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friDAY, september 15, 2017

Beneath The Tombs: A Rich Art History Kathryn Baker Hoya Staff Writer

Few restaurants have had as large an impact on the Georgetown community as The Tombs. There, men have proposed on bent knee, alumni have reunited and students have gathered for trivia nights, dance parties and 21st birthday celebrations. From its opening in 1962 to its role in the 1985 drama “St. Elmo’s Fire,” The Tombs is quintessentially Georgetown. Yet beyond the burgers, booze, serenades and sports games, The Tombs is not just a favorite restaurant for Georgetown residents. It is an archive — a treasure chest brimming with works of art. Mainly sports-related or historical in theme, these pieces of art serve not only as conversation starters, but also as opportunities to explore Washington, D.C.’s history. With life constantly charging ahead, there often seems to be little motivation to stop and revisit the past. The Tombs

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Georgetown alumnus Richard McCooey (C ’52) envisioned The Tombs as a vibrant pub that would bring the community closer together. He was involved throughout the restaurant’s development process by selecting decor that he felt was timeless. has worked to counter disinterest by featuring works of art that encapsulate the Georgetown spirit. Its dozens of illustrations and posters of 20th century

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To preserve the integrity and legacy of its works of art, all of which are original, The Tombs uses museum-grade framing techniques to ensure its pieces are protected.

propaganda remind us of our strength in unity, encouraging us to come together as a community. A Vision Comes to Life When the late Richard McCooey (C ’52) founded The Tombs, he had a vibrant vision: build a pub that would keep student celebration close to Georgetown University’s campus and bring all members of the community together. Both a literature and history buff, Richard McCooey wanted the pub’s decor to be rustic but timeless. “He wanted it to feel like it had always been here,” Karen McCooey, an art curator for The Tombs, said in an interview with The Hoya. To create that feeling, Richard McCooey was involved in every step of the restaurant’s development. The custom brick floor was inspired by a church in western Virginia. For the booths, inspired by the seating he saw in a bar in Princeton, N.J. he selected authentic leaded glass from a building in D.C. Richard McCooey was a true lover of art, and he wanted the restaurant’s lighting to highlight the pieces he had selected as well. Some of the light decorations are artwork themselves; the lanterns on the walls are original English lanterns from the 1800s. Every piece, whether practical or purely aesthetic, evokes nostalgia and an appreciation for history. “Tombs has a uniting atmosphere because the execution is united,” Karen McCooey said. The Collecting Begins Richard McCooey began collecting his art at age 21 after falling in love with a painting by Frederic Remington, a 19th century American painter and illustrator. By the time he started work on The Tombs, Richard McCooey had compiled an arsenal of artwork dating back to the early 1800s. He believed that people should always buy what they love, and he wanted to share what he loved with Georgetown.

Richard McCooey’s personal collection includes Sir Leslie Matthew Ward’s famous Vanity Fair caricatures, Harper’s Weekly illustrations, recruitment posters from World War I and, according to Karen McCooey, “every New Yorker cover since the day it was created.”

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No matter what it is, art communicates. You didn’t have to know Richard [McCooey] or know the art to feel transported to a different place in time.”

KATHERINE MCCOOEY Curator, The Tombs

Many of the illustrations were produced on limestone slates, said Scip Barnhart, a professor in Georgetown’s art and art history department. During the process, known as stone lithography, water and ink are manipulated to transfer an image from stone to print. The result was a number of beautiful graphic prints that now adorn the walls of The Tombs. Each piece chosen for The Tombs is meant to exude the English spirit of camaraderie and sportsmanship that Richard McCooey grew to value during his time as president of the Yard, the predecessor to the Georgetown University Student Association, as well as during his two years in the Air Force. These values were to be an integral component of The Tombs, and they are values that live on through the artwork today. “You’re getting the soul of an individual here,” Karen McCooey said. “There will never be another Tombs anywhere.” To preserve both Richard McCooey’s

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The Tombs is not only an integral part of Georgetown’s community but also an icon of popular culture; it is known for its role in the 1985 drama “St. Elmo’s Fire.” The artwork in The Tombs, selected by founder Richard McCooey (C ’52), is meant to evoke the English spirit of camaraderie and sportsmanship. legacy and the value of the artwork, The Tombs uses museum-grade framing techniques. The pieces are placed on acidfree paper and mats, then placed behind ultra-violet protecting glass. Because all the works of art are original, not replicas, they are mounted using hinges rather than glue or tape. Illustrations Elevated In the 1800s, when many of the works of art in The Tombs were created, illustrators were considered lesser artists because they worked to meet assignments, and not from the heart. “Illustration is a very important form of art, but it used to be a step below,” Barnhart said. Little did these illustrators know that over a century later, their works would be at the center of dinner conversations for students and Georgetown residents alike. The success of these prints stems from their ability to provide snapshots of different times and places. One of The Tombs’ most famous pieces is a Naval recruitment poster by Howard Chandler Christy from 1917 that reads, “I Want You for the Navy.” “That’s, of course, a double entendre. It’s sexy, it got your attention and it got the Navy

a lot of attention,” Barnhart said. At the time, the poster could be purchased for at most $50, but the one hanging in The Tombs could sell for upwards of $7,000 and $10,000 today.

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[The artwork at The Tombs] reminds us of the turn of the century when life was different, but they still had an enthusiasm for life.” SCIP BARNHART Professor, Art and Art History Department

Although the prints were not intended to be catalysts for artistic discussions, Richard McCooey had the ability to look beyond the illustrations’ practical purposes to see them as true masterpieces, gradually bringing other people to appreciate themas well. “Richard was born with a level of taste that most of us only aspire to,” Karen McCooey said. “His spirit is in the prints.”

