CUT

Style Over Substance Spoils ‘Bad Times at the El Royale’ Olivia Simon I want to open this installment with a confession: “Bad Times at the El Royale” is the fall 2018 film I have been waiting for. The Tarantinoesque trailer, the crossover storylines, the secrets that each character is harboring — all aspects of the film piqued my excitement. The man behind the project, director Drew Goddard, has dabbled in several different genres. I was curious to see how he would fare taking on the mashup of thriller, mystery and drama that initially made “Bad Times” sound so delicious. The film is marketed as the meeting of seven strangers, each of whom has arrived there to confront one of their own haunting secrets, at the El Royale hotel. Throughout the strangers’ stay, they are each confronted with past and present demons and forced to make choices that will alter their identities and moral standing forever. The audience first meets Fr. Daniel Flynn, played by Jeff Bridges, and struggling singer Darlene Sweet, played by Cynthia Erivo, who

both wind up in search of a room. The hotel lies on the California-Nevada border, setting the audience up for the series of alliances and double crosses that will come to characterize the film. When Daniel and Darlene arrive, they are greeted by another guest, Laramie Sullivan, played by Jon Hamm, and lobby boy Miles Miller, played by Lewis Pullman. A hippie named Emily Summerspring, played by Dakota Johnson, also takes up a room at the hotel with her sister Rose, played by Cailee Spaeny, whom she has kidnapped in an attempt to save her from a violent cult and its ruthless leader, Billy Lee, played by Chris Hemsworth. The overall setup of the film is an instant draw. The sets, composed of bright colors and perfectly arranged furniture, make the film feel like a real place trapped within a different time — or perhaps even within a dream of a different time. The way the camera dips into the different hotel rooms allows each character’s true intentions to be contained and exhibited in a specific locale while also fitting into the bigger picture of the hotel. Darlene’s room, for example, is associated with drive and soul, as all of her time in the room is dedicated to practicing her music. Meanwhile, Emily’s room is linked to suspense and fear as she and her sister hide from Billy Lee. Yet when the characters leave their rooms, their individual truths become twisted: They become entangled within the patchwork of lies and mysteries of the El Royale.

“Bad Times” also triumphs by showcasing the acting abilities of its cast, particularly Bridges and Erivo. Their raw chemistry sets up a complex but entirely earnest bond between the two characters, who strike up a relationship in the first scene — my favorite of the entire film. Daniel Flynn stands on the Nevada side of the border and Darlene stands on the California side, talking playfully about what life is like on the other side of the border. As they walk into the hotel, Daniel crosses over to Darlene’s side. Their rapport is composed of these sorts of thoughtful moments; the hotel slowly becomes the channel through which they learn to trust each other. Beyond the film’s visual composition, “Bad Times” introduces a great premise that unfortunately doesn’t ultimately deliver. As the film sets up each character’s secrets, the audience becomes more interested in their backstories. Goddard gives us slim pieces of these narratives through a series of flashbacks that reveal an insufficient amount about the characters to add anything significant to our perception of them. Goddard’s attempt to deconstruct the plot actually unravels the film’s initial strengths. While the flashbacks could have been opportunities to draw the audience deeper into the characters’ pasts, they end up only as points of context used to explain the plot. Goddard takes on too much with his characters. While the flashbacks aren’t sustainable, neither are the relationships

between the seven strangers. The film is about the way human connections form and bend under pressure, but the only compelling relationship that comes out of the film is the one between Daniel and Darlene. If the same degree of insight and intelligence was given to the other important relationships — like the strained bond between sisters Emily and Rose, or the tension between Emily and Billy Lee — the film’s themes of alliances and betrayals would have been corroborated. Rather, the audience is left wondering why some characters were even included in the plot. As a result, the final scene, in which Billy Lee orchestrates a sadistic game of roulette with the hotel guests, is not as suspenseful or as nervewracking as it should have been. With an intriguing plot, strong cast and phenomenal aesthetic, “Bad Times at the El Royale” had several elements that should have made it ripe for success. Yet the insufficient development of the characters’ relationships will most likely hold it back from retaining a place as one of our days’ great thrillers. In an attempt to deconstruct the story of the El Royale, Goddard instead ends up with a haphazard collage that seems, for the most part, to value style over substance. Olivia Simon is a senior in the School of Foreign Service. DIRECTOR’S CUT appears in print every other Friday.

