The Hoya: The Guide: February 15, 2019

F RI DAY, FEB R UA RY 15, 2019

Bookstore Renaissance

ILLUSTRATION BY: ELOISE OWEN/THE HOYA

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FILE PHOTO: MAGGIE CHEN/THE HOYA

Over the past two decades, many independent bookstore owners and customers feared their favorite literary hotspots would disappear because of the rise of the internet.

However, the response from communities in the District has led to bookstores surviving and thriving despite competition from internet giants like Amazon.

Independent Bookstores Endure Despite Competition RACHEL LINTON Hoya Staff Writer

With the global behemoth Amazon looming into the offline space at the new Amazon Books store, its first physical location in Washington, D.C., the long-term survival of the independent bookstore would seem to be in question.

Last year, NPR reported the number of independent bookstores in the United States grew by 35 percent between 2009 and 2015 — a statistic that cuts against the traditional wisdom. While Amazon was expanding rapidly and retail as a whole was facing a significant downturn, independent bookstores were not merely surviving; they were multiplying.

From Bridge Street Books to secondhand stores like Second Story Books, independent bookstores have endured as part of the community by carving out their own niche or capitalizing on the shifting market.

TANGIBLE TEXTS

Rod Smith, the manager of Bridge Street Books on Pennsylvania Avenue, started at the store in 1988 and has worked there continuously since 1992.

The store itself has been a fixture since 1980, though much has changed in the nearly 40 years since it was first established.

“Before the web, bookstores were the web,” Smith said in an interview with The Hoya. “So the primacy of bookstores has probably changed, and I’d say in the 2000s, there was a few minutes where people thought maybe bookstores were going to disappear, and then they realized that they didn’t want that to happen and started supporting them more.”

Some of that support comes from Georgetown’s own faculty. Libbie Rifkin, a professor of English, directs her students to get required texts at independent establishments and often orders course books through Bridge Street Books instead of the campus bookstore.

“I’ve always wanted to enable students to get small press editions and other things that the book store’s not so good at handling. I’ve tried like once or twice,” Rifkin said. “I just like the fact that Rod Smith knows this world really well.”

The success of independent bookstores is in some ways a matter of the shopping experience: Visiting a bookstore in person provides more diversified and unexpected options than browsing for books online. Some bookstores, like Second Story Books, an antiquarian, used and out-ofprint bookstore, offer a carefully curated selection, according to the owner Allan Stypeck, who bought the store in 1973.

“We’re not repetitive,” Stypeck said in an interview with The Hoya. “You come

into our store and you’re not going to see the same titles generally that you’re going to see in a new bookstore.”

The books are meticulously chosen by a well-informed staff, who evaluate everything that goes on the shelves. Stypeck is a senior member of the American Society of Appraisers as well as a member of two antiquarian booksellers’ associations. Second Story’s stock, too, is constantly changing based on collections that are brought in.

“Right now we have this extraordinarily large collection of opera, classical and entertaining ephemera, autographs, books related to that,” Stypeck said. “We have a huge collection of out-of-print chess books.”

Their stock is not limited to books, either: Visitors to the store can also find a variety of antiques on display.

“Tomorrow I’m going to be bringing in a collection of African sculpture,” Stypeck said.

By expanding beyond just notable texts, Stypeck believes that customers will get more out of their time at Second Story Books.

“We feel it’s a much more stimulating environment,” Stypeck said.

Visiting a physical bookstore such as Bridge Street Books provides a more enriching time for readers than buying books on a phone or tablet, according to

Smith.

“Part of the reason I think is, for a genuinely engaged reading experience, one doesn’t want to stare at a screen,” Smith said.

COMMUNITY CONSTANTS

Integral to the difference between an independent bookstore and a massive chain is that the independent store becomes a central part of its community’s cultural identity, whereas the chain bookstore could be anywhere.

Rifkin, who has focused her work on the communities that form around poetry, has found independent bookstores serve as not only a place to buy books, but also a center of the poetry community in many cities.

“I did some of my first dissertation and first book research on scenes in New York and San Francisco and other places, all of which had bookstores that were central to the experience of poetry, to kind of living that life,” Rifkin said.

The District has been no exception to creating this community. Smith is a poet and editor in addition to store manager, and the store often holds poetry readings at Bridge Street Books.

“It’s a real locus of energy, or at least it has been over the years, for poetry in D.C.,” Rifkin said. “It is the independent bookstore that does this kind of stuff, the

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way, for instance, City Lights Books in San Francisco, that Lawrence Ferlinghetti started, that was at the heart of the Beat movement, is still for San Francisco.”

Despite the District’s history of independent bookstores, the environment of maintaining one has changed over the years, according to Stypeck.