Beyond the Georgetown Bubble Although political administrations, neighborhood dynamics and student bodies have changed since The Tombs opened 55 years ago, the artworks at the restaurant have remained an integral part of its atmosphere. “[The artwork at The Tombs] reminds us of the turn of the century when life was different, but they still had an enthusiasm for life,” Barnhart said. Popular artistic styles may change, but art has always had the power to communicate the beliefs and passions of people. For this reason, art continues to be a growing field of interest for students in the United States. At Georgetown, the art and art history department offers two undergraduate majors, in art studio practice and art history, as well as a master’s degree in art and museum studies. The university enrolls approximately 300 undergraduates in 29 art studio classes and 300 undergraduates in 13 art history classes, every semester. “In the 1960s, there might have been 1,000 people in the country looking for art jobs,” Barnhart said. “Now, there are one million.” A Legacy of Love In establishing The Tombs, Richard McCooey hoped to build a gathering place

that would withstand the test of time. So far, both Karen McCooey and Barnhart agree that he was successful in his mission. “Ultimately, when you come in here, the vibe that’s being screamed is ‘I love you’ and ‘I’m cheering you on,’” Karen McCooey said. The preferences of the baby-boom generation have been pushed to the wayside as millennials have started to envelop the art industry. “You guys are taking over, and you’re going to change things to what you like,” Barnhart said. “That’s how art goes.” Yet, just like our generation still listens to Elvis and Michael Jackson, Barnhart predicts that an appreciation for the artwork in The Tombs will remain. As for the items from Richard McCooey’s collection not currently displayed at The Tombs, Karen McCooey plans to keep his collection together, and she hopes to one day open a museum to honor his legacy. Ultimately, at The Tombs, the goal of art is to bring people together. “No matter what it is, art communicates,” Karen McCooey said. “You didn’t have to know Richard [McCooey] or know the art to feel transported to a different place in time.”

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friDAY, september 15, 2017

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As part of an ongoing effort to expand its collection of Japanese postwar artwork and photographs, The Hishhorn Museum and Sculpture Garden has acquired 11 new avant-garde photographic works from a wide range of Japanese artists. Several other exhibits that explore other fields of art are available for view at the museum.

Exploring Avant-Garde Art at the Hirshhorn

rachel linton Hoya Staff Writer

With its recent acquisition of 11 Japanese avant-garde photographic works last month, the Hirshhorn Museum and Sculpture Garden hopes to incorporate “an unprecedented critical history of the postwar Japanese avant-garde” to its collection, according to a Hirshhorn press release. The Hirshhorn has been expanding its collection by acquiring pieces from the 1960s. The works come from a wide range of Japanese artists from the avant-garde period, including Eikoh Hosoe, Minoru Hirata, Tatsuo Kawaguchi, Miyako Ishiuchi, Kōji Enokura and Takashi Arai. The acquisition of these photographs is part of an ongoing effort to expand the museum’s collection of Japanese postwar art, and to “champion artists and artistic movements across the globe,” according to the museum’s press release. One of the main goals of the museum is to expand its commitment to “global modernism.” “We’re committing to showing art practices outside the Europe and the U.S. in order to introduce what was happening in Asia, Latin America and other continents that was at the same time, but different, from the more well-known narratives of 20 and 21st Euro-American art,” Hirshhorn curator Mika Yoshitake wrote

in an email to The Hoya. One of the pieces, acquired in 2015, is Natsuyuki Nakanishi’s “S-Rhyme” painting. Also known for his absurdist street performances, Nakanishi is captured in the newly acquired 1963 Hirata photograph, “Nakanishi Natsuyuki’s Clothespins Assert Churning Action.” Together with Hosoe’s photographs documenting performance, these works provide a window into the art of 1960s Tokyo. Other new works belong to the Monoha “School of Things” movement, which combines industrial and natural materials to grapple with the artists’ uneasiness and discomfort with the modernity of Japan after World War II. The rise of the movement coincided with the signing of the second extension of the U.S.-Japanese Security Treaty in 1970 and the subsequent “Anpo” generation activists, who were concerned with American domination over Japanese identity. Enokura was a seminal figure in the movement, and his 1970s photographs “Symptom—Sea, Body,” “Symptom—Lump of Lead to the Sky: Mountain in Nagano” and “Symptom—Floor, Hand” helps bring the rich artistic movement Mono-ha to the United States. A few of the acquisitions are more recent, connecting the postwar influence to the present. Arai’s “July 25, 2011. Radioactive Lilies, Iitate Village, Fukushima” and

“May 21, 2012. Annular Eclipse at 7:42am Onahama, Fukushima No. 1” both depict the recent nuclear disaster at Fukushima while maintaining a connection with the past. Arai is one of the last remaining artists to use the traditional daguerreotype photographic process.

The acquisition of these photographs is part of an ongoing effort to expand the museum’s collection of Japanese postwar art. The museum possesses a recent history with the Japanese avant-garde. Yoshitake, who specializes in the postwar Japanese art, joined the Hirshhorn staff in 2011, and wrote to The Hoya in an email that the museum has been “acquiring and incorporating expertise in Japanese avant-garde” for over 10 years now. After previously working as a liaison for The Guggenheim Museums and Foundation and project coordinator for the Museum of Contemporary Art in Los Angeles, Yoshitake has become one of the museum’s main Japanese art consultants.

Earlier this year, her curation expertise led to “Infinity Mirrors,” a highly successful exhibition by Japanese conceptual artist Yayoi Kusama. Kusama first became known in the New York avant-garde scene of the 1960s and has since worked in painting, sculpture and fashion. Her “Infinity Mirrors” retrospective was unprecedentedly popular and the museum drew in 475,000 visitors during the three-month period — representing the highest visitor count in the museum in over 40 years. The exhibit has since moved on to Seattle and will travel to an additional three cities as part of Kusama’s first U.S. exhibition in 20 years. However, one of her famous polkadotted pumpkins remains on display in the Hirshhorn Sculpture Garden. The photographs are not yet exhibited but are set to debut in the following months. “We hope to exhibit the new Japanese photo acquisitions alongside European and American works of the same time period to create a new dialogue that spans nations, concepts and ideas about art making,” Yoshitake wrote. In the meantime, Hirshhorn’s commitment to globalism remains on display in realms that go beyond Japanese art. Current exhibitions include a collection of Lego portraits, “Trace,” by Chinese artist Ai Weiwei and Russian-born Ilya and Emilia Kabakov’s “The Utopian Projects.”

