The Hoya: The Guide: January 18, 2019

F RI DAY, JA NUA RY 1 8, 2019

A Welcome Change: New Year’s Resolutions

ILLUSTRATION BY: SAMUEL NELSON/THE HOYA

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New Year’s Resolutions Inspire Introspection KIERA GERAGHTY AND FARIS BSEISO Hoya Staff Writers

With students returning to the now snow-laden Hilltop, the new semester presents some freedom to institute change but also the difficulty of followthrough. Though New Year’s Eve was only two weeks ago, some may have already broken one, if not all, of their New Year’s resolutions. Though resolutions present an opportunity within the secular world to emulate practices of religious holidays like Rosh Hashanah, their fleeting nature makes some students wonder whether these promises are worth making at all.

HAPPY NEW YOU

Though setting New Year’s resolutions is a common phenomenon — around 40 percent of Americans set resolutions every year, according to Forbes — some students on the Hilltop, like Harrison Loef (MSB ’21), question the arbitrary nature of the way the goal is set.

If you want to make a change in your life, then you should just do it rather

than using the New Year as a motivating factor,” Loef wrote.

What Loef fails to recognize is that some people appreciate the new year as the motivator to think of resolutions.

Once these goals have been set, people can hold themselves accountable for how closely they stick to their promises over time, according to Eric Guajardo (SFS ’21). “[New Year’s resolutions are] helpful in measuring your progress throughout the year,” Guajardo said. “It gives a sense of fulfillment if you follow through on your goals.”

That sense of fulfillment is one of the myriad reasons people set new year’s resolutions, many of which revolve around a common theme: self-improvement. More often than not, these attempts are related to health or finances.

Around 55 percent of resolutions were related to exercise, eating better and other healthy lifestyle choices, according to the scientific journal Personality and Psychology Bulletin; an additional 20 percent were related to alleviating debts. In October, an average of 3,440 people visited Yates Field House, while an average of 4,351 daily users have visited in January,

wrote Meghan Dimsa, Director of Campus Recreation in an email to The Hoya.

In mid-December, with students taking finals and going home, that number drops to an average of 1,370, almost 3,000 less than January, according to Dimsa. Other major resolutions were to be more organized and spend more time with family, which time management firm FranklinCovey found after polling more than 15,000 customers.

EMPTY PROMISES

These goals are noble in their intent, begging the question — why do people fall through in following them? Four out of five people break their new year’s resolutions by February, according to Business Insider. A third of people will not even last until the end of January before they break their resolutions, The New York Times reported.

Though it can be difficult to follow through on goals, a good approach is to avoid noncommittal words when establishing that we want to do something, according to Erin Falconer in her book “How To Get Sh*t Done.” Rather than using words like “should” when deciding on a resolution, people should say “will” or other more commanding words and phrases. This practice is especially helpful when certain resolutions can seem like too high a mountain to climb, like when healthier food does not taste very good.

Rather than concentrate on the negative aspects, focusing on the reward — like the weight loss that results from healthier eating — of resolutions can help people follow through on them, which University of Maryland professor Seppo Iso-Ahola

notes in her study.

KEEPING THE FAITH

Though New Year’s resolutions may seem like a trivial tradition, they can yield deeper meaning to an otherwise insignificant time, according to campus faith leaders including Jewish Chaplain Rabbi Benjamin Barer.

“New Year’s resolutions are a great way to take advantage of an otherwise arbitrary passage of time, to pause and reflect about, like, what’s really important for me, what do I want to accomplish in this year, how do I want to change, how do I want to behave,” Barer said in an interview with The Hoya.

Barer characterized New Year’s resolutions as a rare chance for introspection.

“In the secular world, I feel like New Year’s is one of those few opportunities where it’s like, no, we’re all going to pause, if we want to, and take advantage of the space that we have at the holidays, and even those of us who aren’t on semester schedules have a couple days, to reflect on the year and look forward to the year.”

In these moments of reflection, resolutions speak to an attempt to think about the good in one’s life, as V. Rev. David Pratt, director of Orthodox Christian Life believes. Not all resolutions are equal, though, according to Pratt. People should make a distinction between the finality of loftier resolutions and the more doable, everyday ones.

“I guess it’s, is it a big ‘R’ or a small ‘r?’

I’m all about small ‘r’ resolutions because sometimes we have to take baby steps,” Pratt said. “Sometimes we have to just succeed a little bit in an area before we can

LEFT: AMANDA VAN ORDEN/THE HOYA, RIGHT: FILE PHOTO: ALI ENRIGHT/THE HOYA

People find it difficult to follow through on New Year’s resolutions because of how daunting they seem. Whether it is eating healthier or spending grueling hours at the gym, our goals can often be be high hurdles to leap over. Some even question if resolutions are valuable, given how quickly many break them.

FRIDAY, JANUARY 18, 2019 actually decide to make that a way of life.”

Often people fail to live up to their resolutions, but Pratt finds that the effort put into an attempt is where they can find value.resolutions, but Pratt finds that the effort put into an attempt is where they can find value.

“We may have to fail in something quite a bit before we can actually start to get that good,” Pratt said. “It may be the case of some resolutions almost have it built in that there’s going to be breakdowns and fall aparts, and the real test is can I pick up the pieces and go again.”

While New Year’s resolutions may cause little difference to people’s lives, they actually have immense potential to create change.

Barer has seen this within the traditions of Judaism such as the Jewish New Year, known as Rosh Hashanah, which promotes making resolutions through introspection.

“Judaism places a high value on New Year’s resolutions. So the Jewish New Year’s in the fall, and the month leading up to the Jewish New Year is supposed to be dedicated to introspection and reflecting and thinking about how we can change ourselves in a, well depending on how seriously one takes it on, in a pretty sustained, rigorous sort of way like daily journaling, prayer, talking to those that we think that we have hurt or the relationships that we feel like aren’t in the best place,” Barer said. “And if you spent a month doing that, then I actually think that that could change what you’re doing going forward.”

Pratt believes that many resolutions focus on the addictive aspects of people’s lives. In creating resolutions, he hopes people work to reduce those addictions.

“So I guess what’s on my mind in reflection on the idea of New Year’s resolutions is, can we diminish the addictions that we’re living under,” Pratt said.

THE HOYA Trying to recenter, rebalance, I feel may be one of the core themes underlying any resolution,” Barer said.