“Bookselling itself is a different criteria than it was when bricks-and-mortar ruled,” Stypeck said. “Now 90 percent of your sales on a rainy day are not going to be people coming in out of the rain, they’re going to be staying at home and they’re going to be buying online, so you have to make a very concerted effort to focus on those markets that are responding to your inventory.”

OFFLINE GOES ONLINE

For secondhand stores like Second Story Books, the growth of the internet led to a chance to diversify their distribution by creating online shops. Although Second Story Books downsized from six locations to their current two in Dupont Circle and Rockville, Md., the fewer locations have not meant a decline in business, according to Stypeck.

“As we realized online sales were reliable and the proximity of our bricksand-mortar stores were competing with one another, and the online sales were giving us a higher percentage of our annual sales, we decided to consolidate our bricks-and-mortar stores to the most appropriate retail areas,” Stypeck said.

Unlike many new book stores, according to The New York Times, Second Story Books has benefited from the rise of Amazon as an online marketplace, maintaining three online stores through Amazon, eBay and its own website.

“We have a huge Amazon presence, we sell on Amazon, we have an inventory

NATALIE ISÉ/THE HOYA

Longtime staple Bridge Street Books sees the new Amazon store as no more competition than the other chain bookstores across the city that have since closed. Bookstores like Second Story Books have even made their own digital mark with online stores. directly dedicated to Amazon alone,” Stypeck said.

But even before the age of Amazon, Second Story Books wholeheartedly embraced the internet.

“We’ve been involved with the internet since its inception. We did the beta testing for a company that later become Alibris Books, I think it was called Interloc, that actually paid us a dollar a book in the early to mid-1990s to put five or eight thousand books online,” Stypeck said.

Although sales were initially disappoint-

ing, with the shop only selling around $400 in inventory that year, according to Stypeck, Second Story Books’ online sales would increase even as more and more people turned to the internet to buy books.

Despite the closure of some big book retailers like Borders over the past few years, independent bookstores still have brick-and-mortar competitors: Expanding beyond the online market, an Amazon bookstore moved in on M Street last year.

Still, Smith was not worried the store would affect Bridge Street Books, citing

ROCHELLE VAYNTRUB/THE HOYA

Bridge Street Books and Second Story Books are not the only independent bookstores in the District to have survived the online onslaught of digital platforms. Other establishments that still stand include Kramerbooks and The Lantern Bookshop, above.

that the Amazon store simply does not provide an equivalent alternative.

“Our customers and staff are not big fans of the kind of economic power that Amazon wants to assume; I think it’s a bad thing,” Smith said. “I walked in there once and I got as far as the second table where they were selling blenders. And I was like, well, they took my blender business away.”

By catering to a different set of consumers who are looking for a more personal experience, Smith has seen his store outlast other big competitors and expects the same with Amazon.

“I mean, there’s a way in which they don’t really have much to do with us, and that store seems as much an ad as an actual store,” Smith said. “We’ve seen big ones come and go. Barnes and Noble was in the space beside where Amazon is for years and they’re gone.”

Enough people still seem to need Bridge Street Books that its owners were not worried about the future or its nearby Amazon competitor. For now, Smith sees a different threat to business.

“The weather has hurt us this year more than anything. It keeps raining and raining and raining, and especially on the weekends,” Smith said. “But I expect we’ll get back to pretty steady growth in the next several years.”

As long as independent bookstores continue to serve a purpose for readers beyond simply purchasing books, they will provide an invaluable ambiance distinct from that of the chain bookstore, according to Rifkin.

“For me, what’s great is to go upstairs in Bridge Street Books and just sit in the poetry and literary criticism section, which is right where the course books are,” Rifkin said. “That’s a unique experience that I’d like to preserve for as long as possible.”

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INTERVIEW

Henson, Shankman Discuss New Film, Diversity ELFRIEDA NWABUNNIA Hoya Staff Writer

“What Men Want” is refreshing and honest; it delves into issues that the film industry and the world have been constantly grappling with. A reimagining of the nearly 20-year-old Mel Gibson film “What Women Want,” the remake uses the premise of accidentally gaining the ability to read the opposite gender’s mind to explore and expand upon the flip side of the original’s narrative.

The film is led by the captivating and hilarious Taraji P. Henson as Ali, a fierce, no-nonsense black woman and sports agent in an office of white men. A cast of strong comedic talents back Henson, including Tracy Morgan as an overzealous father to the basketball star Ali is dying to sign, Aldis Hodge as a grounded single father and Ali’s love interest, and Wendi McLendon-Covey as a rap groupieturned-Christian devotee.

“What Men Want” takes its place among ever-widening discussions of structural racial and gender inequality in Hollywood and its most prominent films.

The Hoya sat down with Henson and director Adam Shankman to discuss the film, the process of bringing this familiar premise into the modern climate and the future of diversity in Hollywood.

This film is a loose reimagining of the Mel Gibson film “What Women Want.”