MISS-TAKES

Do Disney Movies Pass the Bechdel Test? Julia Usiak The propensity to walk through crowded streets with a nose stuck in a book. The tendency to launch myself out of pools, whipping my hair back in an arc. An affinity for men who give me stolen apples and ask cryptic questions, like: “Do you trust me?” You may recognize these moments from “Beauty and the Beast,” “The Little Mermaid” and “Aladdin.” All of these movies, and many other Disney films, left long-lasting, tangible effects on a young Julia Usiak, as I set out to replicate each and every on-screen trope. But what else did I internalize from my impressionable childhood? Perhaps my favorite films taught me the wrong lessons about women. The Bechdel Test offers one method to examine the messaging Disney tried to cram down my throat. The Bechdel test is the longstanding metric to evaluate women’s portrayal in media based on simple criteria: The movie has to have at least

two named women in it, and these women must talk to each other about anything other than a male character. What a hard ask that a movie would require two female characters to have such pressing conversations! “Pass the salt,” followed by “Here you go, Karen!” or “What are you doing?” followed by “Licking stamps.” What is this, 2018? These laughably low standards can now be applied to the films that shaped my conception of femininity and definitely shaped yours too: Disney cartoons. Despite being so heavily marketed to young girls, a stunning majority of Disney movies fail to pass the Bechdel test — or even come close.

‘Aladdin’

Unnamed women appear in the song “One Jump Ahead,” bearing the stunning names of “UGLY FAT LADY” and “HAREM” in the official script. This derails all the Bechdel criteria, as the women are unnamed and exclusively discuss Aladdin with the subtle line of “I’d blame parents, except he hasn’t got ’em.” Haha, clever! “Aladdin” has a total of one named woman, Jasmine, who is 15 and already looking for a husband. Her societal position in itself is not shocking, but I am surprised that Jasmine is an exact carbon-copy replica of the curves I had when I was 15!

Jasmine would like to be independent, but gives up on this goal when the going gets rough - meaning, when she discovers the concepts of “money” and “Aladdin’s pecs.” Tough stuff. Equally problematic, the movie rewards Aladdin’s charming wishes of gaslighting Jasmine into believing he is a prince and then gaslighting Jasmine into believing she is crazy because he is not the same boy from the marketplace. No, really, I’m rooting for him! Overall, this movie receives three out of 10 Gloria Steinems. Steinem did not cover abortion speak-outs for New York Magazine so you could use the words “I am not a prize to be won” and “Daddy” in the same sentence, Jasmine. Next question.

‘Hercules’

The Muses fail to say their names in the movie, but a quick Google search reveals that their names are Calliope, Clio, Thalia, Terpsichore and Melpomene. Duh! Let’s give them half credit for the first criterion: named female characters who talk to each other. Still, the muses talk about Hercules, Zeus or Hades for most of the time, passing the third criterion, but not with flying colors. If you count, “oooh yeah”s, vocalizations like “ahhheyah,” and various “You go, girl!”s, however, this number drops precipitously.

Other female characters include Hera, whose every line begins “Zeus, dear”; surrogate mother Alcmene, whose every line begins “Hercules, dear”; and the Fates, who are not named individually. The obligatory romantic object of desire, Meg, has been hurt before and won’t trust again. No chance! No way! Nevertheless, most of her plot arc features her as a former lover, future lover or vaguely sexual slave to Hades. Cool. Five out of 10 Simone de Beauvoirs awarded to “Hercules.”