For people who may find the pressure of creating New Year’s resolutions unnecessary, evaluating your life over the length of the whole year rather than suddenly at the holidays may be a better solution says Barer.

“If you think that there’s actually value to checking in with yourself through any form and working on being a better person, which is basically what religion is here to help us do, then don’t leave it until Dec. 31. Do it on the first of every month or like with friends over drinks sometimes. The venue is secondary, as long as it helps you do that work in a comfortable, productive way,” Barer said.

Pratt also believes resolutions should not be restricted to the calendar.

“A New Year’s resolution really can be at any time, and the month of January, you ought to consider it not by the day, but by the month,” Pratt said. “You’ve still got half this month left to settle into something good, you know, but a doable good.”

Resolutions require a conscious effort, though, on the part of the person trying to make a change, according to Pratt.

“If you think about it, it [the good] has to be invited in, it’s not going to come crashing in,” Pratt said. “The bad does that, it doesn’t come invited. It’s uninvited, but the good has to be invited.”

If you are struggling to think of some worthwhile resolutions, though, Pratt has some suggestions.

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AMANDA VAN ORDEN/THE HOYA

In addition to an emphasis on exercise, many people also challenge themselves to make healthier eating choices.Yet, these resolutions still often last only briefly.

SECULAR SOLUTIONS

While Barer has found his experience with resolutions to be closely tied to his faith, he does not believe that religion needs to be the motivator for everyone hoping to change their lives in 2019.

“I don’t think God’s necessary for any of these things to work,” Barer said.

Some secular holidays offer similar moments of reflection to the Jewish New Year when it comes to focusing on a value worth keeping in mind during the year, according to Barer.

“I don’t see it being any different when we’re talking about New Year’s or Thanksgiving or like the secular holidays,” Barer said. “Gratitude is obviously something that we should be thinking about, and Thanksgiving ideally is meant to facilitate that process.”

Students should evaluate all aspects of their lives when thinking of resolutions, according to Barer. Moreover, these moments of reflection do not have to happen under the pressure of the New Year: Change can occur at any time.

“There aren’t too many bad resolutions, like, if your resolution is I really want to stop studying by 10 p.m. every night, so that I can actually enjoy the rest of what this campus has to offer, then I think that that’s a great resolution, too.

FILE PHOTO: LAUREN SEIBEL/THE HOYA

Yates Field House has seen a significant increase in use of the facilities during January. While not everyone going is necessarily motivated by a New Year’s resolution, many resolutions seem to reflect the importance of health and wellness.

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MOVIE REVIEW

‘If Beale Street Could Talk’ Highlights James Baldwin’s Legacy Directed by: Barry Jenkins

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Starring: Kiki Layne, Stephan James, Regina King FARIS BSEISO Hoya Staff Writer

“Every black person born in America was born on Beale Street, born in the black neighborhood of some American city, whether in Jackson, Mississippi, or in Harlem, New York. Beale Street is our legacy.”

These words, eloquently written by author James Baldwin, appear in the first scene of the adaptation of his novel “If Beale Street Could Talk.” This duality persists beyond the opening aphorism in director Barry Jenkins’ follow-up to “Moonlight.” Through “Beale Street,” Jenkins masterfully crafts a beautiful tale — a tale told in twos.

The film tells the story of lovers Tish and Fonny, played by Kiki Layne and Stephan James. Their time together is split into two timelines: The first begins when Tish must reveal to her and Fonny’s families that she is pregnant with his child, all while Fonny is wrongly incarcerated for raping a woman he has not met.

The other narrative chronicles the couple’s evolution from a seed of childhood friendship to a blossomed youthful romance that continues until the moments before Fonny’s arrest. The chopped-andscrewed nature of the narrative moves audiences between a sense of wonder over young love and a feeling of ominous dread through the dramatic irony of knowing the couple’s future.

When the film does not delve into the past, both Fonny and Tish are forced to grow significantly in character. The pair’s evolution, however, is distinct and results in two vastly different experiences on each side of

the prison bars.

Fonny’s character shift is catalyzed by physical trauma as he deals with the hardships of being a black man in prison in the 1970s. With every visit from Tish, he grows more bruised, bloodied, weary-eyed and simply exhausted.

While his partner may not be facing the same direct physical threats, she has to confront myriad hurdles in her quest to free Fonny. A major obstacle is her pregnancy, and Layne expertly conveys its impact on Tish’s body, physically expressing the pain and labor that it brings. Tish also deals with her pregnancy while working to raise money for Fonny’s lawyer. These factors give the duo a wisdom that transcends their youth — Fonny is 22 years old, while Tish is only 19.

In each scene they share, Tish and Fonny’s mutual love is evident, a testament to Layne’s and James’ phenomenal acting. While their passion may be exhibited through their dialogue, it is also epitomized in their powerful silences. Jenkins has cinematographer James Laxton to thank for the effect. The decision to opt for numerous stills throughout the film helps capture the raw emotions of each moment.

Between the loving gazes shared by the couple and the melancholic stares into nowhere by the supporting cast, the silences in the film speak in a way that decibels cannot measure.

Yet the visuals do not overpower the script. Jenkins, who also wrote the film, ensured the script was bereft of banality. Tish’s lines as a narrator also come directly from the Baldwin novel, certainly making her job easier as she delivers powerful speeches.

What makes the film most poignant, however, is its layered use of stories. In many different contexts, viewers find the plot at the surface and social commentary unsubtly lurking beneath. This structure makes for a final product that truly honors the legendary civil rights advocate who conceived the original story. Baldwin’s writing explored the countless facets of racial dynamics in the United States at the peak of the civil rights movement; Jenkins ensured the film offered a similar degree of social commentary beneath its surface.

At the human, microcosmic level, viewers find stories of a friend’s welcome visit after being released from prison, a woman working in a department store serving a male clientele and a couple looking for a house.

A broader analysis of each situation reveals the racist underpinnings of the justice system, the interactions across genders and the real estate industry.

That double storytelling is one of the many reasons why this film is so powerful and necessary. Both historically and in the 21st century, films rarely have honest and powerful monologues like those of Brian

Tyree Henry. It allows viewers to passively engage in racial discussions that were not possible even a few years ago.

The beauty of these stories is they are not isolated to the main couple. The family members around them, played lovingly by Regina King, Colman Domingo, Teyonah Parris and Michael Beach, serve to support the pair through their own journeys.

