The Hoya: The Guide: September 22, 2017

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storied statues ILLUSTRATION BY ALYSSA VOLIVAR/THE HOYA

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THE HOYA

the guide

friDAY, september 22, 2017

Figures of Faith Reveal Georgetown’s History Jasmine White Hoya Staff Writer

Walking across Georgetown’s campus, it is easy to notice subtle relics of the university’s rich history — statues and memorials are woven between modern buildings and dormitories, occupying an important space in daily student life.

Though dozens of other bronze- and stone-cast figures decorate the Hilltop, few Georgetown students know the actual history or meaning behind them, save the iconic John Carroll statue. Long

before students began climbing into Carroll’s lap to pose for photos, there were other traditions and histories whose existences have now been reduced to forgotten marks and faint notes found in old historical archives. But behind each of these oft-unnoticed pieces of art is a story that makes up just part of the university’s history.

St. Joseph: A Timeless Figure on Library Walk The most recent statue to arrive on campus, the St. Joseph with Christ Child

statue that stands on Library Walk today is the third iteration to be placed on campus. The statue was created by artist Julia Livitina (COL ’03) and installed Sept. 11.

First made in 1872, the statue was placed in front of what was then an infirmary and now is the Former Jesuit Residence. According to notes from Fr. Francis Barnum, S.J., in the university archives, shortly after the statue’s placement, the St. Joseph’s Lamp Association was founded. The purpose of the association was to keep a lamp burning before the statue at all times, as it was believed that St. Joseph had protected the university from the various epidemics that had swept through the city before.

Membership in the association was restricted to the senior class, with each member tending to the lamp. The tradition stopped in 1875 when the junior class decided to cultivate a garden around the statue and decorate it with vases and ornaments, and thus the association died.

That is, it was dead until 1918 when Fr. John Creeden, S.J., brought it back following the re-emergence of influenza.

When the statue was damaged in 1987, a new one was placed in front of Healy Hall, where it stayed until it was put on display in the Booth Family Center for Special Collections in 2014. The university commissioned Livitina to create its successor.

“There is definitely an element of disbelief to seeing my work on Georgetown’s Library Walk; to passing by the bronze sculpture I produced, that will endure for up to 30,000 years, on the main campus of my Alma Mater,” Livitina wrote in an email to The Hoya, “As an artist, to be awarded this commission

ELIZA MINEAUX/THE HOYA

The statues on Georgetown’s campus have rich, untold histories. Although to passersby these statues may appear to be relics of the past, they are in fact deeply entwined with the present; the St. Joseph with Christ Child statue was unveiled on Library Walk on Sept. 11.

by Georgetown University, the largest job of my career to date, has been a privilege and an honor.”

Livitina typically does all her work by herself in her studio, from mixing the clay to building metal armatures to support her sculptures.

“

Art has the ability to transcend not only its human creator, but also social, historical and cultural constraints of its place and time in order to capture something that is universal to us all.”

JULIA LIVITINA (COL ’03) Artist

“It is a lengthy, physical and sweaty process that is also extremely satisfying because the result it yields is so personal. There is a certain kind of magic in watching something that was not there before,” Livitina wrote.

St. Joseph, however, was an exception because of its large mass: The statue is 7 feet tall and 950 pounds.

John Carroll: Father Figure On January 23, 1909, Rev. John A. Conway, S.J., stood in front of Georgetown alumni at the annual Founder’s Day Banquet and spoke of a dream.

“John Carroll had his dream; it was a great dream, and greatly has it been fulfilled. I, too, have had my dream; it is a small one, and not yet has it been verified,” Conway said. “It is the dream of the statue of the founder of Georgetown College in the vacant niche which has been waiting for it for the past 30 years.”

Rev. Conway’s speech, “A Dream Realized and a Dream Still Unfulfilled,” was met with enthusiastic responses from alumni.

Three years later, on March 4, 1912, the 16-foot statue of the first Roman Catholic bishop in the United States was unveiled.

In attendance were some of the country’s most powerful and influential men.

Even President William Howard Taft had been scheduled to speak during the dedication ceremony. Unfortunately, he ultimately canceled to attend a memorial service after his close military aide died on the Titanic.

In his place, Attorney General George Wickersham spoke. But the actual bronze John Carroll statue that we now know was not the one that was present during the happenings of that busy weekend.

According to university archives, the university had been notified that the statue would not be ready in time, and so in its

FRIDAY, SEPTEMBER 22, 2017 place the university put a plaster cast of the statue and painted it brown, unbeknownst to spectators.

And thus Conway’s dream, at least in part, was at last fulfilled.

“Georgetown College may be immortal,” Conway said on that January day in 1909. “I hope and pray that it may be; its founder certainly is.”

JAN KARSKI: REBEL, PIONEER AND PROFESSOR Another bronze figure sits on Georgetown’s campus, this one in the garden just outside of White-Gravenor Hall. It is of an older gentleman who rests on a bench, a chessboard beside him, his legs crossed and a cane in his hand. Though this image of Jan Karski (GRD ’52) is quite reserved, the actual person was anything but; he was a revolutionary.

During World War II, the Polish officer escaped from a Soviet camp after being taken prisoner from the Polish army, and he later joined an underground group to fight Nazi occupation. After being captured by the Gestapo while on a mission, Karski slashed his wrists rather than give up information. He later escaped from the hospital with the help of other members from the underground resistance, according to the United States Holocaust Memorial Museum.

In 1942, Karski snuck in to Warsaw and witnessed Jews being sent off to concentration camps. He then travelled to London to notify British authorities.

The following year, he met with President Franklin Roosevelt and petitioned for U.S. action.

Karski remained in the United States after the war, earning his Ph.D. from the School of Foreign Service in 1952 and later becoming a professor at the university in the department of government and international affairs.

Even after establishing himself in the academic world, Karski never forgot about his original plight.

He urged for Polish democratization and continued to fight against anti-Semitism until his

the guide death.

After Karski’s death in 2000, the university unveiled a statue in his honor.

In 2012, then-President Barack Obama announced that Karski was to be posthumously awarded the Presidential Medal of Freedom.

Repeat cases of vandalism suggest that Karski’s fight against anti-Semitism is one yet to be won. The original statue had a wisp of smoke with both English and Hebrew inscriptions that was stolen.

