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n o i l l e b e r f o s t o o R F R I DAY, F E B R UA RY 9 , 2 0 1 8
ILLUSTRATION BY: GRACE CHUNG AND VALERIE MA/THE HOYA
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friDAY, February 9, 2018
ANNA KOVACEVICH/THE HOYA
Georgetown’s connection to punk rock music stems from WGTB, the student radio station on campus. Punk spread from the university’s airwaves to the greater D.C. area, creating an environment of joyful rebellion for college-age students.
Punk Rock Spread From WGTB to the Streets of DC Maddie finn Hoya Staff Writer
“It felt like things could explode at any moment into absolute chaos.” James Schneider, director of the upcoming documentary “Punk the Capital,” was not describing a heated protest but rather the influential 1979 punk rock concert held at Georgetown University. The show was a benefit concert held by Georgetown’s student-run radio station WGTB after the organization was shut down by the university because of the station’s left-wing broadcasts. Beyond the WGTB studio’s walls, Georgetown’s countercultural radio programming was part of a larger punk movement that spread like wildfire across Washington, D.C.
Radical Radio Broadcasts
Georgetown’s connection to punk rock stems from WGTB. Rev. Francis Hayden, S.J., founded the radio station in 1946 to broadcast Latin Mass, but over the next 25 years it developed into a prominent left-wing station in D.C. WGTB played a variety of music, including punk rock on Steve Lorber’s (COL ’76) show “Mystic Eyes” and future keyboardist for punk band The Look Xyra Harper’s program “Revolt into Style” in the mid-’70s. These shows were among the first in the District to broadcast the genre according to Schneider, tying the Georgetown radio station to punk rock’s spread.
“Some of the people who were bound to form influential bands used to go and sneak out of their houses into Harper’s show at two in the morning,” said Schneider in an interview with The Hoya. Along with punk rock, WGTB was wellknown for advertising anti-Vietnam War rallies and contraception, drawing direct condemnation from Vice President Spiro Agnew in 1975. “There is little will to oppose communism in America anymore, [and] the voice of third-world communism is pervasive in academia. WGTB … broadcasts what seems to be propaganda for the third world,” Agnew told The New York Times Magazine. Michael White (COL ’19), WGTB general manager and drummer for posthardcore/punk band Panini Girlfriend, explained what happened next. “The university was more conservative, and [WGTB] was telling people about rallies, and the priests didn’t like that, so they shut it down,” White said. The station’s radical political messaging would result in serious consequences for WGTB. Fr. Timothy Healy, S.J., Georgetown’s president from 1976 to 1989, sold the WGTB radio frequency to the University of the District of Columbia in 1979 for a grand total of $1. Three days later, on Feb. 3, 1979, WGTB hosted a benefit concert in the Hall of Nations, now Walsh Black Box Theater,
in a last-ditch attempt to resurrect the now-defunct station. Three rock bands performed that night: The Cramps, The Chumps and the Urban Verbs. The show perfectly captured the punk ethos, according to Schneider: It was direct, honest and chaotic, filled with sheer energy.
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Some of the people who were bound to form influential bands used to go and sneak out of their houses into Harper’s show.” JAMES SCHNEIDER Director, “Punk the Capital”
“The place was completely destroyed — kind of anarchy,” Schneider said. “It was sold out, but people like Rob Kennedy from the Chumps were helping to sneak people in.” The concert’s influence resonated through the nation’s capital. Future punk rock staples such as The Slickee Boys attended the show, while the influential band Bad Brains handed out pro-
motional flyers at the event, according to Schneider. Audience members, Ian MacKaye, a native of D.C. neighborhood Glover Park, would even go on to start his own record label, Dischord Records, in 1980 and front legendary punk rock bands The Teen Idles, Minor Threat and Fugazi.
Young Punk Pioneers
Off campus, punk was spreading like wildfire through the District. Small shows drummed up support from D.C. youth and created an environment of joyful rebellion and do-it-yourself spirit. “A lot of people saw what they were doing and thought, ‘I could do that; I can play a few chords and put my heart into it,’” Schneider said. Punk pioneers like The Slickee Boys operated outside traditional structures such as major record labels and established concert venues. They had to be creative to overcome the barriers presented by their age and inexperience, according to Benjamin Harbert, a professor in the department of performing arts who teaches a course on rock 'n' roll history. “They couldn’t get record deals; they couldn’t even play at the local venues in town, because they weren’t old enough to drink and get in,” Harbert said. The young musicians relied instead on informal, underground networks they created themselves.
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friday, February 9, 2018 The owners of unconventional venues such as the anarchist collective Madam’s Organ, along with various basements and warehouses, began opening themselves up to punk bands, providing a space for enthusiasts of all ages to attend and enabling the movement to gain momentum. Even St. Stephen and the Incarnation Episcopal Church in Columbia Heights has welcomed all kinds of musicians to play benefit concerts since the 1970s. “They generated this network of not only places to play but local scenes, selfproduced magazines, audiences and floors to sleep on,” Harbert said. Ironically, the undeveloped nature of D.C.’s music scene helped foment punk rock in the District. “D.C. was not an entertainment town, so there was not a thing to model yourself after,” Schneider said. “And that’s why it became an independent, unique scene.” The Capitol’s stuffy environment also provoked a rebellious response. Natasha Janfaza (COL ’18), a singer and guitarist in Panini Girlfriend, said D.C.’s professional atmosphere facilitated the rise of counterculture through the punk movement. “There’s a lot of corporate culture here and government and politics,” Janfaza said. “Any time there’s a culture of oppression, there’s a reaction to it.” The global perspectives of many working in the nation’s capital also helped politicize musicians from the District by increasing their awareness of national and international events, Schneider said. “It was maybe a more educated class of parents — Working class or government workers or state department parents,” Schneider said. “You had this
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AMANDA VANORDEN FOR THE HOYA
1970s Washington, D.C.’s lack of a music reputation helped to cement punk rock’s roots in the city. As punk music spread, nontraditional venues began to host punk bands. background reflecting on the world and having a broader perspective than in some scenes.” Although these influences are all relevant, pinning down the precise reasons for the punk movement’s growth in D.C. is impossible, according to Schneider. “There’s something very specific and maybe mysterious about each place [where music develops],” Schneider said. “It’s hard to capture, like a work of art. This thing that emerges out of different cities — it’s a sound — it’s hard to put your finger on it always.”