‘Beauty and the Beast’

For a movie about a woman who wants to escape her provincial life, Belle sure finds adventure in the form of Stockholm syndrome. Still, she does have a singular conversation with the named Mrs. Potts — about if she’ll come to dinner, ostensibly with the Beast. This moment passes the first criteria, two and three, marginally. There’s also a brief conversation between Belle and her unnamed wardrobe: You can’t just assume that every wardrobe is named Wardrobe. That’s just insensitive. “Beauty and the Beast” receives four out of 10 Virginia Woolfs. Julia Usiak is a junior in the College. MISS-TAKES appears in print every other Friday.

the guide

FRIDAY, NOVEMBER 2, 2018

THE HOYA

MOVIE REVIEW

Flaw, Tragedy in ‘The Happy Prince’ Captivate Viewers Directed by: Rupert Everett Starring: Rupert Everett, Colin Firth PAULINA ENCK Hoya Staff Writer

Captivating performances, deft dialogue and evocative scenery distinguish “The Happy Prince” as a carefully cultivated biopic of 19th-century Irish author Oscar Wilde that may be unapproachable for those unfamiliar with Oscar. Exploring the legendary author’s slow death in his time as a social pariah, Rupert Everett, who wrote, directed and starred as Oscar in the film, pulls no punches in exploring the inherent tragedy of Oscar’s situation. Oscar’s life after being imprisoned on charges of sodomy and gross indecency is characterized by outrageous parties, increasing health concerns and broken relationships. The film skillfully pulls the audience into the emotional whirlwind of its characters by evoking an atmosphere of loneliness that is only briefly punctuated by brief moments of joy and love. Nevertheless, the film’s bleakness feels overindulgent: It just sits in its own sense of hopelessness rather than capitalizing on these feelings. Everett’s script brilliantly captures Oscar’s distinct voice by including entries from Oscar’s expansive catalogue of witty

sayings. Yet it is Everett’s original dialogue that truly shows his deep and thorough understanding of Oscar’s writing. His script truly reveals his reverence for Oscar’s words, beautifully capturing his individual voice. John Conroy’s cinematography effectively employs the landscape and architecture of each location to set the scene. Conroy’s technique in capturing the lonely plains of Dieppe, France; the romantic, run-down castle in Naples, Italy; and the warm garden in the English countryside transports the viewers both physically and emotionally into the worlds of the characters. Conroy occasionally over-manipulates the color saturation to indicate the intended mood of a scene, reminiscent of Tom Ford’s “A Single Man” — a tactic that can be distracting even when not heavy-handed. The main cast members elegantly complement one another, believably inhabiting the complicated and lived-in relationships between old friends, lovers and rivals. Everett specifically focuses on the dichotomy between Oscar’s two main love interests: Robbie Ross, played by Edwin Thomas, and Lord Alfred “Bosie” Douglas, played by Colin Morgan. Robbie, whose unconditional and unre-

 quited love renders him a tragic character, serves as a devoted friend to Oscar. Thomas shines in his debut major role, easily keeping up with the storied cast. Each frame captures his yearning, both for Oscar’s affection and to protect him as best as he can. Bosie and Oscar share a tempestuous and dramatic relationship, held together by a magnetic and seemingly inescapable pull. Morgan excellently marches the thin line between entrancing and repelling. Morgan dexterously navigates the change from the youth, exuberance and charm that ultimately give way to his selfishness and temperamental outbursts. The chemistry between Bosie and Oscar is passionate and volatile. While viewers can easily see how toxic the relationship is, they can also clearly understand what draws the two flawed individuals together. The attraction communicated by Morgan and Everett between Bosie and Oscar is incessantly palpable, making their inevitable reunion and ultimate separation all the more heartbreaking. However, Everett’s transformation to Oscar is the true standout. Outstanding makeup and prosthetics by Gerd Zeiss gives Everett an uncanny physical resem-