Later, it was replaced with a concrete pillar upon which was a metal plate with the English and Hebrew inscriptions. In July of 2003, professor James Collins of the history department came onto campus to discover that the statue had been vandalized again, this time with the metal plate having been ripped off.

Collins, who had been an admirer of Karski since he was child, immediately emailed authorities, stating, “Today, just an hour ago, I was sickened to encounter a second incident as awful as the one last November. I encountered another example of what I consider to be outrageous racism, this time in the form of anti-Semitism.” The writings, which detailed events of the Holocaust and efforts to counter it, had been completely destroyed.

Collins then motioned for the university to host a rededication ceremony and replace the original wisp of smoke, but his requests were never met.

The plaque was replaced, this time with the inscription only in English.

“I disagreed with the decision, for reasons I outlined back in the day, but I also believe those who chose this solution acted in good faith and I would repeat that our common goal of ending vandalism of the statue of our beloved colleague has been achieved by their solution,” Collins wrote in email to THE HOYA. “There are no easy answers in such matters. I made my case, several times, and failed to convince the necessary authorities.

Does it make me a bit sad every time I walk by Prof. Karski? Yes.” Karski’s statue was vandalized again in 2009.

While this time the writings were left intact, the statue was cov-

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ELIZA MINEAUX/THE HOYA

ered in paint.

Years later, the statue remains a reminder of Karski’s immense resilience and contributions both to Georgetown and the international community.

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[Rabbi White’s] leadership and vision in creating opportunities for dialogue […] helped build the ethos of engagement that characterizes our campus ministry today.”

JOHN J. DEGIOIA President, Georgetown University

THE PRODIGAL SON: RABBI WHITE, RECONCILIATION AND UNITY THROUGH INTERFAITH The life work of Rabbi Harold S. White, Georgetown’s former senior Jewish chaplain, was dedicated to creating community through faith. According to professor Ori Soltes, a professor in the Center for Jewish Civilization, White’s dedication is part of the reason for his commissioning of the creation of a statue from the Christian biblical tradition. The Parable of the Prodigal Son statue is outside of the auditorium on the second floor of the Intercultural Center.

“It’s an idea about reconciliation. It’s an idea about how we can make mistakes. It’s about being able to start all

over again,” Soltes said. “[White] always had as an important part of what he was interested in was the notion of interfaith relations. He was very much into reconciliation, particularly in the aftermath of events like the Holocaust where that issue in particular with the church and Judaism was so sensitive.”

White was the first full-time Jewish chaplain at a Catholic University in the United States. He passed away in 2015 at the age of 83. He helped launch the Program for Jewish Civilization in 2003 and remained integral in leading the program, even following his resignation from chaplaincy in 2010.

“Rabbi White’s devotion to our shared values and our mission as a community was unparalleled,” President John J. DeGioia wrote in a universitywide email following White’s death in 2015. “His leadership and vision in creating opportunities for dialogue […] helped build the ethos of engagement that characterizes our campus ministry today.”

White’s statue is yet another reminder of the rich, often untold history seen in the statues that line the paths and gardens of Georgetown’s campus. Yet not all of these figures are relics of the path. The statue of St. Joseph, installed less than two weeks ago, reminds passersby that history remains an integral part of the present.

Livitina said that having her installation coincide with the anniversary of 9/11 gave it a transcendent quality. “[It] brought it all around full circle for me, imbuing the sculpture with the kind of immemorial quality I intended for it to possess,” Livitina wrote. “Art has the ability to transcend not only its human creator, but also social, historical and cultural constraints of its place and time in order to capture something that is universal to us all: the strife and the triumph of human condition.”

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the guide

THE HOYA

friDAY, september 22, 2017

NATIONAL GALLERY OF ART

The National Gallery of Art exhibited the work of New York-based found-object sculptor Kevin Beasley beginning Sept. 17. The expressive sculptures are composed of everyday items like tennis shoes, do-rags and housedresses, and include an auditory component. The pieces reflect themes of identity and power.

Kevin Beasley: Art of the Ordinary

william leo

Hoya Staff Writer

New York-based artist Kevin Beasley’s sculpture is quintessentially modern in both its form and its subject. His sculptures, on view at the National Gallery of Art since Sunday, comprise miscellaneous objects in expressive sculptures that reflect ambiguously on the themes of conflict, identity and power.

It is sculpture, but it is also more than that. Strands of meaning are literally strung from the ceiling in confusing arrangements of old tennis shoes and used housedresses. Beasley inserts speakers and audio effects into his sculptures so that his work has an effect on the viewer’s hearing as well as sight.

Sometimes, the ordinary objects that make up his work are the obvious center of focus for the whole piece, but often they require diligent observation to uncover their original use and the place they once had in the life of a now-distant person.

Modern art like this can be very strange.

To the layman, it is a jumble, an amalgam of chaos masquerading as something valuable. But beneath the dross—in good art at least—there is a deeper meaning, an essential sense of life waiting for our inquiry to uncover it. Often, though, bad art hides nothing but its own emptiness.

Beasley’s work does nothing to change

modern art’s reputation. The jarringly bright colors of discarded clothing contrast with the blandness of grey and black that frequently appear in his sculptures.

These contrasts can be surprising and even disconcerting, ultimately obscuring the deeper meaning that lies in these opaque works.

In an age of postmodernism, plurality and discord, it is easy to brush away the questions of meaning and merit. To the postmodern mind, meaning is the complete construction of the observer, only a figment of contingent culture that differs for every person with a pulse. But looking at Beasley’s art, the question of meaning is reiterated in a stringent voice. The sheer strangeness of the sculptures, which differ from classical style in material, form and implication, leads one to question the merits of Beasley’s work and its deeper message.

As a whole, in spite of the protests of many people in the public, conceptual modern art has gained widespread aesthetic acceptance in the artistic communities of the West. The guardians of taste no longer hold the clout they once did following the waves of pop art and postmodernism, but, in characteristic fashion, have begun to assimilate the work of oncemarginalized movements as they did with high modernism and surrealism in the last century.

Beasley’s acceptance at events like the Whitney Biennial and venues like the National Gallery of Art signal that art like his has become mainstream. Found object art has come a long way since Marcel Duchamp and his early years of iconoclasm.