AN Evolving Ethos
In the modern age, the informal networks that sustained punk rock’s growth
are increasingly overshadowed by the internet. The do-it-yourself ethic of the ’70s and ’80s that favored independent production and distribution of music and rejected corporate sponsorship has become less alluring, according to Schneider. “With the online capacities that people have, DIY has kind of lost its luster in a way; everybody’s DIY. So that has its positive and negative impacts on the community,” Schneider said. The modern era has also shifted the goals of punk bands since the ’80s, according to Harbert. Some bands have started to place a higher emphasis on their media presence than on the music itself. “Nowadays, with the internet, you get
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bands who have a photo and logo and network on social media before they’ve even written a song,” Harbert said. Although the spirit of punk rock appears to be shifting, the increased accessibility of music today does allow musicians to reach a wider audience. This gives Michael Poletti (COL ’18), bass player for Panini Girlfriend, optimistic view for the genre’s future. “Punk will become more popular. Now that it’s all on the internet, it’s so much easier to find,” Poletti said. Despite the digital proliferation of punk music, Elizabeth Gleyzer (COL ’20), WGTB program director and avid punk fan, still believes live shows are essential to the punk rock experience. “To appreciate your music, you’d have to physically take your body to the show and hear it,” Gleyzer said. Although WGTB now broadcasts online only, and the station is no longer an essential fixture in D.C. punk rock, Georgetown’s small but dedicated group of punk fans carries on the spirit of the movement, Gleyzer said. “I definitely know punk bands on campus and people who are really involved in the scene,” Gleyzer said. Off campus, the D.C. punk scene remains lively. Mainly sustained by underground house parties, fans can still get their fix at venues such as The Pinch in Columbia Heights and the Black Cat in Cardozo. Each April, Washington, D.C., also hosts the hardcore punk festival, “Damaged City,” which brings together bands from places like California and Sweden. Although the future of punk rock in the District is unpredictable, history shows D.C. is a punk town, where the roots of rebellion and counterculture run deep.
LEFT: PANINI GIRLFRIEND; RIGHT: PUNK THE CAPITAL
Since the emergence of punk rock in the ’80s, the goals of punk bands have shifted, with many placing a higher emphasis on media presence rather than music itself. Modern technologies enable punk to reach wider audiences, although fans of the genre still believe live shows are essential to the punk rock experience.
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THE HOYA
friDAY, february 9, 2018
Tradition and Community Celebrated at ‘Cherry Tree’ julia yaeger Hoya Staff Writer
Walking into the Georgetown Chimes’ rehearsal is like stepping into another world. Stifled vocals come from the back room of the house where members of the Chimes gather before rehearsing, while members who are not warming up sit in the front room, bonding and waiting to sing. The Chimes House is located on Prospect Street, just around the corner from The Tombs, where the a capella group often performs. Inside their house, the walls are covered in memorabilia and photos of past Chimes groups; the history of Georgetown’s oldest, all-male a cappella group is encapsulated in this space. “It’s such a storied history that it’s tough to know it all,” Chimes member Quincy Tichenor (COL ’19) said in an interview with The Hoya. A significant part of that storied history is the Chimes’ yearly a cappella festival, The “Cherry Tree Massacre,” a four-day annual event that has been held since 1973. In the 45 years since “Cherry Tree” began, the Chimes has invited other Georgetown a cappella groups like the Saxatones and Gracenotes, those from other universities and even professional ensembles to perform on the stage of Gaston Hall. “Cherry Tree” is one of the biggest events of the year for the Chimes hosts. The Chimes set the date of the festival a year in advance, and preparation for the event begins a few months before the
start of “Cherry Tree.” The Chimes’ setlist is drawn from a list of 70 songs, which gets whittled down in a multi-round selection process.
