The Hoya Guide: Oct. 7, 2011 by The Hoya

the guide friday, october 7, 2011

the weekly magazine for life on the hilltop

SOUND OF THE FUTURE Gilt Trip: Another Coupon Network Site

Looking at the New Facebook

Potenza Opens Up on Capitol Hill

this issue 3 hilltop lifestyle 4 11 food & drink arts 12 entertainment 13

red square roundup // campus spotlight

life in the timeline // catholic schoolgirl // gilt trip

potenza // bangkok bistro

leap into the void // les miserables

ides of march // hulu saxa // bjork

In the past 10 years, the music industry has been completely overturned with the advent of new technologies such as mobile music and online digital music streaming services like Rhapsody, Pandora and — most recently — Spotify. Are these innovations benefiting musicians, or are they harming them? The Future of Music Policy Summit, an annual event hosted this year in Georgetown’s Lohrfink Auditorium from Oct. 3 to 4, seeks to answer this question and many more in a conference that brings together a diverse collection of individuals, including senators, lawyers and technologists. The summit aims to educate musicians about the current state of the music industry and how they can best adapt to the changing times. MEAGAN KELLY/THE HOYA COVER PHOTO BY MEAGAN KELLY

soundbite catholic schoolgirl

SarahAmos

Don’t worry, Mom, Dad and my other Bible Belt relatives reading this — no, I have not converted to Islam just because I’m studying Arabic. Nor is this a result of my “liberal, Eastern elite education.” (Glenn Beck, what have you done to my once wise and moderate father?!)

the guide Lauren Weber, Executive Editor Connor Gregoire, Managing Editor Meagan Kelly, Photo Editor Shakti Nochur, Layout Editor Suzanne Fonzi, Copy Chief Peter Brigham, Deputy Guide Editor Alex Sanchez, Deputy Guide Editor Bethany Imondi, Deputy Guide Editor Chris Bien, Deputy Photo Editor Michelle Cassidy, Deputy Photo Editor Remy Samuels, Deputy Layout Editor Nikita Buley, Deputy Copy Editor Samantha Randazzo, Deputy Copy Editor

MUSIC SUMMIT ASKS QUESTIONS

YOU’D BE NUTS NOT TO JOIN OUR PHOTO SECTION

Eamon O’Connor, Editor-in-Chief Sarah Amos, Guide Editor Corrections & Clarifications If you have a comment or question about the fairness or accuracy of a story, contact Executive Editor Laura Engshuber at (202) 687-3415 or email executive@thehoya. com. General Information The Guide is published each week during the academic year with the exception of holiday and exam periods. Address all correspondence to: The Hoya Georgetown University Box 571065 Washington, D.C. 20057-1065 The writing, articles, pictures, layout and format are the responsibility of The Hoya and do not necessarily represent the views of the administration, faculty or students of Georgetown University. Signed columns and cartoons represent the opinions of the author(s) and do not necessarily represent the editorial position of The Hoya. Georgetown University subscribes to the principle of responsible freedom of expression for student editors. The Hoya does not discriminate on the basis of age, gender, sexual orientation, race, disability, color, national or ethnic origin. © 2010. The Hoya, Georgetown University twice weekly. No part of this publication may be used without the permission of The Hoya Board of Editors. All rights reserved. The Guide is available free of charge, one copy per reader, at distribution sites on and around the Georgetown University campus. Additional copies are $1 each. Editorial: (202) 687-3415 Advertising: (202) 687-3947 Business: (202) 687-8350 Facsimile: (202) 687-2741 Email: editor@thehoya.com Online at www.thehoya.com

photo@thehoya.com

hilltop

RED SQUARE ROUNDUP FREE YOGA

GPB MOVIE: TRANSFORMERS 3

Monday, Oct. 10 — Wednesday, Oct. 12 at 4:30 p.m.; Thursday, Oct. 13 at 9 a..m.; Friday Oot. 14 at 4:30 p.m. McSherry Building downstairs

Friday, Oct. 7 — Sunday, Oct. 9 7:30 p.m. and 10 p.m. ICC Auditorium

Already stressed after just over a month of classes? Come stretch away the stress over a week of free yoga sponsored by the John Main Center for Meditation and Inter-religious Dialogue.

Come join the Georgetown Program Board for a screening of the third installment in the blockbuster live-action Transformers film series. In this film the Autobots learn of a space ship hidden on the moon. Optimus Prime leads them on a race against the Decepticons to hunt down the spacecraft and learn what secrets it contains.

Friday, Oct. 7 1:15 p.m. Dahlgren Chapel of the Sacred Heart

Wednesday, Oct. 12 — Saturday, Oct. 15 at 8 p.m.; Sunday, Oct. 16 at 2 p.m. Poulton Hall

Georgetown University Music Program’s Friday Music Series offers students the opportunity to attend free concerts featuring the works of a variety of musicians. In this week’s installment, members of the faculties of the Peabody Institute and Washington College will perform pieces by Corelli, Boni and Stradella.

Written by Ryan Dull (COL ’12) and Michael Franch (SFS ’12), “Peaches and Freon: A Musical” will headline this festival of original student work. The play follows two Broadway playwrights who are invited as guests of honor to the year’s biggest gala .“#Courage,” written and directed by Swedian Lie (COL ’13), will also be performed at the festival.

FRIDAY MUSIC SERIES

DONN B. MURPHY’S ONE-ACTS FESTIVAL

campusspotlight // MEChA

ovimiento Estudiantil Chicana de Aztlán is a student organization that promotes higher education, cultura and historia for Chicanos at Georgetown. Anyone can identify as Chicano; it is a choice that reflects your self-understanding and allows you to create your own identity. MEChA de Georgetown was founded in 1993 on the principles of self-determination and education for all people. Its primary objective is to increase Latinidad on campus by promoting cultural events like Carne Asadas (barbecue Tacos), El Grito de Independencia (a celebration of independence of all Latin American countries) and regular meetings to share Latino history. MEChA is not the “Mexican” club; it is multicultural and invites all students to share common struggles in advocating for education, immigration reform and better recognition on campus. As Georgetown students, MEChA members feel a duty to give back to their communities and are always working with outreach programs in and around the area to help minority and low-income communities. Anyone can get involved by attending biweekly meetings Wednesday at 9:15 p.m. in ICC 115. The next meeting will be Oct. 19. A highlight of this semester was the Latino Wel-

come Dinner, which welcomed new and returning students to campus. MEChA organized the event in collaboration with the Cuban American Student Association and the Latin American Student Association. Guests enjoyed Cuban food and performances by Ballet Folklórico Mexicano de Georgetown and Ritmo y Sabor, all in Copley Formal Lounge. The keynote speaker was Emanuel Pleitez, chair of the Hispanic Heritage Foundation and a consultant at McKinsey and Company. Pleitez passionately spoke about Latino issues and advancing Latino youth opportunities in the United States. This year the group introduced its new logo, a representation of MEChA de Georgetown’s mission. Coinciding with the university’s mission to teach the whole person, MEChA knows that “unity brings strength,” or, “la unión hace fuerza.” By fusing that statement with “utraque unum,” we hope to bring both Georgetown and MEChA into one — creating “unity through strength,“ or “unitate fortitudo.” MEChA members hope to embrace everyone’s culture and encourage pride in each person’s unique experiences. This is why they like to say, “Yo soy Georgetown:” I am Georgetown. Antony Lopez, MECHa co-chair

COURTESY ANTONY LOPEZ

CHIC CHICANOS The members of Movimiento Estudiantil Chicana de Aztlan protesting immigrant policy.