The acceptance of Beasley’s art and that of the droves of other contemporary artists who now occupy the same conceptual space presents an interesting milestone in artistic history. Viewers of art must remember that the mere acceptance and assimilation of art by major cultural institutions does not actually determine the art’s quality. Viewers must ask themselves, fully and honestly, whether the sculptures before them have any merit. This question can be conceived of in two parts: first, does the sculpture excel technically, and second, what is the meaning of the work for us?

From a technical perspective, it is difficult to call Beasley innovative. Found object art is hardly a new discipline, nor does arranging found objects to tell a story seem like a real technical accomplishment.

As for the question of meaning, the context behind the objects used in Beasley’s work helps viewers along a bit. The jumbled nature of his works and the disparate items used hint at themes of conflict. The helpful commentary by the National Gallery highlights concepts like “past and

present, sports and politics, or play and violence” all coming together in one whole.

However, in spite of the guide to Beasley’s work, the effect of the sculpture is ambiguous and dull.

From the standpoint of form, Beasley’s work also has its troubles. Sculpture is special among the visual arts because of its exceedingly physical nature. A sculpture is form and matter in space. It stretches across all three dimensions and in this way viewers interact with it profoundly differently than with two-dimensional painting or text.

But Beasley does not take advantage of space to any great effect. Objects are arranged together but it seems that if one were to change the spatial arrangements, there would be no effect on the work’s meaning.

In spite of postmodern ambiguities and hesitance to judge works of modern art, Beasley’s sculpture is a reminder that, as responsible viewers, it is necessary to engage with art. This means acknowledging when art succeeds but also recognizing when it fails. Consumers of art cannot remain mute when faced with the question of meaning itself, not only for the sake of art but for the sake of finding meaning in life.

Kevin Beasley’s sculptures are available for viewing at the National Gallery of Art. Admission to the gallery is free.

the guide

FRIDAY, SEPTEMBER 22, 2017

FEATURE

Joe DeRosa Talks Comedy ELEANOR TOLF Hoya Staff Writer

Stand-up comedian and podcast host Joe DeRosa does not shy away from hot-button topics. Often billed as an “angry comic,” the comedy star tackles topics like anxiety and politics with a sharp sense of humor. DeRosa has a wide breadth of experience, with past specials on Comedy Central, appearances on “Chelsea Lately” and “Inside Amy Schumer” and writing credits on Netflix’s “Wet Hot American Summer.” Following his stand-up show at the Arlington Drafthouse last week, THE HOYA sat down with DeRosa to discuss his influences and learn more about his comedic style.

I am really interested in how different kinds of celebrities have used relatively new mediums to influence their careers in different ways. I know you have done a lot of podcast and radio work. What kind of impact do you think it has had on your stand-up?

It’s not made a huge difference in the make-up of the audiences. I find that most people still come out from knowing me from stand-up. Mainly, the podcasts serve as outlets for me. I try to have different outlets for different opinions and interests, so “Emotional Hangs” is a great forum for me to talk about feelings and vulnerability with a friend.

Do you feel like there is pressure put on you by the expectations of what it means to be a comic nowadays? Many see comedians as people who are dark and broken. What does it do to your psyche to have that expectation be set on you just because of your job?

I feel it in the opposite direction. I feel like most comedians play it cute. I don’t relate to that. That’s not how I think. I don’t think I’m so deep or anything. After 16 years of being told that my comedy is dark, I guess it’s dark. I just think about the way I think.

I think most of the guys want to be cute.

Most of the girls want to talk about sex. I wish more people were out there landing a real opinion on something. Talking about [Jerry] Seinfeld, there’s a real personality in there.

Even if he’s talking about Hungry Man dinners, there’s a real perspective in the joke. I feel like a lot of comics just tell friendly jokes or sex jokes. I can’t learn anything from that.

I feel like the expectation now is for comedians not to have an opinion. A few years ago, people wanted the right to not be offended.

Now that has turned into people wanting the right to never be disagreed with. Now, any inkling of a disagreement is seen as offensive or shame or dismissive. I think people carry that into their comedy tastes.

Do you ever feel pigeonholed as a certain type of comic? I feel like you are often billed as an angry comic.

I get annoyed when people say I’m an angry comic. My first manager said, ‘You’re not angry, you’re annoyed.’ I thought that was a very good assessment of it. My favorite’s always been [George] Carlin and I never saw him as angry — I saw him as someone who was let down by the world that we were all promised. I always related to that. That’s why I called my [Comedy Central] special and my column “You Let Me Down.” That phrase really sums up the way I feel about almost everything. I think people are really full of s--t and have no ability to admit to it.

How do you draw the line between having a strong stage presence and being so vulnerable in your other ventures?

I feel like these days people examine artists with everything they do. I would hope that they would look at everything I do and see a well-rounded person. When I date girls who’ve only seen my stand-up, a lot of the times their reaction is “Wow, you’re actually very sweet.” And I’m like, “Of course.” It’s not like I’m pretending to be another person on stage, it’s just an outlet. So far it’s been an outlet to get out of the negative and that’s why podcasts are for my positive things.

I really agreed with Carlin’s perspective of, and I’m paraphrasing, but that “I cherish people with individuals. I loathe and despise the groups they identify with.” It’s always coming from a place where I’m sad about this … I don’t like comedians that condescend. I try to always have the tone underneath that I’m just trying to connect here.

COMEDY CENTRAL

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THIS WEEK’S TOP FIVE

Emmy Red Carpet Outfits

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MILLIE BOBBY BROWN

“Stranger Things” star Millie Bobbie Brown donned a white, strapless Calvin Klein by Appointment gown for the 69th Emmy Awards red carpet. A simple white bandana separated the fitted bodice from the full tulle skirt, adding a youthful touch. Styled by Thomas Carter Phillips, Brown completed her look with custom metallic heels, also by Calvin Klein.

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Nicole Kidman, winner of Outstanding Lead Actress in a Limited Series for “Big Little Lies,” turned heads at the Emmys thanks not only to her red tea-length Calvin Klein dress but also for what she wore below it. In lieu of a traditional look, Kidman sported mismatched pink AW17 heels, also by Calvin Klein, with one shoe featuring the crystals on the ankle strap while the other placed them on the toe.

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MILLIE BOBBY BROWN

NICOLE KIDMAN

HBO

DONALD GLOVER

Donald Glover, also known by his stage name Childish Gambino, looked like royalty on the red carpet in a deep purple suit by Gucci. The well-dressed actor and rapper went on to win Emmys for both his directing and acting roles in FX’s “Atlanta.”