Whether it is Tish’s mother, travelling to Puerto Rico to find a witness for Fonny’s trial, or Fonny’s father, hustling away to help pay for their lawyer, the film’s scope is enhanced by the couple’s families and their complementary tales.

Given that the film is directed in dyads — be it in chronologies, character development or commentary — its depth is there for all to see. What ultimately makes “Beale Street” such a brilliant film, though, is its capacity to make audiences simply feel, above all else. When watching, viewers’ emotions will be stretched as they join the characters on their journeys. Considering the pressure Barry Jenkins faces post-“Moonlight,” the film represents the most fitting next act in his career.

ANNAPURNA PICTURES.

“If Beale Street Could Talk” shines not only because of the outstanding performances of its lead actors, Kiki Layne and Stephan James, left, but also from the impressive and moving supporting cast members like Golden Globe-winning actress Regina King, right, who dutifully honor the beauty of Baldwin’s work.

FRIDAY, JANUARY 18, 2019

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‘Beale Street’ Director, Star Reflect on Adapting Baldwin

FARIS BSEISO Hoya Staff Writer

Starring Regina King as Sharon, Brian Tyree Henry as Daniel and more, “If Beale Street Could Talk” tells the story of lovers Fonny and Tish, played by Stephan James and KiKi Layne. Based on the James Baldwin novel of the same name, the film chronicles Tish’s pregnancy and how she navigates 1970s Harlem as a black woman, all while trying to prove her fiance’s innocence as he is falsely accused of a crime he did not commit.

Barry Jenkins, director of Academy Award-winning “Moonlight,” spearheaded the film. His previous movie’s success, however, has not overwhelmed Jenkins: “Beale Street” is comfortably among the most critically acclaimed films of this awards season, according to Rotten Tomatoes. With King already having received a Golden Globe for her performance as Sharon Rivers, only time will tell what Hollywood’s gatekeepers have in store for the rest of the crew.

The Hoya sat down with both lead actress Layne and director Jenkins.

Was there any particular character or actress who you looked to for inspiration when playing Tish?

LAYNE: No, there wasn’t any actor or performance that I looked to. I really, again, just pressed into what Baldwin gave me in the novel because he’s able to paint all of those colors of Tish in such a rich way. So I

was pulling from that, and thankfully had Barry as a director who was just so good at communicating what each moment was for her or where she may have been in her growth and development as a result of everything that’s happening, so I think that dialogue between me and Barry was a huge part of me figuring out where Tish was in what moment.

During the pregnancy, you depict a lot of moments of hardship and the difficulties that come with being a pregnant black woman in the United States, working in a white-dominated space. What was it like performing that role where you have to navigate the two spaces as a pregnant woman, and what do you hope audiences get out of that explanation of the differences between the worlds?

LAYNE: Well, playing a pregnant woman was interesting. A lot of my research was just random YouTube videos and really getting a sense of what women are going through at each stage of pregnancy and trying to be mindful of that depending on what scene we’re filming. If it was one of the scenes where I’m pregnant, I’m like, “OK, how many months along am I? Well, then this is what I’m dealing with.”

In terms of those moments where we’re talking about the differences between what white people may have experienced and what black people were experiencing at the time, I think that’s so much just where James Baldwin comes alive in those mo-

ments. Especially when it’s just the narration and I’m narrating directly from the book.

Baldwin’s ability to talk about what the black community was dealing with and the black experience is just so special and something that he had such a gift with. So it’s just bringing all of that forward, which is why I’m excited for people to see this film because “Beale Street” is one of his lesserknown works. It allows people to digest the real things that Baldwin is talking about but it’s still a love story.

I think if you really, really connect to the love that’s in Beale Street, the injustice and the pain and the unfairness then affects you even more because we would hope you’re rooting for this love, but then when you see all the things attacking it, then you have to realize that those same things are still attacking black people and black love.

How did it feel to narrate over the film using Baldwin’s words?

LAYNE: That was interesting because the voiceover work — that’s a skill too. You aren’t really in the moment, but you have to get back into that place to bring the truth and honesty to the words you’re saying. Thankfully, Baldwin is such a special, special writer that it was easy to connect to.

It was interesting to see what images Barry and the team chose for some of the narration because Baldwin paints such vivid, vivid images throughout the novel, so I kind of just leaned into that and trusted in the power of these words that he had written.

How did you ensure your actors’ facial expressions were timed correctly with the close-up shots because there were a lot of stills throughout the film? Was there a way for you to gauge when there would be enough time to focus on a certain expression in a certain scene?

JENKINS: Yeah, I tried to not be afraid to operate as I always do. I just wanted to be

mindful about what I was doing because this wasn’t my point of view.

With “Moonlight,” I can say that was kind of my point of view fused with Tarell [Alvin McCraney]’s, but I’m just not a woman. I never have been and maybe someday I will be, can’t say, but I never have been. So, I was just really careful about being mindful of it in this film, but I still have to do what I do.

There were moments when — invasive is not the word I’d use — but it was necessary to have a proximity to the characters.

The two sequences where that happens in a very particular, but concerted way are the two conversations between black men: It’s when Daniel and Fonny have their conversation and then when the two fathers have theirs later in the film. Those sequences both start out in wides, to be honest, and as the scene progresses, this is not anything clever, but we’ll get closer and closer.

Near the end, we get extremely close to the two men who are revealing themselves the most. It was an organic process, but it was something that you start the day and you’re aware of it but goes away as you start to work.

Many credit you for crafting an authentic tale of black love, one of many emerging stories about minorities by minorities. What do you think the future is of minority representation in terms of more nuanced stories than just the typical, “Oh, this is here, now we’re seen as a community,” and that’s it?

JENKINS: It’s tricky, but it’s a good time.

I think the audience is rabid. There’s so many of these films, these stories, these television shows coming from where they haven’t come previously, and the audience is there. It’s becoming so undeniable that I think these stories won’t be in the minority for much longer in a certain way. Which is dope because the world is much more diverse than the media that we push into it, but we’re catching up.

ANNAPURNA PICTURES

Director Barry Jenkins, left, brings James Baldwin’s novel to life with phenomenal performances from Kiki Layne, right, and Stephan James. Using the love story between the two as a lens, “If Beale Street Could Talk” tackles society’s shortcomings and portrays the power that community and family can wield.

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THE HOYA

AFTER HOURS

Chinese-Korean Cuisine Redefined in CHIKO Ye Bin Won Chinese-Korean cuisine is a distinct marker of childhood for most Koreans.