friday, September 15, 2017

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Feature

Korean-American Narratives in ‘Evolving’ Dani Guerrero Hoya Staff Writer

Today, the United States is home to nearly two million Korean-Americans, many of whom have spent part of their youth in on the Korean peninsula. The narratives of Korean-Americans are shaped both by Korean tradition as well as elements of modern Western culture. The Korean Cultural Center in Washington, D.C., has partnered with artistic collective The Drawing Room to explore the stories of Korean-Americans with a new exhibition entitled “Evolving,” which features works by five Korean-American artists who use a variety of creative media to reflect on their early youth in Korea and present lives in the United States. “Heritage can be a powerful source of identity, and as it is often the case, how we view our own past evolves with time,” Korean Cultural Center Director Myeongsun Park said. “These artists explore how their youth in Korea has shaped their lives in America.” Created in 2009, TDR highlights a wide range of creative visions and artistic techniques. The collective has hosted several exhibitions in venues such as the Riverside Gallery in Hackensack, New Jersey and Powerhouse Arena in Brooklyn. “Evolving” is its seventh exhibition. “Applying as a group of artists is easier because we contain different voices, that is our strength, the diverse experiences and interpretations of life in America we can each present,” artist and TDR member Jayoung Yoon said. “Besides, we are very much like family, we love and support each other deeply.” Curated by Stephanie Lee — one of the five TDR artists featured — the exhibition is in the Korean Cultural Center’s two main galleries. Artists Jin Cho and Yoon are featured in the west-side gallery, while works by Sueim Koo, Dong Kyu Kim and Lee appear on the east-side gallery. Jayoung Yoon Yoon is an interdisciplinary artist whose work is based on an unconventional medium: human hair. “I have shaved my head completely over seven times in the past 10 years.” Yoon said. “The strands of my hair are then hand-knotted and weaved into see-through structures, which represent invisible thoughts and memories.” Part of the appeal of hair for the Korean-American artist is based on its sacred character in traditional Korean culture. Since hair does not decay for long periods after death, Korean tradition associates it with the preservation of ancestry and spiritual power. “I was looking for a material that represented physicality and the body, but at the same time represented thought and the invisible, mystic workings of the mind,” Yoon said. “Some of my works have circular shapes that represent interconnectedness and oneness.”

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At the Korean Cultural Center, artists unite to showcase their common Korean-American heritage as well as reflect on the experience of living in two worlds as immigrants through their scupture, canvases, multimedia exhibits and other artistic creations. Jin Cho Cho seeks to explore the concepts of pathfinding and reincarnation using intricate sculpture work. She creates hanging sculptures, custom combinations of threedimensional textures and two-dimensional frames. “You will see many different lines and circles in my artwork. Each line represents the path a person can take in their life. They all follow the same current, when you follow the line you can return to the starting point. This is the concept of rebirth,” Cho said. Cho’s structures connect in circular patterns, inspired by the annual rings from the trees which simulate the idea of an individual’s life. “I listened to the interview of a woman who lost her son to an act of terror. She said, ‘Why is my son not coming back again? Even the leaves of the trees eventually come back after they fall,’” Cho said. “I wanted to comfort her and say, ‘Your son will come back and he will live a different life.’” Sueim Koo Borrowing lines from her journal writing, Koo builds on the concept of reminiscence by using mixed media to visually represent key moments charged with emotion and reflection from her life. “These memories came alive beyond geographic imagery, each of them holds

its own story,” Koo said. “I created dreamlike images based on the sentences of my personal journal, which I have kept since I was a teenager.” Koo covers her canvas with rice paper and adds rich blocks of color to create phantom-like, layered works. She titles each piece with words from her journal, imbuing her works with memory and emotion. “I feel that my memories are filtered and purified by time, appearing as very strong, unique and significant images,” Koo said. “As I do this, I feel as if I have crawled back to the moment I wrote in my journal.” Stephanie Lee Inspired by minhwa, a form of traditional, nature-oriented Korean folk art, Lee uses traditional artistic mediums, such as natural mineral pigments and Korean mulberry paper, to depict modern subjects. “I use minhwa in my paintings because I value culture and history. It was surprising for me to see how well tradition and innovation worked together,” Lee said. By incorporating modern material objects, like Tiffany boxes and Cartier jewelry, into the traditional minhwa artworks, Lee explores the driving forces behind human action, namely happiness and progress. “I’m not critiquing the material world in any way. I believe that if you take it as a positive energy, it can become a source

of inspiration and aspiration for human desire,” Lee said. “While the objects may change, I believe there is an unchangeable force for humans trying to be better, to improve ourselves.” Dong Kyu Kim After moving to the United States in 2007 as a fashion designer, Kim joined TDR in 2009 and delved into the art world. Kim’s patchwork garments seek to reconcile status and happiness as merging concepts. The garments are stitched out receipts Kim has collected throughout her time in the United States. “The process of sewing together these receipts can be seen as me moving away from my own memories while seeking validation of my existence in America,” Kim said. “I also sewed these receipts into the shapes of Korean traditional garments to express my own essence and identity.” By reflecting on their journeys as Korean-Americans, these artists have developed deeply personal, rich works of art well worth viewing. As viewers pass through each exhibit, they will be compelled to contemplate their own identities and stories as well.

“Evolving” is free and open to the public, on view until Sept. 29 at the Korean Cultural Center, located at 2370 Massachusetts Ave. NW, Washington, D.C.

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friDAY, September 15, 2017

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The Mexican Cultural Institute is showing a new exhibition, “Before the 45th | Action/Reaction in Chicano and Latino Art,” displaying work from modern Chicanx and Latinx artists responding to issues such as financial disparity and discrimination. The artwork uses political insignia, satire and folklore to celebrate Chicanx and Latinx heritage.

New Focus on Chicanx and Latinx Art

Dani Guerrero Hoya Staff Writer

Over the last four decades, Chicanx art and Latinx art have grown as artistic currents of the modern American cultural landscape. Mainly founded by Southern California-based Chicanx and Latinx artists, these movements intend to shed light on the economic, political and social disparities faced by Chicanx and Latinx. In partnership with AltaMed Health Services, a Los Angeles-based community health center, the Mexican Culture Institute presents “Before the 45th: Action/Reaction in Chicano and Latino Art,” an exhibition featuring emerging and established Chicanx and Latinx artists. Dating back as early as the 1970s, these artworks survey an ongoing dialogue shaped by Chicanx and Latinx leaders and their successors about the hopes, dreams and fears of multicultural communities. “The Mexican Cultural Institute has never shown Chicano art before, an important part of the great nation of Mexican descendants,” Mexican Cultural Institute Executive Director Alberto Fierro said. “Borders are relative in a historical sense, one third of the U.S. used to be Mexico, so there are roots of history featuring these two countries already together.” The exhibition links past, present and future by exploring the diverse approaches taken by artists to communicate their individual and community needs and to celebrate their multinational identity over time. “When I first heard the title of the exhibition, I thought it might be perceived as a provocation. But even if it were, it is still a fact. We don’t know what will happen after the Trump presidency, but we do know what has happened before,” Fierro said.