10.7.11 // the guide // 3

lifestyle

PETER BRIGHAM Hoya Staff Writer Jack Hoya

Home

Time for Some Changes on Everybody’s Favorite Social Network Jack Hoya

Has worked at Georgetown University Studied Hoya Spirit at Georgetown University Lives in Washington, District of Columbia Born on May 3, 1962 About

ored in class, you put your notebook back into your backpack and pull out your laptop, and, opening up a blank Microsoft Word document, you tell yourself that you actually will use it to take notes this time. Then you open a web browser and click away to facebook.com. There, before your eyes, you see an autobiographical account of the last day in the lives of all the people you know. Your childhood best friend posted pictures of his vacation in the Caribbean. Your roommate shared an interesting news article. Your ex-girlfriend has updated her employment information. The kid who happens to be sitting three rows behind you — and who friended you and 672 other incoming freshmen the summer before you came to Georgetown — has posted a status about how very stressed his midterms have him. This experience is replicated on college students’ computer screens every minute of every day across the country, whether they are doing their homework on a new love interest or procrastinating academic homework. Facebook has become, for the millennial generation, not only a new medium of communication, but also, frankly, a vital tool for stalking friends, enemies and everyone in between to see who’s doing what and where they’re doing it. A new Facebook profile layout — which amounts to a much more drastic change than the usual profile changes, which are

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arguably more about aesthetics than anything else — aims to capitalize on users’ desire to use Facebook toward that end. The Facebook Timeline program will both change and perpetuate the way that the “news feed” page is currently presented by Facebook and used by viewers. As it has developed from a social experiment born in a Harvard University dorm room into a mass phenomenon, Facebook has, as a technical application, seemingly grown smarter. No longer just the virtual equivalent of a hard-copy yearbook with static pages displaying relatively basic information about people, it has developed the capability to remind you of important birthdays and dates, invite people to and give them information about social events and communicate information to friends by “tagging” them in posts. New, sophisticated programming also allows Facebook to do things like group posts by your friends together in your news feed (for example, grouping posts together if several friends post status updates or share wall posts about a sports team after a big game). Timeline takes that intelligent social networking feature a step further and aims to create a web page that will serve not just as a yearbook profile for users but as a digital representation of their lives. The focus of the application will be on presenting important events in Facebook users’ lives, providing a way to see a friend’s graduation pictures or status updates about a new

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job, rather than reading about his feelings about green gummy bears available for purchase in a college library. A blog post by Facebook frames the release of Timeline as something of a reversal of the usual trend toward a more inclusive Facebook profile page. After pridefully noting the evolution that the site has gone through in the past several years and its immense capability today, the post says that, “since the focus is on the most recent things you posted, more important stuff slips off the page.” That is, you end up clicking “older posts” again, again and again if you’re looking to find out what someone was doing a week ago (yes, eons ago). The post also explains that the basic structure of Timeline will be — in typical, innovative Facebook style — horizontal rather than vertical, with a “cover” photo at the top and photos that viewers can scroll through on the bottom.

Homecoming 2011 (5 photos)

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Facebook will use already existing mechanisms to gauge what content is most important in users’ lives and most worthy of inclusion in their timelines. The things that will show up in Timeline will be those that have the most “likes” and comments from others, and photos will be pulled from users’ largest albums. In this sense, the content that will show up in Timeline is somewhat uncontrollable, especially since users may not have been as fastidious about deleting potentially unsavory comments on their activities, which could now impact the basic information shown on their profiles. Some media analysts have also speculated that because of Timeline, users will be driven to upload to Facebook content from periods of their lives that predate social networking. Facebook leaders have not yet commented on whether it will be possible for users to

lifestyle manually exclude photos or posts from their timelines. Facebook founder Mark Zuckerberg — who has become something of a pop icon after the release of the documentary The Social Network — announced the release of Timeline during his keynote address at the Facebook-sponsored F8 Developers Conference. The F8 conference, hosted in California and traditionally commenced with a keynote by Zuckerberg, brings together entrepreneurs and technical minds interested in fostering innovation in social media. Zuckerberg made his announcement against a backdrop of recordbreaking Facebook usage. “I think most people see that social networks will be a ubiquitous tool that people will use every day to stay connected. Last week in a single day, we had half a billion people share on Facebook for the first time,” he said during the Sept. 22 speech. He also said that he saw Timeline not only as a clarification of the details provided by more limited profiles but also as a way for more details to be provided in Facebook’s unique, succinct manner of explanation. “We often talk about the profile

Q & A

at Facebook as what you talk with someone about during the first five minutes of talking with someone. If the original profile was the first five minutes of a conversation, the stream was the first 15 [minutes], now I want to show you the rest,” he said. While Timeline may well breathe new life into Facebook and help the company continue to surge ahead in the new media field in spite of competition from Google (whose Google Plus has yet to revolutionize social networking or pull users away from Facebook), Twitter and LinkedIn (which has fared very well as a company since its initial public offering of stock last spring), it also has some aspects that may be disconcerting to college-aged users. First of all, the instant exposure of a wider range of content means that some things that would have otherwise remained in the past and largely undiscovered, such as embarrassing party photographs, may now be prominently displayed the second a new “friend” clicks on your profile. Furthermore, Timeline can be integrated with existing Facebook applications that automatically publish information to users’ profiles. Nonetheless, the same user-gen-

erated privacy concerns that apply to current Facebook content will apply to Timeline. This suggests that, while Timeline may require users to adapt their Facebook browsing habits, fears may be more a case of caution about change than anything else. Even Facebook may be approaching the change with some caution. Though the company’s top dogs have been publicly effusive about the potential of Timeline, others within the organization have been reluctant to comment. Official company blog posts about Timeline are difficult to find and are buried within the Facebook website. Additionally, a Facebook policy spokesman declined to comment on the issues raised by Timeline, and the company’s press department did not respond to inquiries by press time. Consequently, Facebook users will wait. And one day, when you pull out your laptop and scroll through a new friend’s profile to distract yourself from taking notes, you’ll find not only last weekend, but potentially a lifetime’s worth of photos and posts. And it’s anyone’s guess what that will mean for Facebook, for social media in general and for you.

MEAGAN KELLY/THE HOYA

FACING THE TRUTH The new Facebook Timeline program will expose even more snapshots of Facebook users’ profiles.

How often do you check your Facebook? “My god. Like 10 times a day.”

“Two or three times a day.”