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‘Cherry Tree’ is so great because it gives us an opportunity for us to connect with Georgetown as a whole.” MATT BESHKE Chimes Ephus
“It’s kind of the paramount time of our year every year. We look forward to it all year,” Ephus Beshke (SFS ‘18) said. The group emails groups from various schools along the East Coast to gathers its talent for “Cherry Tree”; many groups, like University of Virginia’s New Dominions and Duke University’s Speak of the Devil, have been performing in “Cherry Tree” for years. These invitations make for an evening full of diverse voices and entertainers. At this year’s “Cherry Tree,” professional, all-female barbershop group GQ
performed on Saturday. As an all-women group, GQ is the perfect foil to the Chimes, making for a dynamic performance. “Chimes has a reputation of being ‘the male barbershop group,’ and we wanted people to see that women can do barbershop,” active Chime Derek Hasse (COL ’19) said in an interview with The Hoya “Cherry Tree” on Friday and Saturday also showcased the range of Georgetown’s a cappella talent, with performances from Georgetown groups like Resonant Essence Live, the Saxatones, Superfood and the Capitol G’s. Each group has a different style, making the festival a celebration of a variety of musical genres and sounds. Even the Chimes, known for its classic doo-wop sound, dropped some of its more traditional songs to showcase more modern selections specifically for this year’s festival. Every year, “Cherry Tree” begins with “We Meet,” but this year, the group managed to introduce a mashup of the popular hits from the pop group fun., including “Some Nights” and “We Are Young” into its opening. One tradition maintained at this year’s “Cherry Tree” was the combined performance of the Georgetown fight song by current Chimes members and their engaged alumni network. For the Chimes, “Cherry Tree” is largely about forming a sense of community between alumni and current students. “‘Cherry Tree’ is great for us, but it’s so great because it gives us an opportunity for us to connect with Georgetown as a whole,” Beshke said. “Cherry Tree” is not the only Chimes
tradition however. The Chimes stay connected to its roots by continuing to learn the same songs that Chimes from decades ago sang, and the a capella group frequently invites its extensive alumni network back to Georgetown. Once a year, it hosts an alumni-oriented show for which Chimes members invite alumni to return and sing with them. This show provides a chance for current Chimes to sing with Chimes who graduated decades ago. “The alumni show is a cool example of that tradition of learning the same songs and still being connected throughout the years. I could get a quartet from the ’60s, ’70s and ’80s and sing 40 or 50 songs together,” Beshke said. For the current members of the Chimes, the organization is more than another a cappella group. Rather, the group is about a connected brotherhood of both current members of Chimes and its alumni. “Cherry Tree” is just one way that the Chimes continues to strengthen this bond and share it with the Georgetown community. “We build relationships — relationships that kind of transcend college and kind of become a lifelong brotherhood that is different than you might find in other groups,” Beshke said.
“Cherry Tree Massacre” has two more performances: Feb. 10 and Feb. 24. Tickets can be purchased at the Chimes’ table in Red Square or the Leavey Center or online at: https://www.eventbrite.com/e/cherrytree-massacre-2018-tickets-41847218156
RYAN BAE/THE HOYA
The Chimes’ yearly a capella festival, “Cherry Tree Massacre,” is a four-day event that has been taking place since 1973. For the members of the Chimes, the festival is about more than singing: It is a celebration of brotherhood and a way to connect with past and current members of the Georgetown community.
friday, february 9, 2018
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THE HOYA
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RYAN BAE/THE HOYA
“Cherry Tree Massacre” began Friday, Feb. 2, with performances from professional all-female barbershop group GQ and Georgetown a capella groups The Saxatones, Superfood, the Capitol G’s and Resonant Essence Love. There are two more “Cherry Tree” performances Feb. 10 and Feb. 24.
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THE HOYA
friDAY, Feburary 9, 2018
the music on my playlist
table for two
Paz: Music on My Playlist
Restaurant Week Is a Sham
Christian Paz (COL ’19) is an executive editor and formerly served as news editor for The Hoya.
‘spring to come’ by john butler trio When I turn to my playlists for a soft, safe and stable space, this ballad by the Australian folk group John Butler Trio is a natural option to center myself. With a warm and reflective introduction, Butler’s gentle voice invites you to consider the challenges and obstacles you are facing before offering the conclusion that feeling a little lost and broken inside is completely acceptable. This sense of vulnerability builds into a confident and hopeful message with a strong and uplifting chorus that answers question many college students like me wonder about stress, sadness and disappointment: “Will I overcome this?” We all go through winters in our lives, but Butler reminds us that “out of the darkness, only light can come.”
‘Cut to the feeling’ by carly rae jepsen Amid the pure pop genius of Carly Rae Jepsen’s “EMOTION,” “Cut to The Feeling” is a joyous and celebratory bop that provides an emotional balance to Swift’s “Delicate.” Jepsen celebrates every little part of crushing on someone that makes love worth it. Still, this song reverberates even more for a gay person: Lines like “I had a dream, or was it real?” and “I’ve been denying how I feel” remind me of time spent in the closet before coming out, and how that no longer needs to be the case. Jepsen invites you to “cancel your reservations” and join her in the clouds of love.
‘little of your love’ by haim I am stoked about HAIM’s 2017 album “Something to Tell You.” The Los Angeles-born trio of sisters is a staple of indie rock that first captured my heart in 2013. “Little of Your Love” presents a punchy, singsong tune that can put a skip in your step no matter where you are. Danielle and Alana’s vocals contrast with Este’s bass, providing depth to a ballad I adore.
HAIM
Toby Hung and Daniel Almeida
“V
TAYLOR SWIFT
‘delicate’ by taylor swift The most raw and vulnerable track of American country/pop icon Taylor Swift’s masterpiece “reputation” album, “Delicate” presents a version of Swift only glimpsed in “Style” from her 2014 album, “1989.” A blend of synth and punchy pop presents a Swift torn between love and shame. Acknowledging her public spat with Kim Kardashian and Kanye West in 2016, Swift wrestles with the reality of both her partner’s love and her public’s hate. Amid efforts to define her as manipulative, Swift succeeds in explaining the universal feelings of fear and stress when falling in love.