Often consisting of jjajangmyun — black bean paste noodles — and sweet and sour pork, Chinese-Korean is a cheap source of culinary familiarity to Koreans, much like Mexican takeout is to Americans.

The Washington, D.C.-based restaurant CHIKO, on the other hand, paints a cuisine altogether separate from my childhood memories. The restaurant’s founding group, The Fried Rice Collective, has members with rich experience and history with their respective cuisines: Danny Lee worked in Mandu; Scott Drewno mastered his craft in Wolfgang Puck’s Chinois on Main; and Drew Kim learned his art from Matchbox, Ted’s Bulletin and DC-3.

This union of chefs dedicated itself to the vision of culinary experimentation, with CHIKO — a portmanteau of Chinese and Korean — being the culmination of

their efforts.

With Lee specializing in Korean cuisine, Drewno in Chinese and Kim in the administration, the FRC strived to create a restaurant that, while bold in its creations, nonetheless retained its individual cuisines’ integrity.

“We wanted to have a restaurant where half of the menu focused on Chinese cuisine, and the other half, Korean, and keep them separate instead of doing fusion,” Lee wrote to me. “We basically wanted to update the Asian corner store/ takeout store model. With each dish on our menu, we experimented a lot on different ingredients, techniques, etc. to create our own versions of traditional Chinese and Korean dishes.”

The three began working on CHIKO as their platform for experimentation and, along with it, a sense of reinvention and creative autonomy.

“CHIKO worked out because we all wanted to do something different,” Lee wrote. “Drew wanted to open up a smaller restaurant, Scott wanted to move away from fine dining and I wanted to move away from ‘traditional’ Korean.”

In addition to their shared vision, two members of the FRC — Lee and Kim — also took CHIKO as an opportunity to revisit their Korean heritage.

“Drew’s father was Korean, [but he] assimilated very quickly to America, so Drew did not really grow up with much

Korean influence at all,” Lee wrote. “It was after [Drew] had his kids that he wanted to learn more about his Korean heritage, so that his sons would be able to connect with [their grandfather] more. I also started to cook more Korean food at home so that I could understand the flavors that I grew up with. It’s great to see [Drew] trying to reconnect with his heritage, and he’s proud to have CHIKO almost as an homage to his father.”

As a close family friend of Chef Lee, I have visited CHIKO four times since its opening and acquired a few favorites along the way. This time, however, in the spirit of The Fried Rice Collective’s sense of adventure, I veered off from my usual and ordered the house fried rice and orange-ish chicken for my main dishes. My sides were chilled marinated littleneck clams, potato and egg salad, sichuan spicy cucumbers and kimchi.

Neatly plated on top of a metal tray, the dish was an aesthetic representation of a childhood Korean school lunch that underwent a glow-up. Nestled in shiny metal bowls and cutlery, the glistening food within was an opportunity for a photo op, or as my Korean grandmothers would say, a chance to “eat with your eyes.”

I began with the side dishes. The kimchi and sichuan spicy cucumber were unremarkable — they are perhaps best as palate cleansers or refreshing accompaniments to heavier dishes like

the brisket or fried rice. While the potato and egg salad carried a welcome, spicy punch, it was the littleneck clams that really took the cake. Arranged delicately over ice, the chilled clams were a lovely blend of sweet, savory, fresh and chewy.

My first bite of the house fried rice can best be described as a hug from Anna Wintour — the smoky taste of the catfish and feathery texture of the rice evoked a sophisticated air that created an unfamiliar but nonetheless delicious makeover for the humble fried rice.

Finally, I tried the orange-ish chicken and was struck by its similarity to the sweet and sour pork I grew up ordering from my neighborhood Chinese-Korean restaurant. The candied mandarins, crispy garlic and chili, however, felt like a much-elevated cousin to my beloved sweet and sour pork.

Overall, CHIKO is an experimental yet approachable establishment to satisfy your weeknight Asian takeout cravings. Though the restaurant is admittedly quite small — expect to yell out your orders when they ask for it and get elbowed a few times — its buzzing energy and reliably good food make it a worthwhile place to visit next time you want to try something new.

Ye Bin Won is a freshman in the School of Foreign Service. AFTER HOURS appears in print every other Friday.

NOVEL IDEAS

New Insights Into an Old Poem

Kathryn Baker Every New Year’s Eve at midnight, after the luminous multicolored ball drops and couples exchange their midnight kisses, a familiar question can be heard echoing throughout throngs of partygoers: “Should auld acquaintance be forgot and never brought to mind?”

This question, which readers may recognize as the first line of the famous New Year’s anthem “Auld Lang Syne,” embodies both the excitement and anxiety that comes with starting a new year. Now that 2018 is over, do we leave the past behind? Do we vow to start over fresh, adhering to the #newyearnewme philosophy?

I have often struggled to embrace the new

year. I no longer make resolutions because I found that the ones I drafted were often shallow attempts at self-improvement. I have stopped seeing Jan. 1 as the start of something new and now mostly view the occasion as an opportunity to see friends while enjoying a glass of champagne.

My mindset shifted, however, after I took a second look at “Auld Lang Syne,” a song that I have heard at countless New Year’s parties over the years in the background but have never truly listened to, and I doubt I’m the only one. Despite the tune’s universality, I had never looked beyond the song’s first verse and was excited to discover its origins.

Since I am studying abroad at the University of St. Andrews in Scotland this semester, I was fascinated to learn that “Auld Lang Syne” originated in Scotland. Robert Burns, the national bard of Scotland, wrote the poem in 1788 and set it to the tune of a traditional Scottish folk song. The title itself is in the Scots language and roughly translates to “for old time’s sake,” and the song has traditionally been sung in a celebratory manner in Scotland.

On New Year’s Eve, just before midnight,

singing the tune while standing in a circle and holding hands with friends is the Scottish custom — not exactly what I’m used to seeing in the United States. Rather than an opportunity for deliberate celebration, I have typically found the song to be reduced to background music behind champagne popping and midnight cheers.

The Scottish circle tradition exudes the poem’s themes of comradery and celebration.

Although multiple references to alcohol like “cup o’kindness” and “pint” can be found in the stanzas, the poem is more complex than the typical feel-good drinking anthem.

Later lines reference hardships that have been overcome, such as roaring seas and weary feet, and those victories alone merit rejoicing. Sorry to burst your champagne bubbles, but rather than glorifying drinking for the hell of it, the poem shouts, “We went through hard times, but together we made it, so let’s celebrate.”