blance to the literary icon as he was dying. However, the physical transformation merely serves to supplement Everett’s exceptional performance. Everett fully captures Oscar’s descent into ruin. Oscar is a decidedly tragic figure, unable to escape society’s punishment after his prison term. However, unlike many other tragic martyrs in film, Everett’s Oscar does not fall into the trap of feigning perfection to create the ideal victim around which to support a narrative. Rather than portraying his protagonist as heroic or overly sympathetic, Everett starkly shows Oscar’s flaws. By showing Oscar in all his selfishness and immaturity, Everett demystifies and deglamorizes a figure often looked at through rose-tinted glasses. Some viewers may appreciate this deep exploration into an often revered figure, while others may find the heavily flawed protagonist too alienating. Fans of Oscar will love this carefully crafted passion project, though if one is not well-versed in Oscar’s life, the narrative may be confusing and difficult to follow. The care and love that Everett has shown toward “The Happy Prince” can be seen in the entirety of his script, direction, and performance.

MAZE PICTURES

Rupert Everett, who plays Oscar Wilde in “The Happy Prince,” not only captures Oscar’s physical presence but also convincingly conveys his character. By portraying Oscar’s flaws rather than presenting him as a perfect figure, the film deglamorizes the often-idealized literary icon while exploring the persecution he faced and his complex romantic relationships.

the guide

THE HOYA

FRIDAY, NOVEMBER 2, 2018

What to Do in DC

MUSIC

NEW RELEASES

SARAH CAMMAROTA Hoya Staff Writer

MADDIE FINN Hoya Staff Writer

RAGAMALA DANCE COMPANY: ‘WRITTEN IN WATER’

The Kennedy Center will be hosting two performances of “Written in Water,” the latest production by the Ragamala Dance Company, this Friday and Saturday at 7:30 p.m. The dance company specializes in Bharatanatyam, a traditional Indian dance style. “Written in Water” draws its influence from a range of themes, including a Sufi poem and an Indian board game resembling snakes and ladders. Tickets start at $39 for both shows.

THE BLACK EYED PEAS

ROBYN

‘HUMAN BEING’ ROBYN

‘BIG LOVE’ THE BLACK EYED PEAS

With her first release in eight years, Robyn’s “Honey” has the same mesmerizing vibe but more emotion than ever before. The second track, “Human Being,” encapsulates the entire album with powerful lyrics like, “I’m a human being / Baby, don’t give up on me now.” Robyn’s ingenuity and style does not disappoint.

The Black Eyed Peas return with 12 new tracks on their new album, “Masters of the Sun Vol. 1.” A standout from the album is the single “BIG LOVE,” which attracted attention in September with a poignant music video about gun violence. Lyrics like, “Our leaders are embarrassing / I think they need some parenting” provide social commentary accompanied by the beats for which The Black Eyed Peas are known.

DMV BLACK RESTAURANT WEEK

This weekend marks the kickoff of the first DMV Black Restaurant Week, a culinary event celebrating black restaurateurs in Washington, D.C., Maryland and Virginia. The event will support panels and discussions about the role of black entrepreneurs in the restaurant industry and will also partner with restaurants around the area to provide discounts to patrons. There is no cost to partake in the discounts offered by restaurants, and participating partners can be found on the event’s website. DMV BLACK RESTAURANT WEEK 2018

‘HOCUS POCUS’ AT UNION MARKET

In the spirit of Halloween, Union Market will be hosting its last drive-in movie of the year Friday, Nov. 2. Union Market has hosted drive-in movies in its parking lot throughout the summer and will end with the Halloween favorite “Hocus Pocus,” a family-friendly movie about Salem witches who return to wreak havoc on Halloween. The lot opens at 5:30 p.m. to accommodate cars and closes at 7:45 p.m., while the movie begins at 8 p.m.