MILEY CYRUS
‘malibu’ by miley cyrus Rounding out my playlist is this ode to the crown jewel of Southern California by none other than my middle school icon, Miley Cyrus. Powerful vocals lift up this emotional performance, and Cyrus’ honest self-evaluation connects with any audience. A summer release, “Malibu” reminds me of both sandy beaches and seagulls back home and the journey that’s brought me where I am today. “Malibu” is a triumphant song, presenting a singer who has matured and grown over the past 10 years and causing me to look back at the obstacles I have overcome to become the person I am today.
alue” is a word seldom found in the Washington, D.C. diner’s vocabulary — it is rare to find a restaurant that satisfies both the palate and the wallet. In light of these unfortunate circumstances, the Restaurant Association of Metropolitan Washington organizes a semi annual Restaurant Week, with prix fixe lunches and dinners set at $22 and $35, respectively. On paper, these prices advertised an offer we could not refuse. This year, about 250 local restaurants participated in the week’s promotions, from Michelinrecommended fare to trendy, up-and-coming eateries. Collectively, we dined at 10 of the participating restaurants, scouting out what we thought would be the worthiest contenders. Instead, we encountered disappointment after disappointment. Considering the usual price tag of some of the restaurants where we dined, the promotions did present a more economical option. Yet, what was gained in value was lost in quality. Most disappointingly, many of the dishes we surveyed were subpar. Flavors were lacking, ingredients were uninspired and presentation was nonexistent. Although this problem may not be emblematic of Restaurant Week itself, surely no business is incentivized to deliver excellence when its prices are capped at predetermined ceilings. Rather, businesses need to do just well enough that patrons will return during the other 50 weeks of the year. Even at the finest establishments, we found Restaurant Week offerings paled in comparison to the usual repertoire of dishes. At Kingbird, an American restaurant at the Watergate Hotel, the short rib ravioli was a textural tragedy, with mushy meat inside an exterior of thick sauce. Our meal at Convivial, a bistro in the Shaw neighborhood, suffered from an identity crisis, with dishes spanning the American South with fried chicken nibbles, Alsace, France, with sauerkraut and sausage choucroute garnie and
back to the States again with Key lime pie. In addition to the absence of a consistent narrative, the dishes lacked character. Taste aside, some of the kitchens seemed to be tightly rationing the portions for Restaurant Week dishes. At Fabio Trabocchi’s Del Mar, which was recently selected by the Washingtonian as D.C.’s third-best restaurant of 2018, the jamon dish — the sine qua non for any tapas restaurant — consisted of a few flimsy pieces of bland serrano. At Fiola Mare, another of Trabocchi’s restaurants, we finished each dish within minutes and were left wanting more. Granted, the promotional nature of the week does not ensure generous portions. Although delicacy is one thing, stinginess is another. Even the establishments of restauranteur extraordinaire Jose Andrés fell victim to a severe lack of options. The taco selection at Oyamel was limiting — a shame given the usual menu’s creativity and abundance. At Fish, one of Andrés’ most recent openings, we were unimpressed by the lackluster options available on the Restaurant Week menu; none of the items featured the restaurant’s namesake seafood. Our party ended up ordering the tasting menu, which is always a safe bet with Andrés. It goes without saying that some of the Restaurant Week promotions were indeed quite delightful. The “Balkan experience” at Ambar — an all-you-can-eat option complete with grilled meats, vegetable spreads and flatbreads — was a feast for all senses. By far, the most for-value meal we had during the week was at Bistro Cacao, where a bountiful lunch set featured escargot, steak frites and tartes aux pommes. Given our small sample size, we expect there were also other terrific deals we missed. But to readers anticipating the next Restaurant Week, we offer this “caveat eater.” Not every Restaurant Week promotion is created equal. A few of the promotions we sampled were enjoyable, but the majority were unsatisfactory and did not do justice to the vibrant restaurant scene of the District. It is with this unfortunate consideration that we award Restaurant Week 2018 a shrug. Daniel Almeida is a senior in the McDonough School of Business. Toby Hung is a senior in the College. Table for Two appears in print every other Friday.
DC DELMAR
DC Restaurant Week is a major attraction every year, but not all promotions are created equal. While some are sure to please, others unfortunately fall short.