Celebrating the new year used to seem arbitrary to me, but after taking a second look at Burns’ poem, I realize I was missing the point entirely. The new year doesn’t demand us to leave the past in the past; rather, it provides the opportunity to

celebrate all our trials and successes, as well as thank the individuals who helped us weather storms along the way. 2019 invites us to reflect but not dwell on 2018 while recognizing that 2019 won’t necessarily be any easier, just different.

If you are like me and struggle to celebrate New Year’s Eve or embrace 2019, perhaps you can find new meaning in the simple components of life that often go unnoticed.

Diving into the history of “Auld Lang Syne” for this column taught me more about my country of residence for the next six months and brightened my outlook for the new year. Whether that change comes from a resurgence of gratitude for an old friend or a re-examination of your favorite song, you’d be surprised at how much meaning you can find in what you thought was already known.

At the same time, “Auld Lang Syne” reminds us that the new year doesn’t have to focus on the “new” at all. As Burns writes, sometimes it’s just an excuse to gather friends and drink “for old time’s sake.”

Kathryn Baker is a junior in the College.

NOVEL IDEAS appears in print every other Friday.

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THE HOYA

Alum Features Boxing Program in ‘They Fight’ MEGHAN DECOURCEY Hoya Staff Writer

Part of the FOX Sports Films documentary series “MAGNIFY,” the Andrew Renzidirected “They Fight” tells the story of the Lyfe Style Boxing program in a neighborhood in Washington, D.C.’s Ward 8. The film follows young boxers Ragahleak “Peanut” Bartee, Quincey Williams and Lamar “Twin” Odom while coaches Walt Manigan and Sterling “Scoop” Thornton prepare them for the 2017 Junior Olympics. Manigan created the program not only to train young athletes, but also to mentor them and keep them away from the troubles he had faced in the neighborhood.

The idea began as a project by Mike Minahan (COL ’16) during his senior year at Georgetown University. That project evolved into a 2016 Washington Post article, and Minahan spent the year following his graduation pitching the story. Minahan spoke to The Hoya about the film’s creation, the dedication of the young fighters and the value of boxing.

How did you first learn about the Lyfe Style Boxing program?

I was on my way to a work-study job my junior year, and the bus driver saw me with my boxing shirt on — I boxed at Georgetown, too. He started showing me videos of these little kids, and that turned

out to be the Lyfe Style guys. This bus driver was one of their original coaches.

He kept showing me this Instagram, and it was the little boys from Lyfe Style.

I had to do a project my senior year, which was to write a journalism article.

I had never written anything like that before, and I didn’t really know what I was going to do. So the beginning of senior year, I sent the Instagram a direct message and ended up going over there, and right off the bat, I fell in love. I went over there weekly for my whole senior year, once or twice a week.

How did it transform from the article to a documentary?

I did not know what I wanted to do at all after school, but I fell in love with this story so much, and I was like, “All right, I can’t leave these kids.” I loved being around them, so I tried to get this thing made.

I was going around meeting people, talking to people, trying to pitch people. I finally met a guy named Andrew Corkin, a producer. He helped out a ton, and he introduced me to the director. There were other filmmakers kind of interested in it but they weren’t super gung-ho about it.

But then the director Andrew Renzi was super into it and really wanted to get started. From the first conversation to when we started filming, that was about three weeks, and I had spent a year from

when I graduated trying to get someone to do it.

You served as a producer on the project.

Since you had already established relationships with the guys in the gym, what did that role entail as you were filming?

That was pretty much my role. We rolled in with the film crew, a bunch of outsiders, which isn’t really happening a lot in southeast D.C. I was the bridge, at least for the first few trips, but then the boys were so cool. You kind of see it in the movie, just how friendly the boys are. Pretty much right away, the boys and members of the crew started to become friends. We had crewmembers that dropped other jobs when we were going to D.C. so they could come back. By the end, everyone became super tight.

Coach Walt explains how he wants to be a mentor to these young boys. How does coaching boxing allow him to do that?

As a boxing coach, you’re teaching discipline, you’re teaching all these different things, you’re teaching focus on a goal.

If you want to get that goal, you really have to be focused on a singular pursuit.

It teaches that really well, which I think is important because there’s a ton of distractions in that neighborhood for these kids.

Also, you see if you’re putting in enough work or not so easily because it’s one guy

versus one guy or one girl versus one girl in the ring. You see if you’re working hard enough. Boxing is a really great way for a coach to instill these values in kids that they can use everywhere else.

When people see this film, what are you hoping they come away with?

Part of me just wants everyone who sees it to fall in love with those kids as much as I did and see how good of kids they are, how solid they are. The personal, sappy side of me wants you to fall in love with these kids, but I also think a lot of people just aren’t paying attention and it’s right there.

What we think of as Georgetown, super nice and all that, and then for the rest of the country, they probably think of D.C. and they think politics and things like that. But this stuff is happening right there and no one is paying attention to it.

And good stuff is happening right there, too. These coaches stepping up to these kids, that’s happening right there and no one is paying attention to that, but also the harder stuff, the stuff that’s making life so hard for these kids even though they’re living in one of the richest cities in the country.

“They Fight” premiered Nov. 11 on FOX. The film is also available on-demand on the FOX Sports app. For more information, visit www.foxsports.com.

LEFT: ARGENT PICTURES, RIGHT: NORTH OF NOW

What started off as a college hobby for Mike Minahan (COL ’16) became a groundbreaking project in his new documentary, “They Fight.” In a partnership with producer Andrew Corkin, Minahan covers the Lyfe Style boxing program. Under Lyfe Style, young boxers in Southeast Washington, D.C., are trained and mentored in preparation for competitive fights around the city.

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FRIDAY, JANUARY 18, 2019

THE HOYA

What to Do in DC

MUSIC

NEW RELEASES

SARAH CAMMAROTA Hoya Staff Writer

1

TIMOTHY MCNULTY Hoya Staff Writer

WINTER RESTAURANT WEEK

The Restaurant Association of Metropolitan Washington will be hosting its annual Winter Restaurant Week through this Sunday, Jan. 20. Well-known D.C. restaurants will be offering $22 brunch and lunch and $35 dinner. A sizeable showing of Georgetown restaurants are participating in the event, including Filomena Ristorante, Farmers Fishers Bakers and 1789 Restaurant.