Aarohi Vora COL ’14

Sean Kensil MSB ’12

“Once a day.” Brendan Travers SFS ’12

“Like two to three times a day.” Hannah McMurry SFS ’15

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lifestyle

CENTER STAGE MSB Students Translate Classroom Studies to Hedge Fund Success When Dave Greek (MSB ’13) was approached by friend Sina Chehrazi (MSB ’13) about starting a hedge fund, his initial reaction was excitement. As both an international business major and finance major in the McDonough School of Business, Greek finally got the chance to go beyond class case studies and learn through experience. Since the idea’s inception at the end of their freshman year, the company has grown to almost 25 employees, including two at the School of Foreign Service’s campus in Qatar. How do you describe Zeeba Group? Zeeba Group is a student-run hedge fund that invests abroad, specifically in Qatar. We invest in publicly-traded securities. We invest … money from people that are involved with the funds, such

RIANNA FOLDS Special to The Hoya

as myself, as well as every employee. … Also, we have friends, family and contacts that have been generous enough to trust us with their money, and hopefully they’ll get some returns out of it. What motivated you to start your business? Well it wasn’t just me, first of all. My partner Sina Chehrazi actually came up with the idea. Initially it wasn’t Qatar that we were going to invest in, but after doing a lot of research, we settled on Qatar [for] a multitude of reasons, mostly because we thought it could produce the best returns for us. He approached me one day at the end of freshman year, and he says, “You know, I’ve got this idea. I want to start a student-run fund, and I want to invest abroad.” That just got me really excited because as an MSB student … I can put what I’ve learned

into practice. … Of course, it’s a bit dangerous when you’re playing with other people’s money, but we have plenty of checks in place. What were your expectations at the outset and have those really changed? I guess there were a couple of major phases to the way I saw it. When I first heard the idea I was really excited and then I thought, “Wow, I could be making millions of dollars in the next two years.” … And then we went through this whole six-to-nine month process of just trying to get approval from various government agencies. We had to establish ourselves as an LLC, limited liability company, independent of Georgetown, [and] go through the Secretary of State to get approval for trading in Qatar .… I wasn’t aware of all this red tape that we had to cut through to do this. There [were] times when me and Sina would just sit down and be like, “Is it really worth it? There are so many barriers to this. Why are we throwing away half of our lives trying to get this thing done?” Was it worth it? It was absolutely worth it. … I think my favorite part about it now is just the people that we work with. We have a fantastic staff, and we get along like family. When somebody decides to go abroad or leave because they got a real job, it’s like losing a brother or a sister … I think Zeeba’s different from other campus groups or other small businesses you find on campus because we don’t go out and recruit 50 people at a time. We just made our biggest hire this past month. We hired eight people, which was huge for us. When you only interact with 22 to 25 other people every week, you get [really] close.

COURTESY DAVE GREEK

IT’S ALL BUSINESS Dave Greek (MSB ’13), shown above, and friend Sina Chahrazi (MSB ’13) started a hedge fund company that has grown to over 20 employees.

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Do you plan to continue this after graduation? I think it’s going to be handed down. It wasn’t ever really started to be particularly profitable. To investors it will be profitable, but as founders we don’t take a salary at all. All the profits we make are reinvested or given to this charity that we’re setting up. It wouldn’t really be tenable for me to take it past graduation, but I like the idea of leaving some sort of legacy here at Georgetown, and I feel like Zeeba could be a good way to do that.

COURTESY DAVE GREEK

Five things you didn’t know about Dave Greek: He has a radio show at noon on Sundays. Listen in! He plays guitar in a band. He’s been skiing since he could walk. He’s deathly allergic to Tylenol. His nickname in Zeeba is “The Crazy Scientist.”

lifestyle

Gilt Tripping in the District Is Here to Stay: New Website Offers DC Discounts BRADEN MCDONALD Hoya Staff Writer

here is no doubt that Gilt Groupe has taken the fashion market by storm in recent years. With its blindingly brilliant “flash sale” strategy, Gilt offers limited quantities of heavily discounted luxury-brand clothing for very short periods of time — say, 48 or 60 hours — in order to attract competitive purchases. A casual glance around a crowded Georgetown lecture hall at noon, when new merchandise first goes on sale each day, would suggest that the strategy works: Plenty of Hoyas confess to religiously checking the site at 12 p.m. every day for the latest $29 Raf Simons Polo or $100 Vince coat as though it’s some kind of capitalistic ritual. Building on its glittering success in flash fashion, Gilt Groupe has undertaken a flood of new ventures of late. Most promising for Hoyas is Gilt City. It’s an equally “flashy” purveyor of discounts — but instead of slashing the cost of designer purses and silk ties, it focuses on curtailing the cost of being entertained. Since it arrived in DC in early August after trial runs in such cosmopolitan me-

tropolises as New York City and San Francisco, it has whispered to Washington residents promises of below-market prices for meals, concerts, haircuts and rowdy nights on the town. Gilt City DC launched with gusto on Aug. 3, when it hosted an exclusive performance by electro synth-pop band, Yeasayer, with an open bar at the 9:30 Club. In one of its first promotions, it offered a four-course tasting with wine pairings at Georgetown’s Cafe Milano for only $25. And just last night, it made its mark on the D.C. club scene by offering 30 percent off a table for 10 — complete with a bottle of Belvedere — at the grand opening of the freshly remodeled Josephine. Those who purchased with Gilt City were promised a premiere table and a way around the club’s infamously scrupulous door policy. Yesterday, it wrapped up a week-long sale of discounted tickets with access to a performance by indie rock band Portugal. The Man at the 9:30 Club on Oct. 25, complete with a free t-shirt. Ethan Chess (COL ’14) used the site to purchase his ticket to the show.

“I just decided that I would try it out. I have lots of friends who use Gilt [for clothing], and I thought it would be a good chance to try out another one of their services,” Chess said. Chess called the process “very simple and efficient — certainly easier than buying a ticket directly.” He said that Gilt City emailed him a voucher to present at 9:30 for a reserved ticket on the day of the concert. While Chess was familiar with the band before Gilt City pitched the promotion in its daily email to members, he said the site’s thorough descriptions about the concert convinced him to attend. Much like similar discount sites such as LivingSocial and Groupon, each Gilt City promotion features a list of “things to love.” A team of Gilt “curators” scours the city for lifestyle hotspots and events and compiles a list of their impressions for the benefit of buyers. But unlike LivingSocial and Groupon, Gilt City doesn’t require a predetermined number of buyers to pounce before the sale activates. Quite the contrary: it only

RICKS-MIX.BLOGSPOT.COM

DISTRICT DEALS Gilt Groupe offers students bargains on high-end goods. makes available a limited number of discount vouchers, thereby encouraging shoppers to snap up the deals as quickly as possible. And, as with all guilty pleasures, there is a whiff of the luxurious and the exclusive in all of Gilt City’s offerings, even if the low prices suggest otherwise.