WALT DISNEY PICTURES

‘LONG DAY’S JOURNEY INTO NIGHT’ AT THE FREER GALLERY OF ART

‘ONLY TICKET HOME’ GAVIN JAMES

‘UNHAPPY’ LUKAS GRAHAM

Gavin James’ “Only Ticket Home” features acoustic, feel-good pop. The Irish singersongwriter performs alongside stars like Ed Sheeran while especially shining on folk tracks. His album was launched earlier this week, quite literally, into space for a four-hour extraterrestrial publicity stunt before becoming available in stores. The title track, in particular, is a standout in a generally stellar album.

The band Lukas Graham rose to stardom with its song “7 Years” off its sophomore album. While a tough act to follow, the Danish band gave it its best shot with its third album, aptly named “3.” Its sound has matured, and the new tracks are musically impressive while still maintaining the catchy beat that originally made the band popular. The hard-hitting guitars and drums in “Unhappy” perfectly project the band’s new sophistication.

This Friday, Nov. 2, the Freer Gallery — one of the Smithsonian’s galleries dedicated to Asian art — will be showing the film “Long Day’s Journey into Night.” The film is directed by acclaimed Chinese director Bi Gan and has been lauded for its daring visuals and surrealism. Having originally debuted at the Cannes Film Festival, the film is now free to see at the Freer Gallery at 7 p.m.

LUKAS GRAHAM

GAVIN JAMES

THE KENNEDY CENTER

SMITHSONIAN

FRIDAY, NOVEMBER 2, 2018

the guide

THE HOYA

MOVIE REVIEW

Rami Malek Electrifies in ‘Bohemian Rhapsody’ Directed by: Bryan Singer Starring: Rami Malek, Lucy Boynton, Gwilym Lee PAULINA ENCK Hoya Staff Writer

“Bohemian Rhapsody,” a new biopic film, will excite even the most casual rock fans in this enjoyable exploration into the music of Queen and its larger than life frontman, Freddie Mercury, portrayed perfectly by the incredible Rami Malek. At its core, “Bohemian Rhapsody” is a story of isolation and identity. Freddie Mercury, born Farrokh Bulsara, had created a public persona built almost entirely on fabrications and lies. He legally changed his name, lied about his childhood, claimed his living parents were dead and, for much of his career, had to keep his sexuality a secret. All the falsehoods surroundeding him left Freddie lost and alone; desperate for connection, he often searched for love and belonging in the wrong places. The film focuses on three key people in Freddie’s life: Mary Austin, Paul Prenter and his fellow band members. Mary was Freddie’s girlfriend at the beginning of his career. Their romantic relationship starts falling apart when Freddie comes to terms with his homosexuality, but they remained close friends throughout Freddie’s life and he considers her the love of his life, if only in a platonic sense. Paul is Freddie’s personal assistant and off-and-on lover, who pushes the singer into heavy drug use and promiscuity. His Svengali-like control over Freddie is revealed slowly

throughout the film and contributes to much of the downfalls in Freddie’s life and career. The band serves as a surrogate family, but this unit devolves when Freddie’s behavior becomes increasingly excessive while the others begin to settle down. The beginning of the film plays out in the format of a formulaic music biopic. All the typical notes are hit — a fledgling band loses its original lead singer before meeting the iconic frontman, the band fights a doubting music executive, and the group finally achieves success with that song the band members are told no one will play. However, once the eponymous song becomes a sensation, the film improves dramatically, shifting its focus to Freddie and his life. The breakdown of Freddie’s relationship with Mary, Paul’s increased influence in his life and Freddie’s strained relationship with the other band members when they all marry and have children degrades their status as a family in Freddie’s eyes. This shift from a positive to a more ominous mood might be explained by last-minute changes in staff. Near the end of production of “Bohemian Rhapsody,” director Bryan Singer was fired and replaced with less-seasoned director Dexter Fletcher. Malek is electric as Freddie, effectively capturing everything that made him such a magnetic performer and enigmatic figure. He captivates every moment he is onscreen. Near the end of the film, there is a fairly long stretch dedicated to recreating Queen’s set at