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friDAY, february 9, 2018
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concert review
Lauv
9:30 Club
Kathryn baker Hoya Staff Writer
In his performance at the 9:30 Club on Feb. 6, emerging electro-pop artist Lauv, otherwise known as Ari Leff, showed off his phenomenal falsettos and suave dance moves to capture the crowd’s attention — and keep it. For the night, Lauv wore his heart on his blue Freddy Kruegeresque sweater sleeve, bringing his sentimental lyrics to life for a show that was equal parts emotion and energy. Lauv began his set by teasing the audience with just the opening lines of “I Like Me Better,” from 2017 eponymous EP, before launching into his first full-fledged number, “Paris in the Rain,” a single released the same year. For the performance, Lauv cheekily held an umbrella while echoing the romantic lyrics, “Anywhere with you feels right / Anywhere with you feels like / Paris in the rain.” From there, the 23-year-old singer launched into “Comfortable,” a song exploring the frustrations associated with complacency in relationships. He then surprised the audience with a new release titled “Paranoid.” The edgy, minimalistic track brilliantly juxtaposed
SZA
Lauv’s smooth vocals with heavy drums, differentiating it from the softer singles he is known for. The remainder of the concert was marked by a back-and-forth exchange between dance hits and bluesy ballads. A jazzy, yet relaxed, rendition of his 2015 track “Reforget” was immediately followed by a carefree house number, “A Different Way,” which Lauv produced with DJ Snake in 2017. Although these two songs express the range of emotions one feels after a breakup, from anger to anticipation, Lauv managed to maintain a lighthearted attitude and encouraged members of the crowd to put their hands up and jump to the music. One of the night’s standout performances was “Easy Love,” a tropical lo-fi number about make-up sex, according to Lauv. The syncopated rhythm and honest lyrics resonated with the crowd, which bopped along to Lauv’s guitar break and haunting vocals. Credit for the concert’s success should also go to Lauv’s opening act, Ashe, who warmed up the crowd with her ’70s-inspired ensemble, sweet raspy vocals and organic movements. Selfcharacterized as weird, Ashe, with the help of
her witty drummer Tim, encouraged the audience to leave its worries outside the club and to seek protection and love in the night’s music. Lauv piggybacked on Ashe’s openness, pulling out all the stops to make the dark walls and crowded space of the 9:30 Club feel warm and intimate. Blue, purple, pink and orange lights illuminated the stage, highlighting Lauv as he transitioned from the guitar to piano to singing a capella. Before concluding the show, Lauv took a few moments to thank his audience for attending. He recalled his last performance in Washington, D.C., when he played to a small crowd in a restaurant’s basement. His awe and gratitude were evident as he looked out at the packed venue and saw his bright future in the gleam of attendees’ eyes, and began a beautiful transition to the show’s finale. After posing for a picture with the crowd, Lauv launched into “Breathe,” a gentle whisper of a song that grapples with the pain of losing a loved one. For four intimate minutes, Lauv and the audience uttered, “You’re my all and more / But I need room to breathe” in perfect unison. He teased a finale by debuting another new track, “Getting Over You,” before breaking out
his hits for the anticipated encore. As soon as “I Like Me Better” reverberated from the speakers, both the couples and the singles in the crowd began shaking their bodies to the beat, following Lauv as he led them through the song’s spiral of sound. For his final number, Lauv gave the crowd what they wanted and performed “The Other,” a song he wrote with Michael Matosic after recovering from a 2014 breakup. Although Lauv was hesitant to release the track, it landed in Spotify’s Top 100 after its release in 2015, skyrocketing Lauv’s career. The crowd’s positive reaction to the track’s distinct infusion of jazz, blues and indie-pop sounds was evidence of the song’s continued popularity today. Although his tracks usually feature impressive production, Lauv stripped them down for the 9:30 Club on Tuesday, revealing his most genuine self. Among the thousands of love songs in circulation today, Lauv’s stand out because of their creative sound pairings, his killer vocal range and the unbridled lyrical authenticity. With his charisma, Lauv has cemented himself as a promising artist on the rise.
concert review
The Fillmore Silver Spring
Yewande Ilawole Hoya Staff Writer
Despite the Grammys’ snub of rhythm and blues singer SZA, a line of concertgoers snaked around The Fillmore Silver Spring on Feb. 5 to see her take the stage. The sold-out show was a testament to the artistry of SZA’s debut album “Ctrl.” Despite a minimalistic set, SZA performed with electric energy, interacting with her devoted fan base while showcasing her sultry vocals. In “Ctrl,” the New Jersey-raised artist shares her commitment to regular introspection with regard to past perspectives and experiences. The album serves as her diary, taking the audience through the range of emotions, from overjoyed and empowered to vulnerable and insecure, that come with relationships — especially nontraditional ones. “Ctrl” speaks to young people who are trying to understand themselves and induces nostalgia for older generations who have shared in SZA’s experiences. Though the crowd was mostly younger, it was clear the concert was for every-
one. With a simple set-up of just SZA, the band and a microphone, the focus of the attention was on her music, impressive vocals and her connection to her fans. With just a few simple spotlights illuminating her figure, SZA opened the show with the first track off of “Ctrl,” “Supermodel” — a song that expresses the insecurities that come with being cheated on and the self-reflection required after cheating on someone else. The immediate dive into her insecurities and vulnerabilities had the audience roaring with excitement as she stunned with her live vocals and incredible range. As the show went on, SZA prefaced most of her songs with the stories that inspired her to write them. Her rawness and vulnerability created a deep connection between her and the audience, which could easily relate to the thoughts, doubts and emotions she discussed. While the connection remained intact throughout the entire concert, the stories prefacing “Drew Barrymore” and “Normal Girl” were particularly poignant and rocked the venue to its core, as was evidenced by the throngs
of screaming fans feeding off the energy SZA injected into the performances. She prefaced “Drew Barrymore” with the story of her disappointment of not being noticed by a boy at a party, an experience many people, especially college students, have shared. The song aims to liberate us from the idea that attention from others gives us value. At the Fillmore on Monday night, everyone in the crowd — from teens to adults — let loose, allowing themselves to be set free by SZA’s empowering lyrics. Though SZA’s vocals on the album are already sharp and crispy, her live vocal range and delivery of not just “Drew Barrymore,” but of all her tracks, had the entire venue teeming with excitement. Already proven a talented lyricist and singer, on Feb. 5 SZA demonstrated she is also an outstanding performer. The rawness and carefree, empowered attitude that embodies “Ctrl” came to life on Monday with SZA’s organic performance style and dancing. The lack of choreographed numbers created a natural, open and authentic vibe that allowed the audience to feel engaged.
SZA
Although the venue was filled to the brim, the warm colored spotlights, SZA’s soothing voice and the carefree dancing combined to form an intimate and inviting atmosphere. SZA’s performance encapsulated all the elements that have thrust her into the mainstream. Without compromising her style, she delivered a concert that was awe-inspiring and entranced the audience with her flawless vocals, engaging stories, high energy and natural delivery.