The exhibition not only looks at the last 40 years of Chicanx and Latinx responses to sociological, educational and financial disparity, but seeks to introduce the Washington, D.C. community to these multicultural identities. “It is important for the public to be reminded that Latin American culture has been part and parcel of American life since before the U.S. was the U.S.,” AltaMed Collection Curator Julian Bermudez said. “Contemporary Latino culture has been informed by this marriage between the U.S. and Mexico and the children that it has borne.” Some of the artists make use of political symbols to depict conflict in their work, analyzing and contesting stereotypes of Chicanx and Latinx through satire and humor. Mexican-American graffiti artist Man One presents “Alienation,” a work based on the wordplay between alien and alienation. “There is a big segment of the population who uses terms as ‘illegal aliens’ for Mexicans coming into the U.S., basically, not even recognizing them as humans,” Man One said. “My initial thoughts came from the recent rhetoric I had been hearing. There is a big, fat character sitting on the wall, deciding who gets to come over or not.” Late Chicano artist and activist Melesio Casas employed political insignias as well as verbal and visual puns to create large-scale paintings that came to be known as “humanscapes.” “While he had very strong political beliefs and conducted very strong political analyses, his work remained largely layered and symbolic. There was a degree of complexity and always a degree of humor, he thought of himself as a satirist,” said Ruben Cordova, curator and friend of Casas. Cordova believes that while Chicanx and Latinx artists have disseminated more holistic

perspectives on their multicultural identity, there is still progress to be made. “Mel probably expected acceptance to come a lot quicker than it did. There are still very basic struggles for rights. People wouldn’t have really foreseen the Trump effect, hostilities to Mexicans, Mexican-Americans and immigrants in general,” Cordova said. “In a sense, we’ve had a lot of regression, rather than progress. Everybody was very hopeful in the heyday of the Chicano movement and expected for all the gains to be permanent instead of always threated, always reversible.” Los Angeles-based artist Jose Ramirez emphasizes the social and political implications of Chicanx and Latinx art as a vehicle used by the Mexican and Latinx communities who feel unheard. “With lot of the stuff that happened with [the Deferred Action for Childhood Arrivals program], I saw a lot of people using art, both artists producing works for marches and audiences posting and distributing art as a form of protest,” Ramirez said. “Art is a strong, powerful tool.” While Ramirez celebrates color in his depictions of life in the Latinx neighborhoods of Los Angeles, his art also contains a forceful critique of marginalization within these spaces. “My work is a mirror of what I grew up around. You can’t avoid being a political artist as a Chicano artist. Art is a political act whether you want it to be or not,” Ramirez said. “Being conscious of what is going on, is hard not to be somebody who is critical of the way people of color have been oppressed; Latinos, Chicanos, immigrants at this point as well.” Other artists, such as actor and painter Pepe Serna, express the candor and warmth of Mexican folklore.

“I celebrate color. My protest is about color. My great-grandmother was an incredible storyteller and I hoped to transmit the emotion, the color from her stories about Mexico through my art,” Serna said. Inspired by his relationship with his wife, Serna mixes pre-Hispanic symbols and vibrant patterns in lively portraits of couples. “My work is happy, it’s a feel-good when you look at it. The spirit of my art is great people are great people everywhere and jokes are jokes everywhere you go,” Serna said. First-generation Mexican-American artist Ana Serrano considers herself part of both cultures. She believes in the power of art to foster dialogue. “Art is a conversation starter. It engages the viewer and asks the viewer to analyze, question and reflect on culture,” Serrano said. “Even before Trump became president, racism and marginalization have existed. But I think now, people are looking for more answers. It is crucial to continue this work, particularly during this administration.” Art is a vehicle of expression, change and unity. This exhibition introduces a form of American art that is still relatively young, while offering audiences the chance to engage with Chicanx and Latinx voices from different times. With a wide range of landscapes, portraits and photos, the exhibition has something for everyone who wishes to embark on the richly colored, emotional and challenging journey of Chicanx and Latinx in the United States.

“Before the 45th | Action/Reaction in Chicano and Latino Art” is a free exhibition on view at the Mexican Cultural Institute, located at 2829 16th St. NW, Washington, D.C. The exhibition is available for viewing Sept. 5 to Dec. 29, 2017.

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friday, September 15, 2017

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CHRONICLES FROM COPENHAGEN

Past Meets Present in Oslo and Copenhagen

Grant Olson

his semester, I am away from the Hilltop studying abroad in Copenhagen, Denmark. Copenhagen is a cosmopolitan and thriving city; the people and the culture make it exceptionally easy to fall in love with the Danish — and Scandinavian — way of life. For example, I have already taken to seeking out hygge wherever possible. The Danes love their hygge, a way of life that translates roughly to coziness. Hygge drives the Danish people to seek out comfy bars, homes and restaurants to brave the cold and darkness that often come with living in Scandinavia. One thing that has entranced me about Copenhagen and Scandinavia since I arrived in mid-August is the intersection of history and modernity. Every street in this city is filled with old, wizened buildings that exhibit classic Scandinavian architecture right next to

sleek monuments built using modern Scandinavian design. A walk along the Nyhavn canal, which features some of Copenhagen’s most colorful buildings, leading to a polished Danish theater on the waterfront, is evidence enough that Copenhagen is a city deeply connected with the past while pushing ever onwards into the future. I have also made a weekend trip to Oslo in neighboring Norway to experience the culture of a different city, people and country. In much the same way as Copenhagen, Oslo is a city that thrives on the nexus of the past and the future. From its striking opera house, which allows visitors to walk on top of its slanted facade, to its late 14th-century Akershus Fortress guarding the entrance to its glistening coastline, Oslo has it all. Oslo is also incredibly expensive; it is tied with Hong Kong for the honor — or perhaps, dishonor — of being the world’s most expensive city. When one walks through Oslo, it is not uncommon to see rows and rows of Teslas and other luxury cars dotting parking spaces in front of pockets of aged buildings containing the wisdom of a society that dates back thousands of years. If that does not represent the bond between the past and present, then I do not know what does.