the Live Aid concert. Since that set is considered to be one of the best rock performances of all time, spending a considerable stretch of time recreating this moment at the film’s climax comes with considerable risk — with the wrong performer, the scene could fall lifelessly flat or feel like a cheap impersonation. But Malek grants the whole scene the overwhelming energy of the original performance, transporting viewers to the perspective of the live crowd. “Bohemian Rhapsody” should prove to the world what Mr. Robot fans have known for years: Rami Malek is a force to be reckoned with and a veritable rising star. While Malek is clearly the standout of the film, much of the supporting cast serves to create an effective and fun ensemble. Allen Leech is remarkable as Paul Prenter. He perfectly captures Prenter’s transition from a seemingly kind, supportive figure to a coldhearted leech bringing destruction and isolation wherever he goes. Ben Hardy is charming and hilarious as drummer Roger Taylor. Portraying Taylor as a snarky, occasionally tantrum-prone ladies’ man, Hardy delightfully hits every clever line with wit. On the other hand, Gwilym Lee has very little acting to do as guitarist Brian May. Serving as the straight man, the script left Brian nearly devoid of personality. It feels as though May, an executive producer of the film, insisted on coming across well in the film, and was therefore rather bland in com-

 parison to Freddie and Roger. Lucy Boynton is sweet and likable as Freddie’s longtime companion and onetime fiancee Mary Austin. Boynton is given one of the more sympathetic scenes, in which she must confront Freddie on his infidelities and the broken state of their romance, and she delivers a quietly heartbreaking turn. Costume designer Julian Day handled the challenge of capturing the aesthetic of the Queen era superbly. Mercury’s variety of ostentatious sartorial choices stand out the most, and the costume department took great pains to recreate his many fun and flamboyant costumes both concerts and parties. The actors are remarkably physically transformed into their real life counterparts, with a faithful commitment to authenticity. Although the performances were strong and the visuals stunning, there was a key weakness in the depiction of Mercury’s life. With a PG-13 rating, “Bohemian Rhapsody” does not have the freedom to explore the darker side of Mercury, particularly his sex life and drug use fueled by Prenter. While viewers definitely get the sense of events in his life, the film does not delve as deeply as it should have. This aspect is crucial considering the impact his death and legacy had in addressing the AIDS crisis of the 1980s. While the film does, at times, fall into the standard biopic formula, the fascinating protagonist and brilliant leading performance rise above the formula to create something truly heartwarming and enjoyable.

NEW REGENCY PICTURES

Rami Malek, pictured center, excels in his portrayal of Queen frontman Freddie Mercury in the new biopic “Bohemian Rhapsody.” Despite Malek’s strong performance, the script does not delve deeply into Freddie Mercury’s sex life or drug use, skipping over crucial aspects of the artist’s life story and diminishing the film’s potency.

B10

THE HOYA

the guide

FRIDAY, NOVEMBER 2, 2018

ALBUM REVIEW

THEGR8KHALID

Khalid begins his new album, “Suncity,” with tracks that feature combinations of rich backdrops and powerful vocals — a novel, creative shift for the singer. However, Khalid’s originality falters in some tracks on the second half of “Suncity,” which seem out of place on the album because they lack depth and resemble pop hits.

‘Suncity’ Expands Horizons but Falls Short of Potential SUNCITY Khalid JACK COLAVITA Hoya Staff Writer

“Suncity” features pop singer Khalid trying new styles like Latin pop and pitchshifted vocal samples. Although there are moments of surprising emotional potency, Khalid ultimately lacks artistic maturity and makes only cursory efforts at experimentation. At 20 years old, Khalid Donnel Robinson, known simply as Khalid, has become an international pop-star, largely because of the success of his 2017 debut album, “American Teen.” In the wake of young pop artists like suburban heroine Lorde, Khalid solidified his position as a pre-eminent voice among the wave of millennial trap-pop, crafting tales of love, loss and youth in his beloved El Paso, Texas. Yet, after a year of riding the coattails of songs like “Location” and “American Teen” and noteworthy features on tracks like “Love Lies,” Khalid has reached a point in his career when he will need to display maturity beyond the narrow thematic lenses of his past work. “Suncity” is Khalid’s opportunity to expand his cre-