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friday, february 9, 2018
dance review
ANNA KOVACEVICH/THE HOYA
“Exodus” channels experiences of diaspora and migration in a riveting show. The show’s choreography evokes the panic and anxiety that stems from displacement, and expresses steady physicality as the dancers beat their fists on the ground and leap high into the air, allowing dancers to exercise their power.
Black Movements Dance Theatre Presents ‘Exodus’ TIMOTHY Mcnulty Special to the Hoya
Almost exactly 400 years ago, in 1619, the first enslaved African people arrived in the Chesapeake colonies of the North American coast. Seventy years ago, hundreds of thousands of black families left the South only to find mistreatment in urban population centers. Five months ago, 800,000 immigrants lost their protected status as DACA recipients and now live in uncertainty of their place in the world. The Black Movements Dance Theatre, founded in 1982 by a group of black women determined to make their voices heard, channels these experiences of diaspora and migration in their latest show “Exodus.” In an interview with The Hoya, BMDT co-directors Kathryn Threatt (SFS ’18) and Ashley Newman (COL ’18) revealed how they want their dancers to connect with the choreography. Threatt, a native of Virginia, recalled beginning to plan the show in the aftermath of last summer’s white nationalist rally in Charlottesville, Va. For her, the themes of
the show weave in and out of her family history and continue to make themselves present every day. Both Threatt and Newman said they aim to tell the stories of people who find themselves without a home and of the strife that follows these traumatic reminders of not belonging. Newman wants audience members, no matter their background, to see themselves in the show. “It can even be something as simple as having to come out of your shell,” Newman said. The definition of an “exodus” becomes malleable and alive, and it rests on the interpretation of the dancers and the audience together. The show seeks to collaborate and interact with its audience in a way that is difficult for a piece of art hanging on a wall: These dancers and their stories are living and dare you to recognize them. After a fast-paced dance exuding energy and vitality, Newman told the room that “even though this piece is fun, it isn’t necessarily happy.” The track for the dance, “Gardens of Eden” by Black Coffee, provides a hint to what Newman means: The experience of dislocation produces a painful mix of emotions to process. The constant movement takes on an almost-chaotic tone as the performers rush
past each other across the stage. As the dancers sprint around the room, beating their fists on the ground and leaping high into the air, the pieces’ physicality is apparent. While this raw energy represents the panic and anxiety stemming from displacement, it also allows the dancers to exercise power over their bodies. As they throw themselves into the choreography, they are able to tell their own stories, letting their bodies be witness to what an exodus means to them. No dance captures the balance between liberation and isolation better than the solo piece choreographed by Torens Johnson, professional dancer and ballet instructor. As a local Baltimore dance teacher and a student of the influential Alvin Ailey American Dance Theater, Johnson’s entire career has centered around using the body to communicate emotion, oppression and resistance. According to Ballet Nouveau’s website, Johnson challenges his dancers, “This isn’t just my piece. This is your piece. Make it your own.” After each dancer runs through the piece, he pauses and thinks for a moment. As any great dance instructor does, he follows with, “Do it again.”
The solo piece features a bench as a prop, and the dancers use it as an extension of their bodies. Even the mere acoustics of their jumps and spins around the bench help fully realize the human body’s capability to make art. The solo dance shines as one of the moments in which the show’s message complements the technical craft of dance. As the dancers slide below the bench and launch themselves back up, they create an illusion of uncensored movement and emotion that shows the beauty of using the body as a tool and the stage as a canvas. “Exodus” seeks to do more than look pretty — it wants to reach out and grab the audience with an urgency that matches the desperation of those featured in the stories that inspired the show. BMDT’s latest performance is an exhilarating show that sees art as an experience instead of a static object. The show challenges its audience to see themselves in someone displaced and oppressed, even if they might seem to live innumerable worlds away.
“Exodus” will be showing in the Gonda Theatre at 8 p.m. Feb. 16-17. Tickets are $10 general admission and $8 for students.