A particular highlight of my visit to Osloand a lasting example of Scandinavia’s vast history existing alongside its march toward the future- is the Viking Ship Museum featuring the beautifully preserved ninth-century Gokstad and Oseberg Viking ships. Having taken a class last spring semester on the history of the Vikings, it was an aweinspiring experience to be able to see two larger-than-life artifacts of the Viking Age in the region in which they were built. Furthermore, the ships themselves seem to embody the spirit of Oslo and Scandinavia; that these ships reside in the most expensive city in the world reflects the interplay between being distinctly Scandinavian and existing in our current globalized society. Perhaps most interesting to think about is how the lessons of Scandinavia’s history have informed this region’s development in recent years. When looking at the Viking ships, it is impossible not to see the influence of the rounded, sleek 1,000 year old hulls on the modern architecture of Oslo; the ritzy and unyieldingly modern neighborhood Aker Brygge right opposite the 14th-century Akershus Fortress similarly eschews the straight lines of traditional architecture in favor of shapes and slants that reflect the city’s ties to the sea and

to its historical heritage. One has a hard time separating the past from the present in Oslo, and that has proven to be true for Copenhagen as well in my short time here thus far. My time in Copenhagen and visit to Oslo have proven to me that Scandinavia has a distinctive approach to its history. While other countries and cities similarly focus extensively on their history and culture to guide their way forward- Paris and London come to mind- a walk through the streets of Copenhagen or Oslo proves to the traveler that these cities engage with the past in a truly beautiful way. It is hard to put into words the differences between these locales and American metropolises; although I am a die-hard New Yorker and will never admit that New York is not the best city in the world, there is a certain character that sets Copenhagen and Oslo apart. Every walk down a new street in this city is another opportunity for me to engage with Scandinavian culture, and I cannot wait to see what else I learn from my travels through Copenhagen and the rest of Europe. Grant Olson is a junior in the School of Foreign Service. This is the first installment of CHRONICLES FROM COPENHAGEN.

Por Otro Lado

Walks Through Teotihuacán Grace Laria have been spending my first month of the fall semester not on the Hilltop, but in Mexico City, where I have been immersed in a culture filled with the smooth but exhausting Spanish of chilangos — natives to the city — the gloriously deep blue of Frida Kahlo’s house and the mouthwatering aroma of tacos al pastor roasting in the streets. I hope to use this space to not only encourage Hoyas to choose Mexico as a meaningful study abroad option, but also to challenge the popular definition of culture as primarily focused on art, music and food. It is essential that we understand culture through the historical and social processes and dynamics that make up a society in its current form, producing recognizable and tangible elements of Mexican culture such as Diego Rivera’s explosively colorful murals; the sounds of cumbia, a genre of dance music popular throughout Latin America; or the picante, a spicy flavor that burns my tongue. My major, culture and politics, demands the critical examination of Mexican culture

through a historical lens, and takes into account the impact of territorial colonization and economic imperialism on Mexico’s current cultural reality. Using this understanding of culture, which certainly includes art, music and food as well, I hope to share my personal experience of Mexico as I learn more about a country with a history so intricately tied to that of the United States, yet seldom emphasized within the U.S. educational system. I would also like to acknowledge my position of privilege as a white, American person with no Latinx heritage writing this column and emphasize that it does not intend to presume any kind of expertise on Mexican culture, but rather serve as a personal reflection on my experience studying abroad. A few weeks ago, I visited the pyramids of Teotihuacán, which many people, including myself, incorrectly assume are ruins of the great Mexica, or Aztec, civilization. Approximately one hour from Mexico City, Teotihuacán is actually the name given to the city by the Mexica, loosely translated to “place where the gods emerged.” The impressive pyramids and complex urban structure that make up Teotihuacán were constructed around A.D. 100, long before the Mexica found the ruins in the 14th century. By A.D. 400, the Teotihuacanos had built a thriving, powerful metropolis consisting of ethnically diverse residential neighborhoods, advanced canal systems and, of

course, towering pyramids dedicated to their deities. However, by A.D. 750, Teotihuacán was abandoned after what archaeologists suggest was a devastating civil war, its inhabitants leaving behind a breathtaking monument to their religious system and way of life. Although Teotihuacán has remained important to indigenous groups and Mexico’s national identity as it relates to its pre-Columbian history, the focus on the city as a tourist hub and element of Mexico’s nationalist narrative has encouraged the erasure of other prominent indigenous groups from Mexican culture, including the Zapotec and Mayan civilizations. Furthermore, it has allowed the veneration of pre-Colombian culture by Mexicans and foreigners alike without addressing past and present exploitation of indigenous peoples. Walking through Teotihuacán was both awe-inspiring and achingly sad. I gazed at the grandeur of those ancient pyramids, the monarch butterflies gingerly fluttering against their sloping stone walls, and I saw ghosts — phantoms of mighty rulers, priests and everyday market-goers. While the Spanish may not have ravaged Teotihuacán as devastatingly as they did Tenochtitlan, the Mexica capital, I cannot fathom the violence, both physical and cultural, that was necessary to turn thriving metropolises, entire civilizations teeming with life, into silent ruins. Walking through a city whose gods were killed by those who lusted after

gold and souls for the Catholic Church makes clear how persistent structural inequality in Latin America remains inextricably tied to early acts of colonial violence in the Western Hemisphere. According to the United Nations’ 2015 report on the state of the world’s indigenous people, indigenous groups account for 12.6 percent of the Mexican population, and 80.6 percent of this indigenous population live in extreme poverty, suffering from issues such as food insecurity and a lack of sufficient competent health services. As American tourists, we are often encouraged to barter with street vendors, such as those of indigenous descent who lined the Avenue of the Dead at Teotihuacán. Guidebooks advise us to haggle with those selling their wares in foreign countries almost as a rite of passage for any good traveler, determined to drive down the price despite the favorable exchange rate: 18 pesos to the $1 I carried in my back pocket. Although a visit to Teotihuacán remains an essential to-do for anyone visiting Mexico, the ruins demand an acknowledgment not only of the continued oppression of Mexico’s indigenous peoples but also of the fact that we are visitors treading on holy ground. Grace Laria is a junior in the School of Foreign Service. This is the first installment of Por Otro Lado.