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Rising star Yara Shahidi donned an elaborate look for the 69th Emmy Awards with her custom Prada gown consisting of cream tulle and shimmering green sequins. Paige Novick earrings and hair and makeup by Nai’vasha Johnson and Emily Chung completed her stunning look.

5 Joe DeRosa has appeared on “Chelsea Lately” and “Inside Amy Schumer,” and he has had his own Comedy Central special, “You Let Me Down.”

THE HOYA

Shailene Woodley, nominated for her supporting role in “Big Little Lies” shined in a custom-made gown from Ralph Lauren. The emerald velvet number featured a sultry neckline and elegant pleats. Woodley polished her look with black nails and silver jewelry from Alexis Bittar.

TVGUIDE

YARA SHAHIDI

YARA SHAHIDI

SHAILENE WOODLEY

SHAILENE WOODLEY

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the guide

THE HOYA

friDAY, September 22, 2017

LIONSGATE FILMS

“American Assassin” tells the high-stakes story of Mitch Rapp, who transforms from the victim of a terror attack to a deadly assassin actively involved in counterterrorism. Despite its compelling premise, the film conforms to the tropes of a typical spy-action film, with fast-paced battle scenes, explosions and attractive CIA operatives fleeing danger.

American Assassin

Starring: Dylan O’Brien, Michael Keaton Directed by: Michael Cuesta

JIWON NOH

Hoya Staff Writer

“American Assassin” is an origin story, and it starts as such at the very beginning. Like many beginnings, it sets a happy scene: Mitch Rapp, played by Dylan O’Brien, romps on the beaches of Ibiza, Spain, with his girlfriend — and, soon after, fiancee — Katrina, played by Charlotte Vega. Their engagement is shortlived, however. Just moments into the film, Katrina is shot and killed, one victim of many in a brutal terrorist attack.

The attack is swift and shocking — the violence is jarring, in particular, given the dreamlike beach setting. It leaves a lasting impression, but it is somehow lacking. Perhaps it was too quick, too senseless, too cliche. Still, it serves its purpose: It sets the mood for the rest of the film and is Rapp’s driving force.

Eighteen months later, we meet the new Rapp: a grizzly version of his former self, fluent in Arabic and a master of martial arts.

O’Brien, a favorite of “Teen Wolf” fans and star of the “Maze Runner” film trilogy, pulls off the transition well. Rapp has tracked down and infiltrated the terrorist cell responsible for the erstwhile attack, and his skills have caught the eye of CIA Deputy Director Irene Kennedy, played by Sanna Lathan. Instead of sending him to jail for his illegal activities or perhaps therapy for his seemingly disturbed psyche, she decides to send him to Stan Hur-

ley, a former Navy SEAL played by Michael Keaton, to teach Rapp how to kill better.

Kennedy is introduced as a central part of Rapp’s new identity as a CIA operative, telling Rapp in a stern, almost motherly tone that she “has faith in [him].” What could have been an intriguing relationship, however, is lost as the story continues: She spends the rest of the film marching around a CIA command center, putting undeserved trust in an agent with no regard for commands. Kennedy’s character is representative of the film’s biggest flaw: A plot device that is scarily effective at moving the story forward, but at times unrealistic and too predictable.

The real star of the film, aside from Rapp himself, is Stan Hurley. Keaton plays Hurley exceptionally well, injecting a muchneeded dose of humor into the otherwise somber story. He delivers memorable oneliners that serve as opportunities to laugh at the plot developments that are ludicrous at times.

Most of all, Keaton plays the role outstandingly well alongside O’Brien. He does exactly what a supporting character is meant to do: to contribute meaningfully to the main character’s development while still standing as his own character.

Alongside Keaton’s compelling delivery of Hurley, O’Brien delivers his own engaging performance as star of the film, even when the script limits him to surly expres-

 sions and dark conversations about his desire to kill people who “deserve it.” He is charismatic and sexy but is also still the tortured, broken shell of a man who has lost too much to tragedy. O’Brien is also a treat in well-choreographed hand-to-hand combat scenes.

No spy flick is complete without a stunning foreign spy, who comes in the form of Annika, a Turkish agent played by Shiva Negar. Although the stunning foreign spy archetype usually brings to the film a sense of tension and mystery, Annika’s relationship with Rapp is not developed well enough to warrant the screen time it receives.

The team — Rapp, Hurley, Annika and Kennedy — races to stop a dangerous terrorist plot, and the rest of the film plays out like any other superspy story: a hero on a personal mission, a villain with a grudge, friction between teacher and student, betrayal and redemption and, at the center of it all, a top secret mission with global implications.

“American Assassin” is a cliche film, but so are most spy thrillers. To avoid that label, the film needed either to lighten up and embrace its moments of comedy or go even deeper in its exploration of Rapp’s mental state — as it is, it is too serious to be funny but too funny to be serious.

Still, the film has its merits. It is a thriller through and through, jam-packed with impressive fight scenes, and on occasion, scenes

of much-needed comedy. O’Brien and Keaton deliver stellar performances, bringing depth to a simplistic plotline and helping audiences connect more deeply with the story of the “American Assassin.”

LIONSGATE FILMS

Dylan O’Brien of “Teen Wolf” and “Maze Runner” is the star of “American Assassin.”

the guide

friday, September 22, 2017

THE HOYA

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TESTING TRUISMS

The Understated Benefits of Being Nice

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Vera Mastrorilli

anding an internship, earning that A or securing a spot in a competitive academic program undoubtedly requires hard work and ambition. But, in some cases, it also entails outdoing your classmates. Your A in accounting may lower the GPA of the student sitting next to you. Given that only 30 percent of students can receive A or A- grades in business core classes and that competitive firms have limited positions for graduates, does generosity have a place in Georgetown University’s competitive academic environment?

The oft-repeated truism, “nice people finish last,” suggests that it does not.

Some students in the McDonough School of Business choose not to study with their classmates because other studen

ts’ success can negatively impact their own grades. Helping classmates study for an exam or giving them notes may mean less time to study for oneself, or even receiving a lower grade because the tutoring boosted the other students’ performance.

Such is the problem that some “givers” face in the workplace, according to an analysis of several studies by University of Pennsylvania Wharton School professor Adam Grant. Grant claims that givers, people who offer help to others without seeking anything in return, are more likely than others to be in the bottom 25 percent of their field. These givers sacrifice their commitment to their own tasks to help peers.