friday, february 9, 2018
the guide
THE HOYA
B9
exhibition review
‘Melancholia’ Offers a Provocactive Take on Sexuality Maddie Finn Hoya Staff Writer
Nestled in a tiny brick building in the H Street Corridor is Gallery O on H, an art gallery and event space. Inside the front door resides the enchanting exhibit “Melancholia” by Marion Colomer, a French painter. Colomer is originally from Paris but has studied in New York, New Delhi and now Washington, D.C. She currently has residency at the Fillmore School in Georgetown. The 14 works in the gallery, all in the same series, look similar at a glance: a sketched nude figure or two posed erotically and surrounded by what the artist calls “an Edenic lush jungle.” On further inspection, however, each piece is distinct. The figures, black and white and drawn in light pencil, are depicted, as Colomer wrote on her website, in the “height of their desire ... entwined in a carnal sexuality.” The colors of the background’s foliage, in contrast with the stark white of the figures, create a tension in which Colomer thrives. A closer look reveals a wolf’s head on some of the figures and a foreground littered with skulls. Colomer also embroidered sequins into some of pieces. These eerie additions may seem nonsensical, but in the context of the work, the touches add
an additional layer of meaning. The contradicting elements of “Melancholia” are meant to encourage the viewer to question sexual desire and passion. The figures, stripped of color and placed against a lone background, become “divested of meaning, lifted out of the realm of the pornographic, and detoxified in the soft renderings of drawn bodies, their expressions reflecting the melancholy of lost desire,” according to Colomer’s site. The smell of the gallery — an easily overlooked element of the exhibit — adds a subtle fullness. Colomer worked with Dana El Masri, a perfumer in New York City, to create an original scent to complement the artwork. The earthy aroma immerses the viewer in the art and makes it come alive. Colomer’s work is primarily based on figurative painting, anchoring it in the physical world. This method of painting is one of the most ancient, but Colomer explores how it “can still behold an interpretive vision of the world,” according to her site. Since the impressionist period, many modern painters have chosen to stop practicing figurative painting, as they believed realistic representation can be better captured through photography. However, Colomer’s take on this style cannot be reproduced by a staged photo. There is a dreamlike quality to “Melancholia” that
gives Colomer’s realistic figures a fresh, abstract edge. This melding of the real and the interpretive plays a key role in all of Colomer’s works, as demonstrated by her juxtaposition of realism with imagery.The combination of explicit sexuality represented in her paintings with objects associated with gender norms, such as embroidery, plays with the relationship between sex, life and everything in between. Colomer’s time in India has clearly influenced both the subjects and the methods of her work, as exemplified by the frequent combination of embroidery and painting. The embroideries “are a symbolic way for her to exchange and collaborate with local [Indian] craftsmen and artisans as well understand Indian culture, more so than to beautify by decorating the painting,” according to her website. By weaving together the French and Indian influences in her art, Colomer creates a complex and captivating piece. Currently, Colomer is doing conservation work in the United States Capitol building to restore the Brumidi Corridor murals on the first floor of the Senate wing, as they were originally painted in 1859. Colomer created “Melancholia” in 2016 alongside another intriguing exhibition titled “Birds.” “Melancholia” was shown at
the Arlington Arts Center last December before opening at Gallery O on H last Friday. This small gallery is ideal for “Melancholia.” The bustle of H Street outside fades away as you step into the brick building, in which you are confronted by clean white walls and a soothing smell. This atmosphere allows the viewer to relax and truly look at the art without becoming overwhelmed. In addition to its role as an art space, the gallery hosts concerts, events and weddings in the courtyard when the weather is warmer, cultivating a hub for creativity and community. The owners take inspiration from New Orleans in their decorating, as is reflected in the casual vibe of the space. The area surrounding the gallery is almost as intriguing as the work inside. The H Street Corridor has been the subject of an intense revitalization since 2003, creating an enticing space where young families can live, dine and, of course, view art. Gallery O on H is not alone in bringing art to this hip, new neighborhood; instead, it complements the other establishments. Simply walking down H Street is an aesthetic experience. “Melancholia” is full of surprises and new perspectives on sexuality and representations of reality. The exhibit’s excitement and beauty are captivating, and visitors will be intrigued from the moment they step in.
MARIONCOLOMER.COM
Paris-born Marion Colomer blends French, American and Indian styles in “Melancholia,” which takes on sexuality with a wide variety of graphic depictions surrounded by floral scenes with bright colors, sparkles and bold framing of the faded drawings of human figures. Sex is treated expansively, with both homosexual and heterosexual experiences frankly presented.
B10
the guide
THE HOYA
FRIDAY, FEBRUARY 9, 2018
What to Do in DC
MUSIC
NEW RELEASES
WILLIAM LEO
Hoya Staff Writer
1
NOAH LEVESQUE Hoya Staff Writer
MARDI GRAS AT THE WHARF
Celebrate Mardi Gras this year down at District Pier. The festival will include a parade and a classic brass band. It will also feature food from local vendors and will end in a finale of fireworks. The parade begins at 6 p.m and the celebration culminates in the fireworks just before 8 p.m on Feb. 13.
2 THE SOFT MOON
THE WEEKND AND KENDRICK LAMAR
THE WEEKND AND KENDRICK THE SOFT MOON LAMAR ‘PRAY FOR ME’ ‘IT KILLS’ In his latest release from the track list for the upcoming Marvel film “Black Panther,” Kendrick Lamar joins The Weeknd to create a poppy track that departs from and confirms his recent work. Alternating between The Weeknd’s high-pitched vocals and Lamar’s signature rap style, the two deliver lyrics that express the world’s need for heroes, super or otherwise.
This track from the latest release of Oakland-born Luis Vasquez’s post-punk project features spacey and gritty instrumentation backed by a gentle yet insistent beat that makes the song surprisingly catchy. Both the instability and lyrical intensity gradually build throughout the song, allowing its pithy, cryptic lyrics to shine through.
SEEING DEEPER AT THE NATIONAL CATHEDRAL
Though the season of outdoor movie viewings is long over, this event captures the feeling by showing a movie inside the National Cathedral. This Friday, Disney’s Hunchback of Notre Dame will be playing at 6 p.m. and Rogue One at 8:30 p.m on Feb. 9. RSVP is recommended.
3
DISNEY
CUPID UNDIE RUN
If you needed an excuse to run around in your underwear, this event provides one for a good cause. On Feb. 10 at 1 p.m., Cupid’s Charity is putting on an underwear run to help fight the rare genetic disorder Neurofibromatosis. The disease currently has no cure and this run helps to raise awareness and donations.
4
DISTRICT WHARF
CUPID’S CHARITY
AFRICAN-AMERICAN PIONEERS IN AVIATION AND SPACE
Come and recognize the black men and women who helped push the boundaries of aviation and space travel at this event held by the Smithsonian National Air and Space Museum at the Steven F. Udvar-Hazy Center in Chantilly, Va., Feb. 10 from 10 a.m. to 3 p.m. IDK FT. DENZEL CURRY
CHRONIXX AND CAPLETON
IDK FT. DENZEL CURRY ‘NO WAVE’
CAPLETON AND CHRONIXX ‘HELP THE WEAK’
“No Wave” begins with an ominous piano drive that quickly gives way to the heavy and attention-grabbing beat that comes to define the song’s forceful tone. IDK’s vocals are auto-tuned and deliberately paced while Denzel is as quick as always on the beat, making a track that is consistently interesting to listen to.