 ative horizons — which he does — while still reminding fans of why they liked him in the first place. “9.13” opens the album with luscious vocal harmonies, which serve as the backdrop to a vocal recording of Khalid being awarded the key to El Paso. Khalid continues exploring this change in perspective in “Vertigo.” Swirling strings clear the way for a powerful vocal performance, filled with echoes and hums. Describing the tumultuous path of the first year of his career, Khalid sings, “Are we alive, or are we dreaming / After the ride, are you living?” The track is as much a call to society as it is a moment of personal reflection. The bridge is a highlight of the entire project, slowly pulling the listener closer and closer with Khalid’s monotone chant, culminating in an explosion of harmony and a fourth chorus. However, the momentum of the album slows on the third track. Unfortunately, “Saturday Nights” is just as cliche as the name suggests. Khalid’s injection of the acoustic guitar is reminiscent of Ed Sheeran’s style and lacks any depth or character. Khalid attempts to make his words sin-

cere, whispering intimacies like “swishers make my throat hurt.” Yet Khalid’s lyrics concerning teenage feuds with parents, reminding his companion about “All the things that I know / That your parents don’t / They don’t care like I do,” build to his most underwhelming chorus to date. It is a moment that lacks maturity and seems misplaced within the album, begging the question of how much Khalid has really grown as an artist. A quick voice-recording interlude, reminiscent of Frank Ocean’s “Be Yourself,” marks the midpoint of the album, and brings us to “Motion,” a down-tempo, moody jam that seems to be a counterpart to “Vertigo.” Khalid drapes his light falsetto across a subtle bass and smooth drums, professing that he is “in love with the moment / See me floatin’, see me glowin.” The song’s outro is a distorted, downpitched sample of Khalid’s chorus on the album’s lead single “Better.” This choice to sample “Better” directly before it appears in the track list ties to two songs together, and combined with “Vertigo,” create a cohesive trio of sounds and ideas, with “Better” furthering the cause as the

standout R&B banger. Here, Khalid seems most comfortable, weaving between rapping and singing, his voice filled with cracks of emotion. If “Better” is Khalid at his best, then the album’s closer “Suncity,” feat. Empress Of, is Khalid at his weakest. As a Spanish duet, this track is a poor example of the Latin pop that currently dominates the charts. “Suncity” is boring, feels halfhearted and sounds more like an add-on than a genuine part of the project. This track really has no place on the album, despite being the namesake. Even with only seven tracks, “Suncity” embodies Khalid: nice on the ears, approachable and generally harmless. As an artist, Khalid is the everyman — we all can identify with him — and yet he is also one of the more interesting emerging voices in pop music. Khalid has the potential to reach astronomical highs as an artist, but to do so requires taking risks and exploring new ground. On “Suncity,” Khalid dips his foot in the water to see how cold it is. Based on the album’s high points, it seems the water is warm, but to fully reach his potential, Khalid will have to dive in.

FRIDAY, NOVEMBER 2, 2018

the guide

THE HOYA

B11

ALBUM REVIEW

MØ

MØ’s second album, “Forever Neverland,” spotlights the experience of youth and growing up. Unfortunately, the album fairs worse than fellow coming of age albums, such as Lorde’s “Melodrama” and SZA’s “Ctrl,” with weak production values and often tired lyrics, resulting in a disappointing lack of depth and consistency.