2

JLO AND BAD BUNNY NONAME

LIZZO

LIZZO ‘JUICE’

NONAME ‘SONG 31’

Lizzo starts the new year off with the synthpop anthem “Juice,” fueled by her vocals’ infectious energy. Her confidence culminates in the track’s final line: “Somebody come get this man / I think he got lost in my DMs.”

Noname’s latest single, featuring Chicago-based rapper Phoelix, ruminates on the tension between creating art and selling it for profit in a hyperconsumerist society. Noname’s strength as a rapper is indisputable, and on “Song 31,” she hones in on her sound even more.

‘KLEPTOCRACY’ AT ARENA STAGE

The world premiere of Kenneth Lin’s relevant new play “Kleptocracy” will take place Friday, Jan. 18, at Arena Stage. The play looks at the birth of modern Russia from the fall of the Soviet Union until modern day and challenges playgoers to examine relations between Russia and the United States. Tickets for the Friday premiere are now $92, but the play runs until Feb. 24.

3

NORMAL

LANA DEL REY

NORMAI FT. SAM SMITH ‘DANCING WITH A STRANGER’

LANA DEL REY ‘HOPE IS A DANGEROUS THING FOR A WOMAN LIKE ME TO HAVE – BUT I HAVE IT’

Normani and Sam Smith croon to each other with undeniable chemistry in this sultry breakup song. Both try to upstage the other by commanding, “Look what you made me do . . . I’m dancing with a stranger.”

Lana Del Rey shares a personal evaluation of her life before her upcoming 2019 release. Del Rey sings softly of her sadness only to refute it by asserting that “hope is a dangerous thing for a woman like me to have – but I have it.”

ARENA STAGE

MLK DAY PARADE

The 38th annual Martin Luther King Jr. Day peace walk and parade will take place Monday, Jan. 21. The parade begins at 11:30 a.m. on Martin Luther King Jr. Avenue and ends at the Gateway Pavilion with a community fair. Local civic leaders, community activists and performers will be featured in the parade, and all are welcome to attend.

4

AMBAR CAPITOL HILL

MLK HOLIDAY DC

‘LET FREEDOM RING! A TRIBUTE TO MARTIN LUTHER KING JR.’ AT THE KENNEDY CENTER

Each year the Kennedy Center hosts a concert on Martin Luther King Jr. Day celebrating the life and achievements of the late, great civil rights leader. The concert is organized in conjunction with Georgetown University, and tickets are free. Concertgoers should be prepared to wait in line for tickets as early as 4:30 p.m. the day of the concert. The concert will take place Jan. 21 at 6 p.m. and features Grammy, Emmy and Tony Award-winning vocal artist Audra McDonald as well as Tony Award-winning artist Brian Stokes Mitchell.

GEORGETOWN UNIVERSITY

FRIDAY, JANUARY 18, 2019

THE HOYA

B9

CONCERT REVIEW

OFAREVOLUTION

O.A.R. returned home to the D.C.-Maryland-Virginia area in a Dec. 15 concert at The Anthem. The band stuck to its classic sound but also dared to explore various genres, refusing an easy label and defying categorization. Coupled with its energetic stage presence, O.A.R. gave a riveting performance that stunned the audience.

O.A.R. Enthralls Fans With Musical Experimentation

JOSE VILLALOBOS Hoya Staff Writer

As Christmastime snuck up on Washington, D.C., O.A.R., which stands for Of a Revolution, came back to its home turf to prove once again that the band is a phenomenal live act.

Walking down the beautiful D.C. Wharf on the evening of Dec. 15, the crowd stood out around The Anthem, the bright new auditorium and musical venue built as part of a comprehensive redevelopment project in the city’s southwest waterfront.

The people filing in line to enter were in for a treat, as the venue is aesthetically pleasing: clean and minimalistic, with careful attention to detail and a renovated-factory-space aesthetic. The stage foreshadowed the show to come; a simple, elegant stage set and light scheme placed all focus on the performers, and they would deliver.

Maggie Rose, an impressive act for a show opener, deserves a mention as well.

She was energetic and captivating to get the crowd warmed up and ready. Faced with a tall task — as a large part of the audience was still disengaged and strolling into the venue when her set started

— she held strong and put on a frizzling spectacle to get the audience in groove mode.

She hit the ground running with “I’m Yours,” a rock number with pleasurable hints of blues and country that injected the audience with energy and made them pay more attention to her.

After asking the audience to “say hi to your next-door neighbor if you haven’t yet,” and to get comfortable with people around them, she offered “Change the Whole Thing,” an intimate piece from her new album that showcased her impressive voice and stage presence. She capped off her stage time with a soul rendition that was the perfect transition to O.A.R.’s reggae-vibes, pop-rock-alternating set.

After Rose’s opening, O.A.R.’s lead man, Marc Roberge, and his bandmates kicked off the show with “52-50,” a song that, while enjoyable, is typically considered a forgettable track. With a mellow tune, a sleepy saxophone backdrop and a crescendo of guitar riffs at its conclusion, the track is a good listen but not particularly memorable.

The live version, however, was mesmerizing. With added percussion, more inspired chord stringing, additional

wind instruments and an energized Roberge, the song immediately electrified the crowd. The band members appeared engulfed in a musical frenzy that they enjoyed as much as, or even more than, the crowd.

With the second song of the set, “About Mr. Brown,” the band really caught the audience and never let go. Its two secret weapons came out to play and stole the show: Jerry DePizzo, long-time saxophonist for the band, and Jon Lampley, part-time tour member and trumpetist.

The soothing saxophone sounds and blasting, tempo-setting trumpet completely transformed the band’s tunes, and the energy radiating from DePizzo’s and Lampley’s dancing and vibing elevated the performance’s intensity — a mighty feat for a band that already gives its all in every single act.

In fact, O.A.R. was on such a roll that Roberge did not acknowledge the audience for another 20 or 30 minutes. He shared a memory of the band’s first set, an eighth-grade talent show in the band’s native Rockville, Md., and reflected on the constant support of friends and family since then. He offered the next song, “I Go Through,” to all those who have given the band support, garnering roar-

ing applause and admiration for Roberge’s ability to lead through a song with little musical accompaniment.

Throughout the night, O.A.R. exhibited the wide range of styles and sounds it has explored since its first album was released in 1997, shifting from passionate and raw, to mellow and thoughtful, to ecstatic and carefree.