So How Catholic Is This Catholic Schoolgirl? catholic schoolgirl SarahAmos

year ago I began writing this column, Catholic Schoolgirl, to tell the trials and tribulations of a socially awkward, sexually inactive not-a-girl-not-yet-a-woman. But here I am a year older (but hardly wiser), and unfortunately I am all those things still, and yet, how shall I say this — not really Catholic-y. So why still “Catholic Schoolgirl”? Because “Quasi-Agnostic Schoolgirl” just didn’t have the same ring to it. Don’t worry, Mom, Dad and my other Bible Belt relatives reading this — no, I have not converted to Islam just because I’m studying Arabic. Nor is this a result of my “liberal, Eastern elite education.” (Glenn Beck, what have you done to my once wise and moderate father?!)

I’ve just stopped going to church. And in terms of this column, frankly, this Mary Katherine Gallagher trope is getting a little stale. But for my fans — all five of them — I’ve kept my column’s name. So no more stories of running into a hookup from the night before in church the next morning. I’m too old for that. Now a junior, I’m realizing that I’m no longer excited by what was exciting freshman year: drinking vast quantities of jungle juice (the alcohol version of mystery meat) from storage containers, going out three nights in a row or attending packed basements filled with sweaty strangers rubbing against each other to “Tonight I’m F**kin’ You.” I had this epiphany last month at Club Lau. After squeezing into a pleather mini skirt and straightening my hair (only for it to instantly frizz upon walking into the humidity chamber that is the Pierce Reading Room) I stood in line among all the

whorishly dressed freshmen. Or rather, I cut the line of inferior freshmen, because I am better than them. Or so I thought, but then again, I was a junior attending Club Lau. Because none of my friends wanted to go with me, I was in line by myself, until I ran into some male friends who had tried to get in the past three years, only to fail because they aren’t girls who can cut the long line. The rest of my friends went to a “real” party as I stood in line for an hour and a half and was threatened by a siren-wielding DPS officer. Once in the usually quiet room, now blaring the reggae sounds of DJ Buttah, I headed straight for the table of food — because I don’t have a meal plan anymore and can’t afford Safeway. I must say, I was more of a fan of the catering than the music. I am officially an old woman. After waiting 20 minutes for my food to digest, I hit the dance floor. It got awkward when freshman boys started asking me to dance. It was

kind that they asked, though, especially compared to the basketball player who towered over me until halfway through “Party Rock Anthem” (I must not have been good at pleasuring dancing with him). I looked at these young boys (who were born in 1993! So young!) and just smiled at them pathetically. No, I would not dance with them. I’m old enough to be their cool older sister. As the night progressed, my roommate decided to ditch the house party she and my other upperclassmen friends were attending, and the rest of my group came to Club Lau. Together we relived freshman year. Surrounded by sweating, half-naked revelers, she and I remembered that year when Lady Gaga was still cool, and we were not yet too old for such things. Sarah Amos is a junior in the School of Foreign Service and editor of the guide. She can be reached at amos@thehoya. com. CATHOLIC SCHOOLGIRL appears every other Friday in the guide.

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F U T UB RE EA T S

ALEX SANCHEZ Hoya Staff Writer

MEAGAN KELLY/THE HOYA

n Aug. 1, 1981, MTV aired its first music video, “Video Killed the Radio Star,” a new single from the British, new wave, one-hit wonders The Buggles. This technology, then on its trial run, revolutionized the music business of the next 20 years — until it was time for another switch in the industry. Today, the tragedy lamented by the synth-pop duo has taken on a different form. The web-based consumption borne of the past decade has at once democratized the music world and stymied its potential for innovation. From Apple’s groundbreaking iPod and iTunes Store to music streaming sites like Pandora and Spotify, industry leaders are facing uncharted territory, with a rise in legal roadblocks and payment squabbles. The technological tidal wave has left industry leaders grappling with a vital question: Does fan-friendly music sharing help or hurt the artists whose stylings they enjoy?

Last weekend, Georgetown held the Future of Music Policy Summit, an annual event that hopes to answer that very question. Led by the Future of Music Coalition, a national nonprofit education, research and advocacy organization, the event focuses on the nexus of the music industry and public policy. Formed just over a decade ago after technological changes began to rock the music industry, the coalition aims to foster a musical environment in which artists can both flourish and be fairly compensated for their work. “We thought that these changes might be an opportunity for artists,” Deputy Director of the Coalition Casey Rae-Hunter said. “So one of the things that we wanted to do was help them understand, first and foremost, what changes in technology meant for them.” Featuring both policymakers and punkrockers — from Congressman Bob Goodlatte (R-Va.) and Federal Communications Commission Commissioner Michael Copps to Cheap Trick guitarist Rick Nielsen — the eclectic bunch took the weekend to examine the current state of the music industry, where it’s been and where it’s heading. “The summit seeks to conduct this examination not only from the perspective of the technologist or the corporate businessman, but also from that of the musician,” Rae-Hunter, a musician himself, said. This year’s summit looked at the role of artists in what the coalition terms the “music ecosystem,” and their ability to survive its changing dynamic. While new technological innovations offer music-hungry consumers instant gratification, these sites aren’t good news for music producers. Digital streaming services such as Pandora and Rhapsody have caused an “erosion of the physical market,” Rae-Hunter said. According to him, these mobile music and online streaming services don’t give artists the financial backing they deserve. These concerns have become even more pressing with the launch of digital rights man-

agement-based music streaming service Spotify and its recent partnership with Facebook. After years of setbacks and negotiations with the four major record companies — Sony Music Entertainment, EMI Group, Warner Music Group and Universal Music Group — the site made its services available in the United States in July. Legal in Europe since 2008, the service provides users with access to a catalogue of approximately 15 million songs, which can be streamed for free or through a paid monthly subscription. But the new site has come under fire recently for its alleged failure to pay independent artists sufficiently for their work. An independent artist would need over 4 million streams per month in order to earn the U.S. monthly minimum wage of $1,160, according to David McCandless, a London-based independent data journalist and information designer. Through a record label, only 1,161 albums would need to be sold to reach the same minimum wage. On Apple’s iTunes Music Store, a mere 12,399 track downloads per month for an artist to reach that monthly pay. Adding heft to these allegations, Brooklynbased independent label Projekt Records entered into a public disagreement with Spotify, stating that the company does not reward its artists adequately. In the coalition talk, “Money from Music: The Songwriter Conversation,” songwriter and producer Ivan Barias said that he has experienced a huge decline in payment over the years. “The decline in CD sales have contributed to a decline in royalties,” he said. “I would say it has decreased by close to 70 percent.” Barias said that demand has increased for music that’s both immediate and constantly changing — “microwave music,” as he calls it — is driven further by mobile music and online streaming services.