MØ’s Inconsistency Limits Depth in ‘Forever Neverland’

Forever Neverland MØ TIMOTHY MCNULTY Hoya Staff Writer

In Danish pop-artist MØ’s sophomore release, “Forever Neverland,” the singer goes on a musical quest of exploring youth but often gets lost in the oversaturated club tracks that frame her journey. After her smash-hit feature “Lean On” with Major Lazer and DJ Snake, MØ has been on the electronic-pop radar for the last four years with an image similar to pop singers like Tove Lo, Charli XCX or Grimes, who frequently appear on electronic dance music tracks. MØ poses a challenge for herself by embarking on a journey through adolescence as the album’s central trope. The coming-of-age album can clearly be done well: Lorde’s “Melodrama” and SZA’s “Ctrl” both offered their own perspectives on this staple of a musical artist’s discography. In each of these albums, a song about a party or a relationship transforms into a vignette that illuminates broader themes throughout each artist’s experience. However, the album’s production, along with often tired lyrics, limit the depth that “Forever Neverland” manages to reach. The album’s shallow nature appears, for example, on songs like “I Want You” the chorus of which features “Yes,

 I want you / And every single thing that you do,” the song sounds half-baked and careless. “Trying to Be Good” similarly deals with the pressures of stardom and conformity but loses its momentum when the chorus slams into a bridge featuring clunky lyrics like “Bring the apple to the teacher / Do as I should.” The common thread within the lyrics ends up being tonal inconsistency: MØ’s attitude toward getting older rapidly shifts from a bittersweet recognition of humanity to a desire to rebel that sounds more like a teenager than a 30-year-old artist. MØ’s indecisiveness in choosing and sticking with a tone plagues her second album throughout its 45-minute run time filled with electronic interludes that, even when well-done, sound forced on songs that would sound better without a bass drop. Songs like “Way Down” and “Blur,” both dealing with the loss of control that follows a young star’s move to Los Angeles, capture the anxiety and ecstasy that come when dealing with Hollywood. However, choruses on both inspired by fusions between traditionally non-Western instruments and electronica only crowd and confuse the songs, rather than adding any substance. Likewise, “Beautiful Wreck” taps into

the fears associated with falling deeply, almost dangerously, in love with someone. Yet the song quickly follows the same model of many others on the album. When MØ sings about losing herself in a new city, a new lifestyle and a new lover, the descent into this spiral feels real: She illuminates how a fresh start can provide an opportunity to run away from adulthood rather than force a confrontation with it. Despite the intimacy of what MØ shares, the repetitive and unnecessary model of the electronic pop hit song gets in the way of the album’s shining moments. This hit song archetype is done well on “Forever Neverland” with Diplo’s collaboration “Sun in Our Eyes.” Here, the production and lyrics match tonally while still touching on the themes found throughout the album. “Red Wine” featuring Empress Of similarly presents an image of MØ at her youngest and freest, even if there is a tacit acknowledgement that youth is not eternal. More importantly, each individual piece comes together to form one fully realized song. Paired with a backing track that sounds like something from Flume’s album “Skin,” “If It’s Over” juxtaposes its industrial sound with MØ and Charli XCX’s natural chemistry to face a hard truth about the status of a relationship.

Each track breaks out of the rut established by the filler songs on the album and stands on its own, while still contributing to the project’s initial goal of exploring and holding onto youth. Some of the most heartfelt writing and vocals come on the songs that shed MØ’s usual persona for a more pared-back, while still electronicainclined, version of the Danish songstress. In “Mercy,” featuring What So Not and Two Feet, MØ tests her voice’s limits, putting her in a vulnerable position that ultimately pays off. The track’s producer collaborators then take her voice and transform it into an instrument by layering additional vocals. The short ninth track “West Hollywood (Interlude)” and the album closer “Purple Like the Summer Rain” share intimate moments of longing and regret that complicate the otherwise radio-friendly party songs. Although MØ’s second album pushes her to take more risks both vocally and sonically in ways that develop her artistry in some songs, her awkward, overused lyrics and safe production choices such as EDM interludes on “Blur” and “Way Down” are painfully visible. “Forever Neverland” may not have fulfilled every expectation, but that judgment only comes from the recognition that MØ is an undoubtable force in pop who has a lot more to offer.

ILLUSTRATION BY: ANGELA PEREZ, JANIS PARK, SAMUEL NELSON/THE HOYA