The band also changed genres and accompanying instruments, giving some run to its pop and alternative rock sounds, which help exhibit Roberge’s strong lyrical acumen, some of them — admittedly — by leaning a little too much on his driving vocals.

The aforementioned “I Go Through” recalled the band’s exploration of pop sounds, while “Love and Memories” brought back memories of edgy teenager indie rock hits of the early 2000s.

And yet the best of O.A.R.’s sounds is the reggae-infused, wind-instrument-heavy, free-jamming flurry of energy that generated hits like “Program Director” and “About Mr. Brown.”

With these powerful and entertaining songs, riveting performances and an eager crowd, O.A.R did not disappoint in its return to the D.C.-Maryland-Virginia area.

B10

FRIDAY, JANUARY 18, 2019

THE HOYA

MOVIE REVIEW

Cranston Shines in Remake of ‘The Upside’

Directed by: Neil Burger

Starring: Bryan Cranston, Kevin Hart, Nicole Kidman ALEXANDRA BRUNJES Hoya Staff Writer

In 2012, the film “Les Intouchables,” a French box-office hit, played on screens across the United States, quickly stealing hearts and becoming the highest-ranking non-English-language movie ever released.

Seven years later, an American remake of the film called “The Upside” attempted to capture the same success.

Starring Bryan Cranston and Kevin Hart, “The Upside” recreates the story of its 2012 counterpart: Cranston’s Phillip Lacasse, a wealthy quadriplegic, employs Hart’s Dell Scott, a former convict, to be his caretaker, or “life auxiliary.” The pair soon forms a humorous and heartwarming friendship that ultimately changes both of their lives.

The audience can already see the obvious Americanization of “The Upside” with the film’s location switch from Paris to New York City — a place with an oftentimes sharply visible wealth disparity that the film highlights. When Dell is paroled from prison, he begins searching for a job so that he can catch up on unpaid child support and attempt to rebuild his relationship

with his son. He stops at a luxury Park Avenue apartment building for a janitor position, but by luck and inattention ends up in the penthouse awaiting an interview to be a live-in life auxiliary for Phillip.

Phillip, a billionaire seemingly accustomed to blind obedience and an infantilizing sensitivity to his disability, is attracted to Dell’s brazenness and hires him on the spot.

The following events are somewhat expected: Dell’s raunchy humor and ignorance of the typical role of a caretaker bring Phillip back to life. Phillip’s personal trauma and generous paycheck make Dell contextualize his own experience and enable him to provide for his ex-wife and son, who live in a crumbling apartment in the projects.

The heart of the film has to be Cranston’s performance. He is nuanced, expressive and incredibly powerful as Phillip, particularly notable considering the limitations on physical movement — Phillip is only in control of his neck and above. Hart’s comedic timing combined with his character’s tendency to favor fun and risk over routine and obedience also brings lightness to an otherwise grave situation.

Hart’s character is arrogant and obnox-

LANTERN ENTERTAINMENT

“The Upside” is a fairly successful attempt to adapt the hit French film for U.S. audiences, featuring a standout performance from Bryan Cranston, right.



ious in almost every situation. Especially in Although discussions surrounding race conversations related to Phillip’s disability, relations are at the forefront of American his raunchy comedy seems insensitive and culture today, the film chose to gloss over ill-placed. This element is somewhat sur- many conversations that could have been prising, as Hart took the role in part to dem- insightful and enlightening. onstrate his ability to act dramatically, but Hart’s character sometimes says pointed he instead forces humor into almost every things, like referring to Cranston’s apartscene. Despite this inconsistency, Cranston ment as a “plantation,” but overall the film and Hart have palpable and realistic chem- never spent any time examining the interistry, which was central to the film. action between race and wealth or analyzVisually, “The Upside” is satisfying, fea- ing Dell’s frustration. Had this aspect of the turing powerful shots of an urban setting film been more deeply explored, the film as well as imperative close-ups that enabled would have spoken more to an American Cranston’s expressiveness to take full effect. audience and made its Americanization Subplots focusing on the musical value of more necessary.

Aretha Franklin and the opera also lent A final difficulty the film must contend themselves to a vocally powerful soundtrack. with is the context of its creation and reThe film successfully earns its classifica- lease. The rights to “Les Intouchables” were tion as a dramedy, with its believable inter- acquired by the Weinstein Company sevaction between hilarity and raw emotion. eral years ago, and “The Upside” was iniDespite its over two-hourlong run time, tially released in the film festival circuit in “The Upside” felt shorter, as the compelling September 2017, approximately a month chemistry between its leads establishes a before The New York Times published an quick pace. article detailing decades of alleged sexual While the film is heartwarming and feel- harassment committed by co-founder Hargood, it could have been propelled to great- vey Weinstein. After the scandal, the film’s ness. Several issues prevented the American release, initially set for March 2018, was remake from reaching its full potential. halted. Not only is the film therefore con“The Upside” was earnected to Weinstein, nest to a fault somebut this delay also times and had a tenmeant that the film Visually, “The Upside” is dency toward cliched was poised to coinpredictability.

While cide with controversatisfying, featuring powerful this tone may be potensy relating to Hart. shots of an urban setting as tially enjoyable to viewOnce STX Enterers, avoiding it could tainment acquired well as imperative closehave made it a more the rights to the film substantive film. This and a new release ups that enabled Cranston’s fault was emphasized was set for January by a lack of subtlety and expressiveness to take full effect. 2019, the film faced a tendency to caricature another dilemma: the differences between After the Dec. 4 anHart’s and Cranston’s characters rather nouncement that Hart would host the Osthan to emphasize the ways in which their cars, a series of homophobic tweets that he similarities helped them grow closer. posted a decade ago — for which he initially The acting chops of certain cast members refused to apologize — surfaced. were also clearly underutilized. For examSoon after, Hart decided to step down ple, Oscar-winning actress Nicole Kidman from the hosting gig Dec. 6. This controplayed Yvonne, Phillip’s Harvard Universi- versy is particularly problematic because ty-educated business manager, yet her role of a lengthy and somewhat awkward was plain and her character unexplored. scene in “The Upside” in which Dell must Despite her impressive educational back- change Phillip’s catheter and has extreme ground, Yvonne essentially played a glori- difficulty even saying the word “penis,” a fied assistant who mainly served as a love comedic choice that may now be painted interest to Phillip. As the only female lead, as homophobic. An NYC test screening the lack of attention to her character felt yielded a 95 percent approval rating acparticularly egregious. The role seemed to cording to Vulture, but these external facbe a waste of Kidman’s tremendous acting tors may still affect the film’s success. ability on the filmmaker’s part.