The popularity of remixes and sample-based music has only compounded these oft-cited legal and royalty issues. Media giant YouTube has long been on the forefront of remix culture, making use of its technology in an effort to bring money to those responsible for digital sampling and mash-ups. However, YouTube is not the only one making strides in fair pay. Omid McDonald, a panelist at the policy summit’s “Killer Apps, Conflicting Law,” explored the legal questions surrounding remixing and digital sampling. McDonald is both the founder and CEO of Legitmix, an online music service

that seeks to circumvent the compensation shortfall by allowing users to both purchase and remix music, thereby satisfying copyright laws and compensating the musician responsible for the original work. But the Legitmix approach is not devoid of legal murkiness either. It is unclear whether or not the individual obtains the rights to create derivative versions of a song even if it has been purchased — but this uncertainty speaks more to the legal system’s struggle to keep up with the blistering pace of technology than to the music industry’s failure to satisfy the copyright holders. “We are not pirates,” McDonald said in defense of his company. “[This] balance between the copyright holders has been tested. … [T] he courts and society have always drawn the line at the individual’s house ... and that, to me, made a lot of sense, and that gave me the feeling that we were doing the right thing by allowing remixers to make profit, generating sales and advancing the arts, which I think is

the definition of copyright.” In a keynote address titled “Copyright and the Independent Creator,” Maria Pallante, register of copyrights and director of the U.S. Copyright Office, looked to break down what has become a convoluted legal quandary for many. “The mission of the copyright office is to promote creativity by sustaining an effective national copyright

too expensive and would end up curbing creativity rather than nourishing it. “I feel that … free circulation contributes to creativity. I feel that the source of most of musical innovation comes from places outside of the system,” Mann said. McDonald’s Legitimix may not be the final solution to tiffs over copyright law and fair pay, but it may be a step in the right direction.

“It’s the music, right? In the end, it’s all about the music. The music is the point and ensuring a culture where creativity can flourish is the point of copyright law.” — Maria Pallante, director of the U.S. Copyright Office system,” she said. “It’s the music, right?” Pallante said. “In the end, it’s all about the music. The music is the point and ensuring a culture where creativity can flourish is the point of copyright law.” But not everyone is as optimistic. “I don’t see this as particularly solving any problems facing creative communities and artists,” said Larisa Mann, both a disc jockey and Ph.D. candidate in Jurisprudence and Social Policy at the University of California, Berkeley School of Law, about the company. “I see this as solving an administrative problem between entities that already have power.” As a musician, Mann fears that the services would be

“Sitting through a conference like this … as a musician, I just need to play music. However technology is changing, I’ve chosen to make a path as a musician,” said Raul Pacheco, the lead vocalist of Ozomatli, a Chicano rock band. Pacheco’s balancing act is reflective of industry-wide trends. While today’s artists may not be able to control the technological breakthroughs or legal battles of tomorrow,

MUSIC BY THE NUMBERS INFORMATIONISBEAUTIFUL.NET

they can choose how to react and adapt today. The Future of Music Coalition serves as a vehicle for them to make these adjustments. As the only event where musicians sit alongside Congressmen and women, copyright lawyers, tech minds and business leaders, the coalition serves as an empowering force. And it leaves attendees with just as many questions as it does possible solutions. “There’s no one single answer to where the music industry is heading,” Rae-Hunter said. “But the one question we should ask over and over again … is: How does this impact musicians? And if the answer to that question is, in a positive way, then I suppose we can just retire. But that’s not always the guaranteed outcome, and that’s why the Future of Music Coalition exists in the first place.” For Rae-Hunter, putting today’s musical voices at the decision table sends a simple yet vital message to the American public. “It is music that so often eases the burdens of our day-to-day lives — if we lose sight of the creators who provide these inspirations, we may be deprived of a part of what makes America so great.”

food&drink DC’s Next Italian Hot Spot Is Sure to Complete Any Night Out JACLYN PROCTOR Special to The Hoya

 POTENZA

15th and H Streets NW cuisine: Italian price: $$$$

ooking for somewhere to go when your family is in town? Want to venture outside of the Georgetown bubble? If you are exploring the monuments or Capitol Hill, Potenza is a great place to dine. Located just two blocks from the White House, on the corner of 15th and H Streets Potenza boasts a spacious dining area, a quaint bakery, a lavish bar and a wine shop. The restaurant and bar have a modern but cozy interior. Sleek glass contrasts the dark mahogany tables and velvet seat cushions. The bar has outside seating and an elegant indoor sitting area with plush couches and tufted lounges. The restaurant itself has a sprawling open kitchen with a monstrous pizza oven. To the side, a glass wall encloses the bakery seating with views into the kitchen. Potenza, a member of the Stir Food Group, offers a comprehensive menu filled with hearty Italian classics, while also offering innovation and daily specials. Although a bit pricey

for a student budget, Potenza is definitely worth the trip for a special night downtown. The menu offers pizzas ranging from the classic Margherita, made with homemade mozzarella to the Funghi, which includes oysters, parmesan and Portobello mushrooms. Potenza perfects the art of the pizza crust: A thin crust holds the sauce and toppings but also gives way to a hearty exposed end with just the right amount of crunch. The pizza is the standout item on the menu. A variety of traditional antipasti is also available. The arancini, consisting of fried risotto balls stuffed with wild boar sausage and provolone, is delicious. One bite gives way to a rich, cheesy flavor and a mound of delicious meat. The creamy Parmesan garnish is tasty enough to eat alone. Additionally, all of the pasta (except the orecchiette) is housemade. The spaghetti is incredibly fresh with tender meatballs and a flavorful marinara sauce. The only disappointing dish was the linguine with clams and

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pancetta which sounded delicious, but the excessive salt detracted from its allure. Potenza’s dessert menu does not disappoint, either. The flourless chocolate cake contains thin layers of rich, dense chocolate cake, Nutella, airy white chocolate mousse, hazelnuts and a topping of chocolate chips and red wine syrup. The contrast of thick and creamy textures plays on your tongue. Each layer stands out but complements the others in a chocolate-lover’s nirvana. The service was fairly quick and personable; however, once the food was served, the waitress seemed to become less attentive, disappearing for a long time. When you feel like getting out of Georgetown and are looking for a good Italian meal, look no further than Potenza. Its chic and intimate atmosphere, hearty food and proximity to downtown D.C. hotspots make this restaurant a great choice for a night on the town.

POTEN ZADC.C OM

Dishes you have to try:

Pizzas Margherita with homemade mozzarella Funghi oysters, parmesan and Portebello mushrooms Antipasti Arancini fried risotto balls stuffed with wild boar sausage and provolone

A weekly round up of some of the best shots, mixes and punches.

Pumpkin Martini What better way to celebrate the beginning of October than with a pumpkin martini? This mixture of pumpkin spice and sweet cinnamon is the perfect seasonal combination for every autumn enthusiast. 10 // the guide // 10.7.11

+ 1/2 oz. cream liqueur

2 oz. vanilla 1/2 oz. pumpkin 1tbsp. whipped vodka liqueur cream

cinnamon

food&drink

Bangkok Joe’s Will Delight Joe Hoya Or Your Average Joe

ALEX GREVERS Special to The Hoya

hat’s in a name? In the case of this chill dumpling bar, Bangkok Joe’s name accurately sums up the restaurant as a fusion of oriental tastes in a popular, laid-back bistro setting. Tucked away by the waterfront on K Street, this cool cafe offers covetable, albeit limited, outdoor seating and eclectic interior decor of contemporary tables, chairs and booths offset by traditional paper lamps. Patrons certainly won’t find the restaurant to be short-staffed, despite its being a popular destination in Georgetown for lunch and dinner. Fusing definitive Thai ingredients like bamboo shoots and ginger with unusual elements like basil and sweet squash, Bangkok Joe’s menu is an amalgamation of tasty tradition and edgy experimentation. With