But nice people need not always finish last. According to Grant, givers are also more likely than their peers to be in the top 25 percent of their field. The disparity between those in the latter group and their low-ranking counterparts stems from the ways they help others and the social networks their generosity builds.

For example, when you share your notes with classmates or explain a homework problem to them, you create an op-

portunity to ask similar favors of them later in the semester. Such generosity requires little effort, yet can pay dividends when you are looking for someone to study with during midterms or need to choose partners for a group project.

Even teaching material to a classmate does not have to be one-sided — tutoring someone else can effectively solidify the information in your own mind.

If the person you are helping fails to reciprocate, or your generosity prevents you from improving on your own performance, you can disengage without having invested significant time or effort into the relationship. Being nice does not have to mean being exploited. Generosity can be beneficial in the long run, as long as the givers benefit as much as, if not more than, the person they help.

And “takers” may not always finish first — at least not in the long term.

Grant explains that people who take advantage of others’ generosity are successful in the short term, but their behavior eventually damages their reputations. As such, although it may not be beneficial to help classmates complete an assignment if their superior per-

formance could negatively affect your grade, it pays to be friendly and avoid taking advantage of them. It may be necessary to work with them in the future and, by being nice, you establish yourself as a desirable partner, with whom high-performing students may want to collaborate.

Though dedication to your personal performance likely has a greater impact on success than does helping others, a few mutually beneficial relationships formed through generosity may prove valuable when you need notes for a class you missed or information about a recruiting event you could not attend.

Being nice, yet prudent, need not result in failure, just as successfully navigating the MSB curve or entering the job market does not require pursuing personal success at the expense of others. Generosity and personal success are not contradictory. Even in Georgetown’s competitive academic environment, nice people do not always finish last.

Vera Mastrorilli is a junior in the College.

TESTING TRUISMS appears online, and in print every other Friday.

the music on my playlist

Tom Garzillo’s Top Picks ‘jello’ by brockhampton

Tom Garzillo is a staff writer for The Hoya and the general manager of WGTB Georgetown Radio.

‘you can’t hurry love’ by the supremes Over 50 years after this song debuted on the legendary Motown label, it remains an impeccably crafted pop hit. Every single element of the track is an earworm, from the hypnotic bass and tambourine to the rising chord progression that explodes into its unforgettable chorus. Diana Ross’ voice, simultaneously vulnerable and powerful, resonates with longing. Fun fact: “You Can’t Hurry Love” was The Supremes’ seventh No. 1 record — only two years after its first.

‘on my mind’ by jorja smith & preditah

MOTOWN

Preditah is a Birmingham, Englandbased producer best known for his work with hard-hitting grime heavyweights like Skepta and Wiley. He takes a different approach on the U.K. garage-inspired “On My Mind,” his recently released collaboration with singer Jorja Smith. Over a shuffling, club-ready beat, Smith sings of a love gone wrong: “I’m growing wise to your sugar-coated lies, nothing sweet about my misery.” Balancing heartfelt soul with sleek production, this song will have you dancing in no time.

JORJA SMITH

VINCE STAPLES

‘yeah right’ by vince staples feat. kendrick lamar & kucka A standout track from Vince Staples’ hip-hop futurist opus “Big Fish Theory,” Staples and Kendrick Lamar unite to call out rappers putting up a facade of wealth and the “pretty women” looking to take advantage. Lamar steals the scene, as usual, with his guest verse, but the real star of this song is the production. A joint effort of SOPHIE and Flume, the instrumental rumbles, clangs, clicks, growls and glitches with speaker-busting force. You will want to play this one in your car.

This track was my first introduction to the Los Angeles-based, Texas-born hip-hop collective — a self-described boy band — currently taking over all your favorite blogs. Built around an unbelievably catchy, pitch-shifted hook from founding member Kevin Abstract, the song features four knockout verses over bouncy, almost whimsical production. It is nearly impossible to pick a favorite, but Matt Champion’s rapid-fire delivery would probably get my vote. “JELLO” is just one of many highlights on the album “SATURATION II.”

‘strange ways’ by madvillain “Madvillainy,” the 2004 collaboration between the enigmatic MF DOOM and producer Madlib, is rightfully considered one of the greatest hip-hop albums of all time. The beats — made with nothing more than a record player, cassette deck and SP 303 sampler — and lyricism are so densely layered that I continue to discover new levels to the album, even after countless listens. On “Strange Ways,” DOOM takes on corrupt police and religious violence in a sub-two-minute masterpiece.

B8

THE HOYA

the guide

friDAY, September 22, 2017

concert review

MHD

French rapper MHD got his start two years ago after posting his first single on YouTube. Now he is sharing his signature high-energy Afro-trap style with audiences across the globe. Last Friday at U Street Music Hall, MHD proved why he may be one of few French artists to achieve mainstream success in the United States.

MHD

U Street Music Hall

alexandra brunjes Hoya Staff Writer

At just 22 years old, French rapper Mohamed Sylla, better known by his stage name, MHD, is already making his mark on the international music scene. The rising star performed at U Street Music Hall last Friday to a venue packed with eager fans.

MHD, whose stage name is a play on his given name, got his start two years ago when he posted his first single to YouTube, “Afro Trap Part.1 (La Moula).” The single garnered so much attention that he began releasing more videos and eventually an eponymous debut studio album. By the end of 2015, MHD had quit his job delivering pizza and was pursuing music full time. This commitment led to a commercial deal with Adidas and a record deal with Universal Music affiliates — Artside in France and Capitol Records in America.

MHD, who is half-Guinean and half-Senegalese, grew up in the 19th arrondissement in Paris — known for its large population of immigrants, particularly those of North African descent — and has cited his neighborhood as a key source of musical inspiration. MHD classifies his music as “Afro-trap,” a genre that conflates the rhythms and beats of trap music with the language and themes of African music. His hit tracks include “A Kele Nta” and “Wanyinyin,” which include lyrics in

Zulu.

A tribute to the concept of duality, the album artwork for his debut album, “MHD,” features a photo of him in black and white with two outstretched hands, each dripping with paint: One is covered with the colors of the French flag and the other with those of the Senegalese and Guinean flags. “MHD” reached No. 2 on the French charts in 2016, effectively launching MHD’s career and leading him to tour across France, various countries in Africa and now, for the first time, the United States.