Many will likely prefer “Les IntouchAdditionally, while the intention of this ables” simply because it is the original remake was to better suit the film toward film, but despite its downfalls, “The UpAmerican audiences, this goal was only side” deserves a chance to be seen and fairmeekly pursued other than a geographic ly judged, particularly since it features a relocation. Social commentaries pertinent truly spectacular performance from Cranto a U.S. audience were glaringly absent. ston.

THE HOYA

FRIDAY, JANUARY 18, 2019

B11

MOVIE REVIEW

Action-Packed ‘Aquaman’ Thrills but Lacks Depth

Directed by: James Wan

Starring: Jason Momoa, Amber Heard, Nicole Kidman JOSE VILLALOBOS Hoya Staff Writer

“Aquaman” attempts to offer a new and improved take on the CGI-heavy and action-laden formula that has been recycled through all superhero movies since the start of the DC and Marvel cinematic universes.

The beautiful shots, timely and effective comedic relief, and the protagonist’s constant rejection of heroic, grandiose ideals and expectations help “Aquaman” avoid the seriousness of other superhero films and instead focus on all the fantastical excitement.

The long feature tells the story of Arthur Curry, played by Jason Momoa, the half-human, half-Atlantean heir to an underwater throne who has never fully identified with land or sea. When his younger Atlantean half-brother Orm, played by Patrick Wilson, inherits the kingdom with plans to declare war on the surface world, Arthur begrudgingly dives into action to keep his surface home and family safe.

In search of a legendary trident, Arthur travels the world with Amber Heard’s character Princess Mera, while Orm attempts to consolidate control over the different underwater kingdoms to launch an attack.

These two disjointed races against time finally meet in an epic but overwhelming underwater battle with enough CGI and action to rival every superhero movie released since 2005.

When entering Atlantis for the first time, Arthur experiences the same wondrous amazement as the audience members, who can only marvel at the perfectly aesthetic

underwater world that director James Wan and his visual effects team created. Viewers can see the careful attention given to every detail. Watching Mera and Arthur escaping the Atlantean fleet or jumping from exploding rooftops in Italy is sure to make the audiences as thrilled as the crowds of the Atlantean amphitheater witnessing a gladiator match.

“Aquaman” is far from perfect. The plot is confusing and convoluted, as well as predictable. While the CGI offers beautiful mirages at times, its abuse more often creates bizarre-treading-on-ridiculous depictions.

Much of the narrative is bogged down by an extensive backstory, throwing character development softballs that Momoa manages to knock out of the park with effortless charm. Others, however, namely Wilson as Orm, do not meet the challenge as well as Momoa, despite being talented actors in other circumstances. Though Wilson is a recognized and highly capable actor who has frequently worked with Wan in films like “The Conjuring,” the role does not play to his strengths, with a lazy backstory that makes him seem little more than whiny.

Yet the film is a wonderful mess that keeps audiences mesmerized between Wan’s ability to infuse the film with palatable action and the cast’s best efforts to display their talent in the few nonaction opportunities.

“Aquaman” does, however, raise the question of how many more action sequences one film can have without completely falling apart. The film thrives when it embraces childlike wonder and sensory amusement, offering tantalizing, high-adrenaline sequences

and infinitely complex visuals to its audience.

Great casting and performances all around make the audience wonder whether the characters should have been given more control over the film. Award-winning actress Nicole Kidman — as Arthur’s mother and the former Atlantean queen — and Heard elevate their roles beyond a typical hero’s mother or romantic interest, continuing to push the boundaries regarding the role of women in superhero movies.

Yahya Abdul-Mateen plays a convincing villain, and Willem Dafoe does what he can with what screen time he has.

Despite the flurry of trident fights and saddled hippocampi riding into war, the producers’ attempts to create something beyond a typical superhero flick are apparent in the casting choice of Momoa. Half Native Hawaiian, covered in tattoos, sporting a beard and long, dark, scraggly hair, he looks more like a jacked surfer who splits his time between riding waves and a barstool than the blond boy scout that most Aquaman comics bring to mind. Diverse casting is in itself a statement, especially at a time when white-washing is becoming increasingly recognized as problematic in the industry.

As another plus, Momoa’s flawed and disgruntled persona is one of the best in Hollywood, honed from years of playing characters with similar ethos in “Frontier” and “Game of Thrones.” At the same time, some overly serious moments that have plagued previous DC installments unnaturally break up the tone of “Aquaman.” While they are mostly inconsequential, they manage to show small cracks in Aquaman’s shiny gold-

 en armor.

Arthur often gifts viewers with some fan-favorite traits in modern superheroes; he comes off as an imperfect and insecure leader thrust into this role by forces outside his control. Momoa gives the few scenes of seriousness and introspection his best. Even if they do little to separate his tale from other unwilling-leader and outsider-to-hero storylines, he does offer audiences a hero with which they can more easily identify.

Small Easter eggs peppered across the movie add to its allure. The origin story for Black Manta, Aquaman’s historic archrival, is incredibly enjoyable for the comic book fanatics and gives hope that he will eventually provide a more engaging and satisfying villain than Orm. He already appears to have a more compelling grudge to hold against Arthur.

Arthur being the only character who can communicate with marine life — another nod to the comics — is a nice touch, and the writers manage to only fully reveal this ability during the movie’s climax, giving it an important role in Arthur’s eventual success and ascension to the Atlantean throne.

While a few shy attempts at creating a deeper, more meaningful story than the norm for this genre do not succeed, the film is still enjoyable in its own right. Instead, the unabashed use of action sequences and green screens in “Aquaman” lead to an engaging though sometimes entangled picture. In an action-packed, visually stunning — though occasionally overbearing — and overall endearing film, Wan offers unapologetic fun with few pretenses.

DC COMICS

“Aquaman,” directed by James Wan and starring Jason Momoa, is yet another superhero movie filled with green screens and action sequences. While it fails to break free from its genre, the film is nevertheless engaging, featuring a diverse and talented cast. “Aquaman” is sure to thrill fans with its impressive visual effects and adrenaline-packed scenes.

ILLUSTRATION BY: SAMUEL NELSON/THE HOYA