VICTORIA NGARE/THE HOYA

 Bangkok Joe’s 3000 K St. NW cuisine: Thai price: $$$$ items ranging from light lunch options to full-fledged dinners, the menu’s flexibility lends the restaurant the advantage of being anything and everything a customer may want, from an ideal luncheon destination for cash-strapped college students, to an impressive date spot to a fun dinner party venue for a large group. Service is snappy and smiley, but don’t anticipate getting in and out of the cafe too quickly — deciding what to order can be a lengthy process. The dumpling bar offers unique dumplings and rolls that combine vegetables, seafood and meat with sauces like sweet carrot dip or ginger-lime cream. Because only three to four dumplings are served on a plate, hungry diners should consider ordering two. Each order of dumplings or rolls is under $10, so eat up. Patrons can also order a zingy soup or zesty salad with lunch or dinner. For a heavier meal, Bangkok Joe’s boasts ample choices for noodle or rice bowls from curry to pad Thai. For my lunchtime taste of the orient, I opted for the mushroom ‘n’ ginger dumplings and the chicken lemongrass soup. The

VICTORIA NGARE/THE HOYA

OUT WITH A BANGKOK The Georgetown neighborhood Bangkok Joe’s offers moderately-priced Thai classics such as pad Thai and chicken lemongrass soup. Left: Bangkok Joe’s laid-back setting sets the stage perfectly for a quiet meal. dumplings made it to the table first, and though I ordered them, I didn’t have the heart not to share with my dining companion. One forkful later, I regretted not selfishly hoarding the entire plate for myself; the steamed dumplings were packed with the unexpected, complex flavors of Thai spices and fresh ingredients. My only weak complaint is that the dumpling dough lacked the Italian al dente quality that I have come to expect from noodle products.

A biweekly guide on transforming cafeteria grub into true cuisine

The soup was another pleasant surprise for my taste buds. A tangy broth offset by crisp veggies, plenty of chicken, spicy chilies and bamboo was served up in a fun asymmetrical bowl, seemingly designed for picking up and slurping. And slurp I did. From Joe or Jane Hoya to those visiting or working in the area, Bangkok Joe’s is a truly scrumptious spot to try something new or to relish in a Thai classic.

Leo’s Gourmet

FASTER BANANAS FOSTER For a taste of the Big Easy while dining in Leo’s “Down Under,” try this easy version of Bananas Foster. Because The Hoya does not condone sneaking a flask or blowtorch into O’Donovan’s Hall, forgo the traditional preparation in favor of a microwave and some pre-made caramel sauce.

Ingredients:

Directions:

Thinly slice the banana and One banana place onto a plate. Two pumps of caramel sauce Two scoops of vanilla ice Head to the ice cream area and drizzle caramel sauce cream or vanilla soft serve over the bananas, then miHandful of granola crowave for 45 seconds. Top the warm bananas with ice cream and sprinkle with granola.

MATT JOSELOFF/THE HOYA

10.7.11 // the guide // 11

arts&style

Living in a State of Perpetual Cliffhanger

The Magical Les Mis P O CAITLIN-MARIE WARD Special to The Hoya roducer Cameron Mackintosh has brought his smash-hit musical “Les Miserables,” based on Victor Hugo’s original masterpiece, back to Washington, D.C., as part of a special worldwide 25th anniversary tour. Besides the beloved score, this rendition boasts new sets and scenery inspired by paintings by Hugo. The show is sappy, sentimental and over-the-top, but that is exactly what audience members are looking for, because that is what has sustained this musical for the last 25 years. Alain Boublil and Claude-Michel Schonberg first wrote “Les Miserables” as a French musical that opened in Paris in 1980. The show was performed for three months in sold-out theaters. Many years after the curtain went up on “Les Miserables” in Paris, English producer Mackintosh heard the French score and was inspired to bring the musical to a broader audience. On Oct. 8, 1985, a production of the play opened at the Barbican Center in London, later moving to the Palace Theater on Dec. 4 and then to the Queen’s Theater in 2004. The show opened on Broadway on March 12, 1987. The most important elements of the production, such as the dramatic lighting and, of course, the powerful and emotional ballads, have all reappeared in this latest production. However, a few changes have been made, both for change’s sake and to bring the show into the modern era. For example, directors Laurence Connor and James Powell use a projection screen hanging from the back of the stage to create churchyards, cityscapes and other scenery. The use of

the projection screen is particularly remarkable during a scene in which one of the characters climbs up onto the rails of the bridge, ready to throw himself into the rushing river below. Instead of simply falling forward into an opening in the stage, he remains suspended in the air while the rails of the bridge below him slide offstage. The projection screen then changes to portray the river below. The actor flails his arms as he falls through the air, the cables slowly moving him backward until he disappeared into the darkness. It would be impossible to discuss “Les Miserables” without mentioning the incredible musical score. Most musicals have only one or two signature songs. Not so with “Les Miserables” — all the songs are iconic. J. Mark McVey, who plays Jean Valjean, sings a particularly beautiful rendition of “Bring Him Home” right before the major battle. Even the most cynical audience members would find themselves believing in love at first sight when Justin Scott Brown and Jenny Latimer, who play Marius and Cosette, respectively, sing “A Heart Full of Love.” Betsy Morgan’s Fantine delivers a less-than-satisfying rendition of “I Dreamed a Dream,” but perhaps we have all been a bit spoiled by Susan Boyle’s performance. Overall, “Les Miserables” does not disappoint. Despite minor imperfections, the show is truly a magical experience that will bring the audience to its feet and leave fans begging for more. “Les Miserables” will run from Sept. 28 to Oct. 30 at the Kennedy Center.

HUDSONSCENIC.COM

ALL THE WORLD’S A STAGE Victor Hugo’s masterpiece is overhauled for the 21st century stage. This rendition makes use of dramatic lighting and a projection screen to convey the setting.