Although his rise to popularity has primarily taken place in France, MHD’s performance at U Street Music Hall made it clear that he has a strong, if small, group of fans based in the United States. Even before the concert began, the space was abuzz with excited energy. For the audience, attending this concert was not a spur-of-the-moment decision — it was there for MHD. It was understandably exciting to see a fast-rising star in such an intimate venue: U Street Music Hall holds up to 500 audience members, a relatively small crowd for an artist who has performed for crowds of over 60,000. However, the audience at the venue had the energy of a much larger group, and MHD treated it as such — even without props or a large stage, his presence filled the room.

As soon as he came on stage, almost ev-

ery phone in the audience shot up to take photos and videos, and most remained aloft for the duration of his performance.

MHD spoke to the audience almost exclusively in French, and the response suggested that few, if any, of the audience members solely spoke English. Most of the attendees were young African French speakers, though there was also a notable presence of French teenagers from D.C. Fans knew the words to most of MHD’s songs, though his most popular numbers naturally elicited the most

Unlike what is often seen at American rap concerts, people felt inspired and excited to be seeing MHD perform. upbeat responses — he performed “Afro Trap, Part.4 (Fais Le Mouv)” twice, once as the encore because the audience response to it was so overwhelming.

For hits like “(La Moula),” “Fais Le Mouv” and “Afro Trap Part.7 (La Puissance),” the audience seemed to know every lyric, even singing entire verses while MHD held the microphone out. The ex-

citement was energizing and powerful; MHD stopped at one point to remark, “L’ambiance est incroyable,” or “This atmosphere is incredible.”

One of the most distinctive aspects of MHD’s concert was the call-and-response interaction that filled many of the pauses between songs. One of the most popular phrases he yelled was “Oh, vous êtes fatigués?” to which the audience would respond, screaming and jumping, “On n’est pas fatigué!” — “Are you tired?” “We’re not tired!” MHD constantly checked to make sure the audience’s energy level was high, even admitting that he was tired and making it clear that the energy of the crowd was fueling his performance.

There seemed to be an overwhelming sentiment of camaraderie: Being an MHD fan in America is not common, and the audience members were aware that they were among people who understood their love for his music. The audience response to MHD was positive and vibrant; unlike what is often seen at American rap concerts, people felt inspired and excited to be seeing MHD perform.

Although French musicians tend not to achieve mainstream success in the United States, the reaction to MHD at his performance at U Street Music Hall suggests he may be one of the few who make their names known. Using his D.C. reception as an indicator, MHD is on track for a large-scale takeover.

friday, September 22, 2017

the guide

THE HOYA

B9

concert review

ED SHEERAN

Ed Sheeran is on the home stretch of his North American tour after playing back-to-back shows at Capital One Arena. The British singer performed fan favorites like “The A Team” and promoted his latest album “÷” with songs like “Eraser” for the largely teenage audience. He continues his tour in Boston on Sept. 22.

Ed Sheeran Capital One Arena

kathryn baker Hoya Staff Writer

Mere seconds after stepping on stage at Capital One Arena on Tuesday, British singer-songwriter Ed Sheeran brought his largely teenage audience to its feet with the upbeat radio track “Castle on the Hill.” Using just a guitar — one of several to be played throughout the night — and a loop pedal, Sheeran sang the fanfavorite track with emotion and sentimentality, inviting the audience to share in his personal experiences and setting the tone for the night ahead.

For the second track, Sheeran opted for lesser-known but still beloved track “Eraser” from his latest album, “÷.” While the original track features pop vocals and musical flourishes, Sheeran stripped down the song for his live performance. “A Team,” which sparked Sheeran’s success back in 2011, came next, encouraging the audience to sit back and settle into a show filled with both Sheeran’s new songs as well as his older work.

Sheeran made it clear early on in the concert that he wanted his show to be fun for audience members, including the “disgruntled boyfriend” and “dad forced to attend,” as he jokingly dubbed them.

After admitting that he often struggles to let loose at concerts, Sheeran encouraged every person in the crowd to leave their inhibitions behind by singing at the top of their lungs and bringing their best

dance moves.

After speaking with the audience, Sheeran dove back into his music, combining “Don’t” and “New Man,” two songs centered on the theme of spite, for an angst-filled mashup perfect for any post-breakup playlist. As the concert progressed, he continued to lead the audience in clapping or pumping their fists in the air — driving home the point that no one should be afraid to let go and lose themselves to the music.

Among the night’s standout performances were “Galway Girl” and “Nancy Mulligan,” two tracks from “÷” that simultaneously pay homage to Sheeran’s Irish heritage and celebrate the beauty of young love. Several instrumentations that round out the album’s rich sound, such as whistles and percussion, were replaced by Sheeran’s layered vocals and accompanied by a dazzling array of lights that transformed the arena into a discotheque.

To contrast the buoyant dance numbers, Sheeran handpicked some of his most cherished love songs to highlight his boyish charm and keep his audience swooning. For his tenth song, the famous wildcard slot on Sheeran’s “÷” tour, Sheeran selected “Hearts Don’t Break Around Here,” a gentle whisper of a song directed toward the couples in the crowd. This performance was immediately followed by a romantic rendition of “Photograph,”

a ballad that first flooded radio waves in 2014. As Sheeran sang, the screen behind him reflected his face on Polaroid pictures, creating a more intimate and romantic atmosphere.

Then came the tune every audience member was eagerly anticipating: “Perfect,” the track from “÷” that has replaced “Thinking Out Loud” as the quintessential first dance song at many modern weddings. Sheeran’s blue eyes pierced the souls of all the people in the room, and his soft guitar plucked at their heartstrings. Behind him, rose petals gently floated on the screen as soft lighting illuminated the audience.

The concert ended on a brighter note with “Sing,” a bouncy track which combines Sheeran’s effortless falsettos with his often-overlooked ability to rap. As his pitch escalated, so did the excitement in the stadium. By the end, everyone was on their feet showering Sheeran with affection and hoping for just one more song.

Sheeran granted the request by performing “Shape of You,” the sultry top track from “÷,” as his encore. For the performance, Sheeran traded his usual innocent image for an edgier one, tapping into the rebellious sentiment inherent in the song. Sheeran continued to layer his own vocals with the loop pedal as the song progressed, until the sounds of infinite voices filled the entirety of the arena.