In this new single, Jamaican reggae star Chronixx collaborates with Capleton to create a track that affirms reggae’s role in spreading positivity and self-respect. Its catchy percussion section and soothing backing vocals allow Chronixx’s lyricism to shine through as he focuses on the power of universal compassion.
5
Chinese New Year is finally here again and across the city celebrations will be commemorating the beginning of the year of the Earth Dog. The Smithsonian American Art Museum will be holding an event to mark this occasion and bring in the new year. The festival will feature arts and crafts, traditional music, and Sichuan opera and aerobatics. The event will begin at 11:30 a.m. and end at 3 p.m. on Feb.16.
SMITHSONIAN INSTITUTE
CHINESE NEW YEAR FESTIVAL
SMITHSONIAN INSTITUTE
friday, february 9, 2018
the guide
THE HOYA
B11
Poets Express Pride in Their Jamaican Homeland faris bseiso Hoya Staff Writer
In celebration of what would have been revolutionary Jamaican singer Bob Marley’s 73rd birthday, the Folger Shakespeare Library hosted renowned Jamaican poets Kwame Dawes and Safiya Sinclair for a reading Feb. 5. Although it was originally advertised as a salute to the contributions of reggae artists like Marley, the event was focused on the celebration of diverse cultures, impressing upon audiences that differences in identity must continue to be celebrated. The Folger Library’s theater was a fitting venue to host the reading, with an inclusive and intimate atmosphere. The two-story seating is arranged in a semicircle, and the wooden floors, columns and balcony are reminiscent of the Globe Theatre in London. On stage, the speakers sat in front of an impressive transparent shelving system, creating an aesthetically pleasing, but not overly distracting, environment. Sinclair kicked off the event with a reading from her book “Cannibal.” Born and raised in Montego Bay, Sinclair has received several prestigious awards, including a Whiting Writers’ Award, an
American award presented annually to 10 emerging writers. Before reading, she discussed her poems with a conversational tone that perfectly complemented the intimate nature of the event. Her modesty transformed into confidence as she began reading her first poem, setting the tone for the rest of her readings. Sinclair’s poetry stayed consistent in its structure and sound; every few syllables, her tone would vise, before ultimately dropping a little at the conclusion of a line. Her poetry focused primarily on colonialist themes, specifically centering around the character Caliban in William Shakespeare’s “The Tempest.” “[Caliban] represents for many people in the Caribbean and the African diaspora a father figure of post-colonial identity,” Sinclair said. Typical of many writers from former colonies, Sinclair breaks from British conventions and subtly incorporates Patois — or the dialect of a common people — into her poetry, which is rich with pride for Jamaica. At the event, she shared experiences of growing up with a Rastafarian father, recovering from the aftermath of the 1988 Hurricane Gilbert and coming to the United States as an immigrant. Her personal stories made
her poems all the more poignant for audience members. Sinclair’s dialogue was not limited to her experiences in Jamaica. Ears also perked up when Sinclair described her experiences as a black immigrant in Charlottesville, Va. Following Sinclair’s reading Kwame Dawes, a former professor of liberal arts at the University of South Carolina and a winner of the Guggenheim Fellowship for Creative Arts, performed his work. Before beginning his reading, Dawes commented on how grateful he is for poets like Sinclair, noting it would be his “only avuncular comment for the night.” Avuncular, referring the kindness or geniality often associated with an uncle figure, best captures Dawes’ time on stage. From his stride to the content of his poetry, it was clear the audience was in the presence of a learned man happy to share his knowledge. His wisdom stems from his global life: Dawes was born in Ghana, raised in Jamaica and completed his education in Canada and the United States. Like Sinclair’s poetry, Dawes’ is Jamaican to its core. He strives to conserve “the language of the tribe” and not have it replaced by inauthentic words. Dawes differentiated himself from Sin-
clair, however, by the emotional range of his delivery. He would swing from a hushed, somber tone to a melodic cheer in the space of a stanza. His movements were fluid and corresponded with the mood of the line, in contrast to Sinclair’s still composure. Of the poems he read, the ones that garnered the most applause described his life in America as a black person. In an era when identity politics are so prevalent, it is not surprising that questions of identity and marginalized voices came up in the discussion. While some may find those topics a bit heavy, the two poets handled them with ease and discussed important issues with a welcome light-heartedness. Through their honest poetry, Sinclair and Dawes exemplify how minority stories should be told. Their readings offered a refreshing contrast to the confrontational nature of today’s media climate. Although reggae was acknowledged in several parts of the event — including in both the readings and discussions — the genre was not celebrated as much as it was advertised. Instead, the event presented a heartening message that Dawes encapsulated by saying: “We are all part of a diaspora.”
LEFT: FARIS BSEISO FOR THE HOYA; RIGHT: SAMIYA SINCLAIR
Jamaican poets Kwame Dawes and Safiya Sinclair read their works Feb. 5 in celebration of what would have been Bob Marley’s 73rd birthday. Their poems connect colonialist themes and reggae in a poignant take on African diaspora. The pair addressed heavy topics with a refreshing tone in a moving experience for the audience.
Illustration BY: emily shambaugh and janis park/THE HOYA