12 // the guide // 10.7.11

lating, theorizing and debating were put to rest? The same goes for Dutch artist Jan Vermeer’s “Girl with a Pearl Earring” (often referred to as the “‘Mona Lisa’ of the North”), another seemingly ClareDonnelly simple painting about which very ne of my favorite pastimes is little is known but much is specusitting on my family’s big red lated. The mystery surrounding this couch with my younger sister representation of a young girl is only and making fun of bad TV. Even at age enhanced by the enigmatic character 15, my sister is still one of the sassiest, of the man who painted her; much of most sarcastic people I know, so when the life of Vermeer is still unknown you get the two of us together and and may very well stay that way. But hand us the remote, we’re merciless. would we still care about this fairly ordinary girl if we knew the whole It’s fantastic. Modern-day Disney Channel origi- story? Thinking in contemporary terms, nal series often provide some of the best material for this rainy-day activ- one of the most notable public enigity. I remember watching a particu- mas in the art world is Banksy, easlarly dramatic episode of Hannah ily the most well-known street artist Montana together in which poor Mi- today. Banksy has created his entire ley Cyrus was, like, freaking out about persona as an artist around the ampeople discovering her true identity. biguity of his true identity, and many Like, OMG, what would her fans think would agree that much of the success of his satirical, if they knew she subversive work had been lying to Do we really need that ele— which can be them this entire found on walls, time about being ment of mystery to keep us bridges and billa natural blonde? intrigued, interested, tuned in boards throughOur answer? to the world and the people out the U.K. and Well, with or witharound us? America — can be out the wig and attributed to his rhinestone-studcareful protection ded costumes, of this mysterious personality. Withwe’re still talking about Miley Cyrus here. Blonde o r out having a real face or name to assobrunette, Hannah or Miley, it’s all ciate with this work, we are left with crap. But regardless, this high-sus- just the paintings themselves, which pense episode somehow (probably send pretty powerful messages about unconsciously) raised an interesting the darker sides of our contemporary question about our need as viewers consumer culture. We all like a little mystery, a little for that element of mystery in art and in the rest of our lives. Why do we so intrigue, a little taste of the unenjoy reveling in the unknown, and known. You see it in art, in music, what is lost when the veil is dropped, in television and even in love interests. (Who doesn’t find themselves when we discover the full truth? Think about it: Even if you say instantly attracted to the tall, dark you’re not an “art person,” there’s no and handsome stranger?) And yet, way you could’ve gotten this far in life at the same time, we always want to without being exposed to the specula- have all the answers. It’s a bit hypotion surrounding Da Vinci’s “Mona critical, really. So what does that say Lisa” at some point in time. Who was about us as a culture? Do we really she? Why did he paint her? Why does need that element of mystery to keep she have that weird smirk on her face? us intrigued, interested, tuned in to There’s a reason this painting is con- the world and the people around sidered the most famous in the world, us? Does our perception of a person, and it’s certainly not because Miss Lisa event or work of art change when we was a hottie with a Renaissance body. learn the full truth? Do we always At face value, most will agree that need to be in this state of perpetual there’s nothing too remarkable about cliffhanger, never quite a knowing this piece. What fascinates us, what what’s going to — makes it the first thing we have to see when we visit the Louvre, is all of the Clare Donnelly is a senior in the Colmystery surrounding her. Would she lege. She can be reached at donnelly@ really be that interesting if we had thehoya.com. LEAP INTO THE VOID apall of the answers, if all of the specu- pears every other Friday in the guide.

leap into the void

10.7.11 // the guide // 13

entertainment Fox Sitcom Returns to An Uncertain Future hulu saxa

ten to the names of the family members: George, Michael, George Michael, George Oscar (“Gob,” pronounced like the Bible’s “Job”), Buster (whose real name is Byron) and Tobias Funke. As StevenPiccione Tobias once said to a lawyer named Bob Loblaw, “You, sir, are a mouthful.” great tragedy of our time By the way, that very same lawyer has was the cancellation of a law blog called “Bob Loblaw’s Law one of the best television Blog.” See if you can say that five times series ever created: “Arrested Devel- fast without giving up on life. opment.” For those who don’t know, Even though I had planned on writ“Arrested Development” aired on Fox ing a column on “Arrested Developfor three seasons, from 2003 to 2006. ment” for a while, as fate has it, the Created by Mitch Hurwitz (COL ’85), biggest news about the series arrived the show centers on the Bluth family, only a few days ago: “Arrested Developa once wealthy and seriously dysfunc- ment” is coming back! Even better, the tional family, as they try to maintain new season will lead into a full-length a lavish lifestyle while dealing with feature film. All excitement aside, I their financial can’t ignore what woes. The show many fans might received six EmAs fate has it, the biggest news fear: that the revival mys and critical the series might about the series arrived only a of acclaim, but it disappoint viewers. few days ago: “Arrested Develwas nonetheThis wouldn’t be less never able the first time that opment” is coming back! to achieve high a cancelled show ratings or viewcame back only to ership. underwhelm viewers. The structure of the “Futurama” is a great example of Bluth family is complex, as are the lives a show being revived and then disof its members. The anchor of the fam- appointing audiences. “Futurama” ily is Michael Bluth (Jason Bateman), originally aired from 1999 to 2003 who tries to keep the family members and received critical acclaim, earning together despite the fact that they are 10 Emmy nominations, but was canall selfish and manipulative. Michael’s celled by Fox due to low ratings. After son, George Michael (Michael Cera), being off the air for several years, the also strives to maintain a balance in show was revived by Comedy Central the family but must constantly with- and episodes are slated to run into stand the pressures put upon him by 2013. What used to be a witty comhis father. The patriarch of the family edy with lovable characters is now a and Michael’s father, George Bluth Sr. watered-down sitcom with predict(Jeffrey Tambor), caused the whole able plots and meaningless story arcs. financial mess by lying to sharehold- All pessimism aside, the new season of ers of the family business. George “Arrested Development” will be a nineSr.’s wife, Lucille (Jessica Walter), is the episode mini-series, with one episode most manipulative and most critical for each main character, that will then of every other family member. Lucille lead into a full-length feature film. retains utmost control over Michael’s This peculiar structure seems to enbrother, Buster (Tony Hale), who has sure consistent storylines and a solid plot been conditioned since birth to rely for the overall story of the Bluth family. on his mother. The other brother, Gob However, if the new episodes turn out to “George Oscar Bluth” (Will Arnett), is a be a bust, I might just move to Portugal mediocre magician who spends most … good ol’ South America. of his time carrying out his father’s Steven Piccione is a junior in the Colplots to undermine Michael. You might now realize one of the lege. He can be reached at piccione@ reasons why some people found it hard thehoya.com. HULU SAXA appears evto keep track of the characters. Just lis- ery other Friday in the guide.