For his final number, Sheeran went back to his roots with the intense, rap-heavy “I Need You, You Don’t Need Me” from his debut album “+.”

He delivered his most complex performance yet,

using sound and stage to their full potentials.

The room erupted in shades of red and black as audience members marveled at Sheeran’s endless endurance. When the song ended, Sheeran humbly delivered a simple “thank you” to the adoring crowd and called it a night.

Credit for the tour’s success should also be given to James Blunt, Sheeran’s witty opening act best known for his 2005 hit “You’re Beautiful,” which Blunt himself labeled as “a song most of you were probably conceived to.” His humor and raspy vocals provided the perfect complement to Sheeran’s gentleness and enthusiasm.

Sheeran’s show director and lighting designer, Mark Cunniffe, also deserves recognition for designing the distinctive cloudshaped set replete with triangular light pieces and dozens of miniature screens. The images and lighting were understated, but reflected the story of each song, echoing the poetic nature of Sheeran’s lyrics.

In an age where concerts are often characterized by crowded stages, deafening speakers and bass so aggressive it leaves the audience trembling long after the concert is over, it almost seems like the days of acclaimed acoustic performances are over — but not quite yet. With his nimble fingers and steady foot, Sheeran ditched the theatrics, elevating acoustic performance to a new level. It only took one night and a few guitars for Sheeran to convince a crowd that what matters most is the music, and nothing else.

B10

THE HOYA

the guide

friDAY, September 22, 2017

ROSTAM

Rostam, of the indie-pop group Vampire Weekend, makes his solo debut with “Half-Light,” an album that shines thanks to the artist’s powerful voice, meaningful lyrics and layered instrumentals. Although the album’s brilliance does not carry on through its final few tracks, it is cohesive and catchy, securing Rostam’s spot as an artist to watch.

Half-Light

Album review

Rostam

Mac Dressman Hoya Staff Writer

The sound of “Half-Light” is best described by its cover. The colors are bright and warm, evoking sensitivity and emotion, while the image itself is pixelated, belying a digital, distorted element. The Persian characters suggest foreign musical influences. Yet, each part comes together around the friendly figure in the center: Rostam.

“Half-Light” is the debut solo album of musician Rostam Batmanglij, best-known for his role in the indie pop band Vampire Weekend.

Batmanglij, better known by his first name and stage name Rostam, was a central part of the group, as he sang, co-wrote, produced and played instruments on each album.

Since his departure from Vampire Weekend in 2016, Rostam has flitted from one project to another. He released a collaborative album with fellow indie rocker Hamilton Leithauser in 2016, as well as producing critically acclaimed alternative R&B tracks “F.U.B.U.” for Solange Knowles and “Ivy” for Frank Ocean.

This track record shows Rostam to be a prodigious talent, yet a solo album presents new opportunities for personal reflection. It is only fitting that the spotlight is now directly on him.

The album’s lyrics are ambiguous enough to be universal, but with context, they hint at significance to Rostam’s life. The son of Iranian immigrants to the United States, Rostam grew up in Washington, D.C., immersed in both contemporary American culture and Persian traditions from his parents. This picture was further complicated when he came

 out as gay in 2010.

His struggles with identity are woven throughout the album’s lyrics, most strikingly on “Rudy”: “Please just once look at it / From the ground up / It’s not what you thought / And it’s awfully f-----d up.” Rostam seems to be calling for acceptance — for family or divinity to understand his angle instead of judging him from on high.

On other songs like “When,” the lyrics are less direct: “When you know something / How do you know that you know it?” could be a reference to sexual self-discovery, or it could be interpreted as political given the song’s spoken word snippets like “We just wanna change the distribution of wealth.” It is Rostam’s slippery lyrical style that makes “Half-Life” at once relatable and intimate; he avoids over explaining, leaving the exact narrative to the imagination.

These musings are enriched by the diverse array of instrumentation on “Half-Light,” the core of which consists of keyboard, drums and electric guitar. Rostam layers live recordings with samples, synthesizers and reverb to produce shimmering melodies and warm nostalgia. The buzzing guitar of “Bike Dream” evokes flipping through the pages of an old yearbook, while “I Will See You Again” takes a softer approach, relying on the piano, acoustic guitar and vocal reverb for its wistful goodbye.

However, the true focal point of each song is Rostam’s delicate vocals, performed as if with a slight, permanent smile. “Never Going to Catch Me” features the singer playfully chanting “Still not quite what you wanted so you / Have to start again” over a cheerful, quirky saxophone backing, granting a humorous tone

to a song about setbacks. His likable persona is a major part of what makes “Half-Light” so listenable. Rather than a dramatic, tortured soul, Rostam is just a normal guy searching for meaning.

Despite his charisma, Rostam’s presence becomes slightly fatiguing on the tail end of the album. His voice, though expressive, tends to stick to the same tone throughout the album and is less enchanting after the 12th track.

Although it has an attractive choral section, “EOS” is mostly bland instrumental space without a unique melody or new idea and could have easily been cut. Similarly, “Thatch Snow” lacks an intriguing hook and ends just as it begins to pick up momentum, resembling more an interlude than a song.

These moments are major exceptions to the clever experimentation abundant on “Half-Light.” Trying to pin the album to a single style would be futile; not only do many tracks mix organic instrumentation with synthesizers and digital manipulation, the variety of instruments used is impressive on its own. The record begins on “Sumer,” with samples of a choir singing a hymn from 13th-century England.

The sound soon shifts halfway around the world on “Wood,” where Rostam plays Indian tabla drums and a Persian melody on a 12-stringed guitar. Rough synthesizers and a mechanical beat on “Warning Intruders” create a modern, digital sound, even more pronounced when Rostam heavily manipulates his voice in the style of Bon Iver or Kanye West, such as on “When” or “Hold You.” On the latter, Rostam’s intense-

ly modulated vocals quickly fluctuate pitch, intermingling with the smooth, clear singing of guest Angel Deradoorian to create a multifaceted ballad reminiscent of Frank Ocean’s album “Blonde.”

Given the wide range of influences that find their way onto “Half-Light,” their successful integration is remarkable; rarely does a new sound seem misplaced or shoehorned in.