THE HOYA

the guide

friDAY, September 15, 2017

Movie review

NEW LINE CINEMA

Despite its talented cast and stellar setting, “It,” directed by Andy Muschietti, fails to move beyond Hollywood’s horror stereotypes. The film, a remake of the 1980s miniseries adapted from Stephen King’s novel of the same name, evokes 1980s nostalgia, with many references to the style, music and technology of the decade.

Starring: Jaeden Lieberher, Bill Skarsgård Directed by: Andy Muschietti

William Leo

Hoya Staff Writer

In order for any horror movie to inspire anything beyond trivial fright, it must touch on the substance of real human experience. Through its scenes of terror, the film must tell a story with implications beyond flashy special effects and scare tactics. “It,” the newly released remake of the 1990s horror miniseries based on the Stephen King novel, moves toward accomplishing this. However, it ultimately cannot break free from tired tropes and horror techniques. Nonetheless, “It” offers viewers a delightfully scary — at times even heartwarming — thrill ride tinged with 1980s nostalgia. In “It,” a group of unpopular middle school friends have just been let out of school for the summer, ready for three months of fun. But beneath the surface, human and supernatural evils lurk in their hometown of Derry, Maine. Pennywise, a dancing clown, has awoken from a decade’s long hibernation, re-emerging with an antiquated costume and a blood-stained smile. He has returned to terrorize the cursed community, while adults and children alike commit petty acts of cruelty, such as verbal and physical abuse. Parents manipulate their sons and daughters, vicious bullies attack younger children and abuse runs rampant. Children begin to go missing

one by one as the town searches for them, with little success. Even more sinisterly, the children begin to see strange and terrifying visions of the mysterious clown. These signs are more than threats of violence, though, as they seem to embody the most terrible fears of the children who experience them. “It” certainly signals that the ’80s are the new trend. The film borrows heavily from Netflix’s “Stranger Things,” also starring the television show’s lead child actor, Finn Wolfhard, as the wisecracking sidekick among the children. It also fully embraces the ’80s nostalgia of our present culture. The creators of the film have updated the setting of the original series, which was set in the 1960s, to small-town America in 1989. The music of New Kids on the Block blares from Walkmans as mullet-wearing vandals roam the streets in vintage cars. However, for all the aesthetic consistency and flourish, the film’s references to the 1980s fall flat. The decade’s trends and ethos play no large part in the plot or the action of the film, leading one to suspect that the attention paid to music, fashion and technology are cheap gambit. Not coincidentally, this choice for setting and style will be consumed by millions of viewers who grew up in the 1980s and are just as hungry for nostalgia of their own time as Baby Boomers are for mementos of the 1950s. Also borrowed from the 1980s is a stereo-

 typical vision of middle school life filled with juvenile crushes, bloodthirsty bullies and a ragtag group of unpopular kids who have to band together. Bullying is especially prominently in the movie, as human evil and otherworldly horror begin to parallel one other. As so often happens in King’s books, the refinement of the small town only hides a core of human wretchedness. People have an infinite capacity for evil and in the small town of Derry, this pessimism makes several poignant appearances. The children on which the movie focuses on bear the brunt of wrongdoing, shattering the seemingly flawless mirage of childhood innocence. With a recurrent motif that everything “runs down” to the sewers which Pennywise the Dancing Clown inhabits, one can surmise that the human misconduct of the upper town feeds the terrors beneath. Violence leads to violence and hate to hate, as illustrated both in the human conflict of the film and in the glowing eyes of the lurking clown. In spite of its faithfulness in adapting the central plot and themes of the novel and breathing into them new life, this movie falls into the same trap as countless others. Lazy, derivative techniques dominate an industry that struggles to innovate when it knows it can fill box offices with the same

old acts. Though “It” is a scary movie filled with hair-raising moments, it does not go so far as to experiment with new techniques to show the character’s fears. Jump scares, characters being pulled off screen and egregious computer-generated images of blood are featured prominently. That being said, “It” makes an admirable effort to emphasize the subjective nature of fear and the power of fear of human action, although it struggles to transform this theme fully into visual effects. Sharp music and sound effects also act as a crutch in increasingly audio-visually sophisticated films, replacing the silent suspense of horror films from decades past. The film’s inability to move past Hollywood horror stereotypes contributes to its ultimate failure as a film — its dearth of meaning. Pennywise presents a fearsome villain and the efforts of the children to stop him tell a heartwarming, if dated, story. But despite the sufferings of relatable characters in an aesthetically pleasing setting, the film does not leave the audience with a substantial takeaway. For audiences who enjoy “Stranger Things,” or the horrors movies of the last decade, “It” will provide a fun and terrifying escape well worth the ticket price. Yet it does not offer what we ask of truly powerful movies: a meaning that extends beyond the film into our own lives.

the guide

friday, September 15, 2017

This week’S TOP FIVE

Places to Run roosevelt island

The weather is perfect for a run through the beautiful greenery of Roosevelt Island offers a quiet retreat in Washington, D.C. With a verdant trail, the island is the ultimate destination for runners looking to escape the bustle of the city. The route offers beautiful views out from the Key Bridge. After a few loops around the track, Georgetown is a short hop over the Potomac River, perfect for a post-run snack.

h street Festival

NPS.GOV

HST.ORG

NPS.GOV

FIESTA D.C.

NPS.GOV

CULTURALTOURISMDC.ORG

This vast walking tour seeks to show off the unexplored nooks and crannies of D.C. Tours are led by community leaders, local business operators, historians and other locals knowledgeable of D.C. history who will recount fun facts and stories about the areas they walk through. This event is perfect for new students who want to break the Georgetown bubble and explore the history, culture and politics their new city has to offer.

american visionary WASHINGTON.ORG

glover-archbold park

Glover- Archbold Park, a long strand of greenery to the northwest of Georgetown’s campus, provides a nearby escape from the bricks and concrete of campus. Full of lush foliage, this park is a refuge from the commotion of the District. The hilly trails in the park can be accessed through a gate near Georgetown’s Astronomical Observatory or along Reservoir Road.