14 // the guide // 10.7.11

Don’t Beware This Ides of March ALLIE DOUGHTY Special to The Hoya

hile I’m definitely not the most is one slip-up from shambles. The acting, as should be expected, is avid fan of anything to do with politics, The Ides of March not phenomenal, and it’s almost a given that only kept my interest, but had me want- the film will garner a few Oscar nominaing more even as the ending credits were tions. Paul Zara (Hoffman), Stephen’s bitter rolling. The director of the film, George wreck of a boss, and Tom Duffy (Giamatti), Clooney, worked with partner Grant Hes- the equally cynical campaign manager lov to adapt the screenplay from Beau Wil- of the opposing candidate for the Demolimon’s Broadway production of “Farragut cratic Party, barely interact with one anNorth.” Besides directing, Clooney also other; however, due to the wonderful perstars in the movie alongside a stellar cast formances of the two actors, their rivalry featuring Ryan Gosling, Philip Seymour is easily perceived. Despite the big-league Hoffman, Paul Giamatti, Marisa Tomei and scene stealers, Gosling manages to imEvan Rachel Wood. press; he even earns Gosling fulfills the a laugh when his leading role as Stephen character attempts Myers, an ambitious to convince Duffy junior press secretary that he’s not unstafor smooth-talking ble, crazy eyes and presidential candidate THE IDES OF MARCH all. It’s also refreshMike Morris (Clooney). ing to see Clooney starring: George Cl o oney, Ryan Just days before the play a character Gosling, Philip Seymour Hoffman Ohio Democratic prithat isn’t necessarmary, a bad decision ily likeable. did you know?: Brad Pitt was cast puts Stephen’s job at The cinematograas Paul Zara but was replaced by stake. Add to the mix phy by itself is wellPhilip Seymour Hoffman. Ida Horowicz (Tomei), done. In one scene, a pestering reporter Zara gets into Morfor The New York ris’ black SUV, and Times, and campaign intern Molly Stearns the shot remains constant for about 30 (Wood), a young temptress with seductive seconds, the audience unable to hear the eyes for Stephen, and the entire campaign conversation taking place. Only after viewers are saturated with feelings of suspense does he emerge from the vehicle having been delivered some disturbing news. That same type of camera work, combined with the musical score, is even more stirring. At one point, a rich horn sounds in the background as the camera glosses over a room and then finally settles on the mirror reflection of Stephen, Morris and Zara sitting in discussion. Although I was captivated by the sexual and moral dilemmas and the passionprompted altercations, they are also a source for criticism. Despite the premise of the film that revolves around a political campaign full of corruption, I felt the revelations were just too unrealistic. By the end, all I was thinking was, “OK, I understand that politics are dirty — now stop beating me over the head with it.” Overall, though, The Ides of March was ALL PHOTOS ROTTENTOMATOES.COM both entertaining and intellectually stimMEET THE PRESS Ryan Gosling plays ulating, a recipe that can rarely be beaten, a junior press secretary working for a even for cinema snobs. corrupt presidential candidate.. NEMOVIE-

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SHUT.COM

entertainment

Experimental Artist Hits Home on Latest Album ABBY REUTZEL Special to The Hoya

iophilia is defined by Merriam-Webster as a “hypothetical human tendency to interact or be closely associated with other forms of life in nature.” Bjork takes this interaction to a new level with the release of her eighth studio album, Biophilia. She has taken a studio album to the next level and, with the help of Apple, has created

ONE LITTLE INDIAN RECORDS

a multimedia experience that will blow her talist. She has created her own unique sound, and, rather than push the musical boundlisteners’ minds. Bjork has never been one to follow the aries on this album, she decides to explore rules or set guidelines, and Biophilia is a the sound she has spent years creating. This perfect example of her deviation from what album marks the perfection of said sound. would be expected of her. Not only did she The 10 songs sound exactly how you’d expect Bjork’s songs to create original instrusound. However, this ments for the album, lack of a new sound but she also had 10 isn’t a bad thing, and iPad apps designed, it doesn’t mean that each corresponding BIOPHILIA she hasn’t grown muwith one song from sically since her last the record. artist: Bjork These apps are song to download: “Mutual Core” album four years ago. In fact, her growth designed to create a as an artist is evident visually interactive throughout the alexperience for each of her songs. More than just auditory ex- bum. Her sound is beautiful and breathtaking, ploits, Bjork’s songs are intended for listen- and it is an experience to listen to, as usual. The first single from the forthcoming ers to be able to experience in a revolutionary way. However, what really matters here album, set to release on Oct. 10, is “Crystalline,” a song that is powerful in its build-up isn’t the technology but the music itself. Over eight albums Bjork has earned a repu- leading to a loud and triumphant climax. Its tation for herself as a risk-taker and experimen- subject matter is structural. The second sin-



New Releases “How Come You Never Go There” Feist Metals

gle from the album is “Moon,” which deals with the lunar cycles and sequences of night and day; its softness and Bjork’s impressive vocals make the song. The track “Thunderbolt” tackles the theme of lightning and thunder while combining a variety of musical styles. Bjork’s Biophilia lives up to its name by combining and interacting with human technology and emotions as well as nature and the environment. Not only is she able to craft sweeping music combined with beautiful vocals, but she’s also able to take it to the next level by pairing it with applications that are available for download. This unlikely combination works in her favor and creates an entirely foreign effect for experiencing her album. This record isn’t just music and technology; it’s also art, and it is definitely worth a listen.

See more music and movie reviews at thehoya.com. NICK DONAHUE Hoya Staff Writer

“Anthem for the Unwanted” New Found Glory Radiosurgery

“Share the Moon” The Indigo Girls Beauty Queen Sister

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Canadian songstress Feist has already garnered praise for her minimalist but poignant sound on her ﬁrst few albums. “How Come You Never Go There” is an example of how Feist has improved her arrangements to include a stronger, arena-ready dynamic. Feist’s music shows conﬁdence, and this song proves that her self-esteem is growing.

On this song from New Found Glory’s latest album, Jordan Pundik sings “I can’t believe we made it this far.” With songs as dull as “Anthem for the Unwanted,” Pundik surely isn’t the only one holding that belief. New Found Glory may be singing songs from the heart, but it’s not the maturity you would expect from a group of 30-year-olds.

Yes, the Indigo Girls have been around for a long time — maybe too long for some. Nonetheless, Amy Ray and Emily Saliers are still able to create some truly insightful and beautifully melodic pieces. “Share the Moon” is a warm, slow-paced tune that is sure to give you an immediate sense of contentment.

IDOLATOR.COM

MUSICJUZZ.BLOGSPOT.COM

INDIGOGIRLS.COM

10.7.11 // the guide // 15

best bets

Brainerd Lake in historic Cranbury, N.J. ... And people say New Jersey is ugly.

— sari frankel

friday Former lead singer of the punk-rock band Black Flag Henry Rollins will be speaking on his new collection of photographs entitled, “Occupants.” These pictures of Rollins’ travels from around the world will be showcased as a part of National Geographic Live’s Music on Photography Series. WHERE: National Geographic Society — Grosvenor Auditorium, 1600 M St., Washington, D.C. WHEN: Friday, 7:30 p.m. INFO: (202) 857-7700 PRICE: $40 METRO: Farragut North (Red Line)

ALEX SANCHEZ Hoya Staff Writer

saturday Sponsored by the Capitol City Brewing Company, the 12-year-old Oktoberfest celebration offers visitors the opportunity to sample beers from over 40 different breweries while wandering the streets of Shirlington, which will be transformed into a hops-fueled block party. Designated drivers and children are granted free admission. WHERE: Capitol City Brewing Company, 2700 South Quincy St., Arlington, Va. WHEN: Saturday, 12-7 p.m. INFO: (703) 578-3888 PRICE: Free; $25 for beer tasting METRO: Pentagon City (Blue Line or Yellow Line)

sunday Over 60 D.C. food vendors will line Pennsylvania Avenue this weekend for the first Taste of D.C. food festival since 2003. In addition to the wide variety of food that will be available to attendees, the event will also feature performances from bands such as Rocknoceros, Hope Harris and the Cousins Jamboree. WHERE: Pennsylvania Avenue between Ninth and 14th St. NW, Washington, D.C. WHEN: Sunday, 10 a.m.-10 p.m. INFO: (202) 619-7222 PRICE: Free admission; Tasting tickets are 10-for-$15 at the event and 20-for-$25 in advance online. METRO: Federal Triangle (Blue Line or Yellow Line)