The one exception is the garbled vocal samples on “When.” Although interesting in concept, in practice the samples are noisy and gratuitously long, disrupting the flow of the album.

On the rest of the project, an airy, dreamlike atmosphere provides a common thread, along with the consistent presence of Rostam’s voice.

His soft and tremulous delivery gives “HalfLight” its characteristic feeling of a summer morning, most clearly articulated on the title track. There, the singer fills the sparse piano backing with breathy and reverbrating vocal melodies, before a soulful electric guitar solo brings the album to a peak of emotional resonance.

“Half-Light” shines from the start, although this brilliance fades somewhat as the album concludes. Rostam’s innocent charm is the soul of the album, well-balanced by compositional and emotional maturity. The diverse instrumentation is confidently arranged in an engaging tapestry of sounds, held together by the singer’s touching vocal performances and a dreamlike yet familiar atmosphere. If this is a step from the darkness into the “Half-Light,” listeners should eagerly await Rostam’s entry into the full light.

the guide

friday, September 22, 2017

Highly Intoxicated

THE HOYA

B11

Album review

Juicy J



noah hawke Hoya Staff Writer

Juicy J dropped his new mixtape “Highly Intoxicated” on Monday as an exclusive release on DatPiff, a free online mixtape distribution platform that specializes in hip-hop and rap music. With a name like “Highly Intoxicated,” Juicy J’s new mixtape carries a certain set of expectations. Sticking true to his mantra of “trippy” living, Juicy J delivers a hardened, drug-fueled window into his life.

An unusual move from a veteran artist like Juicy J, the new album marks the rapper’s attempt to connect with both the fans who have stuck with him since the 1991 inception of his group, Three 6 Mafia, and a new generation of rap fans. Juicy J’s older brother and co-founder of the group, Project Pat, appears on two songs, and the whole tape carries a sound reminiscent of their 1995 debut album, “Mystic Stylez.”

The album is executively produced by the musical group $uicideBoy$. The duo’s New Orleans influence on the tape is apparent,

with deep bass and ominous melodies setting the project’s tone from the beginning.

The collaboration is fitting, as much of the duo’s sound is shaped by the style developed

by Juicy J in the early ’90s. $uicideBoy$’s unique blend of horrorcore trap, a subgenre of hip-hop with horror-themed influence and transgressive lyrics, works well with Juicy J’s gritty Memphis hip-hop to create an incredibly cohesive tape, despite its lack of intelligent subject matter.

As Juicy J’s strong, steady flows help to drive each track along, long-time and new collaborators inject fresh energy across the tape. A slew of features from big-name artists including A$AP Rocky, Cardi B, Slim Jxmmi, Rick Ross and Wiz Khalifa help ensure that the 18 tracks maintain distinctive sounds, keeping the tape lively throughout.

The mixtape is lacking in substance, with very little in terms of thoughtful lyrics, but it sounds incredible and marks the anticipated return to Juicy J’s older musical style, which now has a modern twist. Conceptually, it is interesting that the rapper chose to work with many contemporaries to bridge

the gap between generations while filling the track list chock-full of bangers.

Not breaking in convention from his typical thematic focus, Juicy J raps about drugs, sex, money and his relationship with the police, rapping on “Call My Lawyer” that “He gon’ beat the case / Beat it up like Johnny Cochran,” referencing the attorney known for his role in the acquittal of O.J. Simpson.

Fans of harder rap production will love the tape, but those looking for clever lyricism and deep introspection will need to look elsewhere. The exception on the project is the previously released single, “Always High (feat. Wiz Khalifa),” the softest and most lighthearted track on the tape. With gentle, soulful production and verses discussing Juicy J and Wiz Khalifa’s lack of control over their addiction to weed, the song is a welcome respite from the aggressive lyrics and instrumentals that permeate the tape.

“Highly Intoxicated” is not the best mixtape for the general audience with its emphasis on strong production and a clear neglect of thought for the song’s lyrics. However, any dedicated rap fan will appreciate the

JUICY J

mixtape’s references to older hip-hop music, the clear lean toward Juicy J’s Memphis roots and features from some of today’s hottest artists. Juicy J is still producing the same catchy hip-hop that launched him to success in the first place 25 years ago. He does well to curate a fun and cohesive tape, and although it will not leave listeners thinking about its lyrics or message long after they listen, “Highly Intoxicated” excels in its own regard.

MUSIC

New Releases

GALANTIS

JESSIE J

BJÖRK

NIALL HORAN

galantis ‘hello’

jessie j ‘think about that’

björk ‘the gate’

niall horan ‘too much to ask’

Swedish songwriting duo Galantis, best known for upbeat hits like “No Money” and “Runaway (U & I),” returns with a new album entitled “The Aviary,” which features the band combining its signature style with a fresh, irrepressible spirit.

The group’s dance beats are complemented by a saccharine chorus on this radio-friendly track. “Hello” tells a conflicted love story, the lyrics “I keep running, running from you” mirrored by a flowing, tribal beat. The song is a mere sample of the redemptive narrative echoed throughout the album.

Jessie J’s latest single, “Think About That,” transcends traditional genres, blending contemporary, pop and blues influences to create a break-free ballad.

The song exudes heartache, and Jessie J’s broken-hearted lyrics — “Building my life on your lies, yeah / You just laughed when I cried / think about that” — leave the listener haunted and wondering what other details the powerful vocalist will reveal with the upcoming release of her new album.

The latest single by Icelandic singer—songwriter Björk, “the gate,” captivates with a meditative rhythm. Björk eschews typical songwriting conventions to produce a song that is equally strange and emotional, like a transcendent chant. She avoids traditional instrumentation in favor of electronic, a choice that produces music very different from other genres. The sound resonates as the song ebbs and flows. The melody crescendos at the chorus as Björk sings, “I’ll care for you / If you care for me.”

Niall Horan’s sad, soulful single tugs at the heartstrings with a catchy beat and a well-worn story of love and loss. While Horan is better known as a member of One Direction, he has been producing understated pop mainstays on his own too. “Too Much to Ask” treats with the emotional toll of another broken relationship.

But ultimately, it seems that the potential for this song was lost amidst typical pop music tropes as the lyrics fall into repetition and the vocals into auto-tuned regularity. Nonetheless, turn to Horan for the latest classic pop tune.

GEORGETOWN STATUES IN HISTORY

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GEORGETOWN LIBRARY

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