Join Fiesta D.C. on Sept. 17 for a spirited festival celebrating Latin culture. With a parade on the 16th and a sprawling fiesta the day after, this event will focus on the diverse and vibrant Latin American culture in D.C. Visitors can expect a large selection of foods from Latin American countries sold in food carts and stands. The festival will also feature Latin American art as well as musical and dance performances. The festival has been a beloved tradition in D.C. for more than 45 years, and estimates 180,000 guests this year.

walkingtown dc

capitol hill

A popular route for Georgetown students, running to Capitol Hill offers rewarding views of D.C.’s most famous sights. This relatively flat run along the National Mall will take runners down to the Georgetown waterfront, along the Potomac River to the Lincoln Memorial, all the way down to the Mall. Runners can jog past the Reflecting Pool, Washington Monument, World War II Memorial and Capitol Hill.

Fall has finally arrived — now is a great time to get out and explore Washington, D.C. Check out H Street this Saturday to experience the annual neighborhood street festival and the vibrant culture of a storied neighborhood. The festival is taking place from 12 p.m. to 7 p.m. between 4th Street NE and 14th Street NE on H Street NE. This year’s festivities will include food, fashion and fun as the community shows off its culture and arts. The H Street Festival also presents a fine opportunity to visit a quadrant of D.C. far removed from cloistered Georgetown.

fiesta dc

rock creek park

Rock Creek Park is the largest park in Washington, D.C.. It features a great number of intertwining trails in its leafy confines. While the bulk of the park is far to the north of Georgetown, a sliver extends down near campus and can be accessed through Montrose Park or Dumbarton Oaks. However, be wary of becoming confused by looping and overlapping trails.

Upcoming Weekend Events

chesapeake and ohio canal

Since its construction in the 19th century, the trails alongside the Chesapeake and Ohio canals have been a popular spot for locals to bike, stroll or jog. This trail can be found by walking south towards the waterfront and stopping on the sand paths alongside the now-dry canal. With trails stretching all the way into Maryland, this route serves long-distance runs the best. Enjoy the fall weather as you run next to the canal.

THE HOYA

APARTMENTSHOWCASE.COM

AMERICANNARTSI.EDU

This is the last weekend to see “John F. Kennedy’s Life and Times” at the Smithsonian American Museum of Art. This photograph retrospective showcases both the presidency and life of John F. Kennedy over the course of several decades. Considered the first pop culture president and the first president of the television era, Kennedy was the most followed and photographed politician of the 1960s. Follow Kennedy throughout his early career, his whirlwind romance and his rise to prominence as a promise for a better future. The vast collection of photographs attempts to capture all facets of the president’s life, from quiet, personal moments to major national crises, like the Cuban missile crisis. Admission to the exhibit is free.

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the guide

THE HOYA

friDAY, September 15, 2017

THE NATIONAL

In its new album, “Sleep Well Beast,” Cincinnati indie rock band The National touches on heavy subjects like marriage and self-medication. Though the allbum’s poetic lyrics and lead singer Matt Berninger’s powerful vocals make for a great listen, the band does not introduce any new, fresh ideas, continuing its trademark melancholy sound.

Sleep Well Beast

Album review

The National Mac Dressman Hoya Staff Writer

Political strategist Karl Rove described The National’s song “Walk It Back” as “a euro tech pop thing.” The National’s response? “F---k you, Karl.” Rove was asked to comment on the song because “Walk It Back” features a recitation of an infamous quote about political manipulation of reality, which is often attributed to him. More amusing than the idea of a web conflict between Rove and The National, however, is Rove’s comically off-base description. Rather than peppy dance track, “Walk it Back,” as well as the rest of The National’s latest album, is somber indie rock that paints a picture of middle age in shades of gray and sepia. “Sleep Well Beast” is the seventh studio album from the Cincinnati band. Although The National released its debut album in 2001, its 2005 record “Alligator” was its first project to receive widespread critical acclaim. The band’s 2007 followup album, “Boxer,” was included in many “best albums of the decade” lists, solidifying the group as an indie rock staple. A decade later, The National continues to perfect its craft, sticking with the same muted folk rock that first brought the band to fame. The bulk of the album consists of toned-down instrumentation, focused on lead vocalist Matt Berninger’s murmured vocals and supplemented by resonant pi-

ano chords. The first track, “Nobody Else Will Be There,” exemplifies this style; the song takes its time and spotlights Berninger’s powerful voice and lyrics with a quiet beat. Interspersed between these tender moments are higher-tempo songs with more prominent guitar arrangements, such as “Day I Die.” On this track, a catchy guitar riff breathes life into the album; although the tone remains wistful, the guitar adds a spark which makes the song’s emotion more piercing. Unfortunately, The National does not pull off this more aggressive style as well on “Turtleneck.” Although it has an enticing introduction, the song’s verses are awkwardly mumbled and the chorus feels forced. The assertive tone of the song feels glaringly out of place on an otherwise reserved and reflective album. On more subtle tracks, the standout element is the percussion and drumming, handled by band member Bryan Devendorf. His steady hand guides “Empire Line” forward; as the beat gathers momentum, Berninger’s vocals rise with a sense of urgency. The following song, “I’ll Still Destroy You,” is blessed with another energetic finish as the frenetic drumming takes center stage. This instrumental core is embellished by touches of sound, which often serve as bridges or endings. The gentle melody of “Guilty Party” dissolves into dissonant tones and industrial beeps as the song ends, lending a mysterious, sci-fi-inspired conclusion. Subtle flourishes like

 this are used throughout the album to create a sense of malaise. For example, “Empire Line” has a single shrill note alongside the more conventional instrumentation toward the end of the track, heightening the tension. The spoken word on “Walk It Back” generates a similar disquieting feeling. These additions are minor compared to the discordant noise breaks often used by indie rock contemporaries Wilco, or post-rock bands like Godspeed You! Black Emperor’s long spoken word passages.

The bulk of the album consists of toned-down instrumentation, focused on lead vocalist Matt Berninger’s murmured vocals. Overall, the music on “Sleep Well Beast” is crafted with subtlety and attention to detail, and The National focuses more on setting a melancholy mood than creating catchy hooks or innovative ideas. “Sleep Well Beast” has little daring experimentation, however, never straying far from The National’s standard musical formula despite a few creative flourishes. Additionally, there are surprisingly few moments of visceral sorrow that

come through, as The National settles for a general air of gray depression instead of crushingly emotional moments. This means that although “Sleep Well Beast” might leave the listener with a dull sadness, it is unlikely to leave a lasting emotional impression. The National’s lyrics are consistent with the tone of the album, dealing with mature themes like marriage and self-medication. “Dark Side of the Gym” seems to be referencing the opening phase of the vocalist’s relationship with his wife, with the repeated chorus of “I’m gonna keep you in love with me for a while.” Flash back to the present day, and this nostalgia is gone, replaced by fading romance on “Guilty Party:” “I say your name / I say I’m sorry / I know it’s not working.” Occasionally, the lyrics are less literal and more literary: “I’ll Still Destroy You” conjures images of medication while obliquely referencing Shakespeare with the line “It’s so easy to set off / The molecules and caplets.” “Sleep Well Beast” makes a great soundtrack for a foggy early morning stroll through the countryside, with its somber melodies and grave musings on the sorrows of middle age. Its length is merited by the subtleties contained in its production and lyrics, and there is enough variety in the track list to satisfy fans of The National. But for those in search of fresh indie rock ideas or deep emotional catharsis, “Sleep Well Beast” leaves something to be desired.

the guide

friday, September 15, 2017

True’s World

THE HOYA

B11

Album review

MadeinTYO

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noah hawke Hoya Staff Writer

Just over a year ago, Malcolm Davis, better known as MadeinTYO, emerged from relative anonymity in the mainstream music scene with his hit single, “Uber Everywhere.” Within months, the song was playing on every radio station and at every party, solidifying the rapper’s place as a viral star. Since then, MadeinTYO has steadily released smaller projects, including a mixtape, an EP and a beat tape. Amid great fanfare, these releases helped catapult him to a selection as a 2017 XXL Freshman, an award given to ten of the best up-and-coming rappers. In fact, his fame rose enough to earn him a spot on Big Sean’s nationwide tour. With his latest project, a 6-track EP named after his newborn child, called “True’s World,” MadeinTYO attempts to capitalize on his rise to fame and set the stage for bigger things to come. “True’s World” is filled with deep cuts that both exemplify the rapper’s signature musical style and lyricism and show how he has matured as a person and an artist. Both his sudden

popularity and his new family have forced MadeinTYO to grow up quickly. With a blend of slower songs like “Eating” and high-energy tracks like “Too Quick,” he presents the figure of a man still caught between two worlds, equal parts commitment and swagger. On the title track, MadeinTYO raps “Even though I’m the man now / Still got problems at home even though I’ve got grands now.” He is dedicated to his new fiancée and family, but cannot stay away from the temptations of his lifestyle as a famous rapper. “I had to get a brand new b-----/’Cause I get bored too quick,” he raps. Although the EP contains variety, the overarching theme is MadeinTYO’s commitment to providing for his family, especially his son. The three songs occupying the middle of the track list hone in on this theme, in particular. Even within those tracks, MadeinTYO’s pursuit of fortune seems to be driven by love for his family, as he raps “Told Distortedd if she want it, cop that BM drop,” on “Too Quick.” On this project, he presents his family as a unified front, which reaps the benefits his success together. MadeinTYO has come a long way in developing his own story and differentiating himself

from similar artists, such as Rae Sremmurd and Lil Uzi Vert. On his flashier tracks, he has the production value and overall framework to create certified bangers and follow the platinum trail that “Uber Everywhere” blazed, but he lacks the energy on songs like “Cashing Out” and “Depends,” which likely will not translate to commercial success. In contrast, songs like “True’s World” and “Eating” possess this passion. “Eating” is an ode to his fiancée with Auto-Tuned melodic vocals over a dreamy instrumental backdrop. On this track, MadeinTYO’s passion is abundantly clear. With the younger generation of music fans valuing high energy as well as powerful lyricism, MadeinTYO needs to ensure he puts everything he has into each track he drops. The rap scene is filled with trap all-stars like Young Thug and Migos who, frankly, brag better than he does. By trying to match them bar for bar, it almost seems as though he is grasping to maintain fan interest, but ultimately falls short. With each listen to the “True’s World,” MadeinTYO’s youth is increasingly apparent, but so is a maturity beyond his years. He has proven that he has the skills to compete in

MADEINTYO

the industry, but now must focus on creating strong, energetic and fully coherent projects. This past March, MadeinTYO was seen on Instagram in the studio with Pharrell Williams working on his new album. If he continues his progression and better balances the energy across his tracks, his debut studio album has the potential to be a hit. Perhaps “Uber Everywhere” could be one of many chart-topping tracks from the young rapper.

MUSIC

New Releases

LIL DURK

TOVE LO

ILOVEMAKONNEN

KING KRULE

lil durk ‘goofy’

tove lo ‘disco tits’

ilovemakonnen ‘love’

king krule ‘dum surfer’

By teaming up with two mainstays, Future and Jeezy, hip-hop artist Lil Durk produces a classic trap tune. Setting the tone, Future leads into the Atlanta trap-laced banger with “Only the family involved/I don’t f - - k with none of these goofy, goofy, goofies.” Over clean Southside production, Future shows off his gift for melody on the hook, and Jeezy shines with great one-liners like “Sleep with a million in cash/Them my relationship goals.” The song sounds like generic Atlanta trap but is an entertaining listen nonetheless.

Swedish pop singer Tove Lo, best known for her hit singles “Habits” and “Talking Body,” returns with a sexually charged dance hit featuring a catchy hook, heavy bass and bright synth flourishes. With a quirky title readymade for viral fame and lyrics perfect for festivals like “I’m sweating from head to toe/I’m wet through all my clothes,” Tove Lo knows how to make a pop single for the modern crowd. “Disco Tits” is an edgy track that has enough punch to keep audiences dancing.

In a song with a pronounced upbeat pop sound, talk of lost love and heartbreak may seem slightly out of place. But despite iLoveMakonnen pleading, “Love hasn’t been the same/You used to light up my day/But so much changed/Now all I see is grey,” the spirited production keeps listeners on their feet. Swae Lee and Slim Jxmmi of Rae Sremmurd also impress as the hip-hop artists stretch their range from potent rap bars to soaring vocals on this catchy pop ballad.

Trying to pin this song down to a single genre would be futile. While it begins with a dull, threatening roar and inhuman laughter, “Dum Surfer” soon breaks into melodic riffs and jazzy horns. The busy instrumental arrangement should logically sound like nothing but chaos, but somehow the elements complement one other instead of clashing. Holding it all together is King Krule’s deep drawl, culminating in a track that feels at once otherworldly and deeply familiar.

Illustration BY grace chung and amanda hu/THE HOYA