What was the process of adapting this

film and making an original film out of that premise?

SHANKMAN: They went to Paramount, opened a new division and were exploring their library. Brian Robbins was running the division and thought that it was an interesting idea.

Robins called Will Packer and said if we’re going to do this, it has to be one and only one person, and that is Taraji P. Henson. He said she was ripe and ready because she’d been hammering at him to do something funny. They went and courted madam over here. ... What did you say to them?

HENSON: I said, “Hell yeah.” I was honored that they even thought of me. Brian Robbins and Will came to me in Chicago and didn’t have a script at the time and I said, “Well, this could be really good.

Looking at the climate and what we’re dealing with, if we stick to dealing with that and making people laugh, then I think we have something.”

So they went away and promise me they would write a great script and then brought it back and I was like, wow, what an amazing notion to have her be a sports agent with all these men and trying to make partner. I just thought it was brilliant, and as I was reading it, I knew it was perfect. How we were dealing with the subject matter — it was really art imitating life.

I loved the heart that was in the movie.

All the rom-coms and comedic films, all the ones that stick to me are the ones

BET FILMS

In addition to Taraji P. Henson, center, in the leading role, “What Men Want” features a cast filled with comedic talents such as Max Greenfield, second from left, and Tracy Morgan. that have heart. The ones where you’ll be laughing and all of a sudden you’re on the verge of crying. I was interested in doing a comedy like that and that’s what this script was. I got excited when I got it, I knew it was the one.

When reading that script, what spoke to you about your character, Ali? What came through to you?

HENSON: The fact that she thought she was gonna cheat … that she thought it

would be that f--king easy. And she had to learn, that is life. That is what I’m always preaching. You have the power, it’s all in you. … She always had the power but she used it wrong. She thought she had to be a boy. And it’s never about matching masculinity with masculinity. That’s where women go wrong. God made us the way he made us for a reason— SHANKMAN: I.e., better— HENSON: I’d rather fight like a girl because we have things that men do not have.

BET FILMS

In “What Men Want,” Taraji P. Henson of “Empire” and “Hidden Figures” fame plays Ali, a sports agent in a male-dominated industry. Her experiences as a black female actress in Hollywood lent themselves well to understanding the difficulties her character faces in nearly every aspect of her career.

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BET FILMS

“What Men Want,” directed by Adam Shankman and starring Taraji P. Henson, above, details what happens when a woman suddenly gains the power to hear exactly what the men around her are thinking, with unexpected results. Henson and Shankman collaborated extensively to figure out what cast would be best for the reimagined film.

SHANKMAN: You have a deeper sense of empathy.

HENSON: Yes, empathy, intuition… We know how to love unconditionally, how to forgive, things men have a hard time doing, and they don’t know what to do when we come at them like that. They don’t know how to process. That was the beautiful thing for her to find in her journey, herself. It wasn’t about a man’s validation; at the end she gets the moment, but it’s like it’s not even about that now.

This film, in part, works so well because you’ve brought together such a dynamic cast of men and women. How crucial did that part of the process feel to you, and how did you know when you had procured the right group of people to make this film stay as lively and electric as it does?

SHANKMAN: Oh my god, it’s everything. …

Every director lives and dies by their cast.

Any director worth their salt will say the painting is only painted with good paint and it ends up guiding you.

I remember telling Taraji the first two days we are shooting, “I’m gonna know Ali a little better than you because I know the big picture of the movie. After that, you’re gonna be telling the whole thing behind you, because you’ll have been in the clothes; you’ll have walked in the shoes; you’ll have said the words, and suddenly you’re gonna know her way better than me.

[Henson] landed and immediately we shoved her into boxing lessons. And by the way, we were like, first day of shooting is boxing with [her] dad and the emotional scene with [her] dad. … On the first day of shooting, you don’t really know the person yet. You’re just discovering.

You’re like, “Is this okay?”

HENSON: ’Cause it’s the first day and whatever you do is etched now; it’s there because it’s on film.

SHANKMAN: But bringing everybody together, what made it easier was knowing who I was starting with — Taraji — and I called you about pretty much everybody.

Like I knew you were gonna be happy about Richard Roundtree. There was a lot of back and forth about who was gonna play Will. And you were like, “You’ve got to look at Aldis Hodge.”

HENSON: See, I knew he was funny. I had never really watched a lot of his stuff, but I knew he has that super star quality. …

He has that extra thing; he pops.

I sent over an interview he was in, just him being him and said, “You see how charming he is? We need the audience to love him for that guy. Just him being him … the audience is gonna like him, because you like him in life and that’s important when casting.”

And also, everybody had to be funny, everybody had to bring their funny — when you have a successful comedy there’s not one weak link; you can name them and go down the list. Everybody brings their

A-game. I don’t wanna see a movie where there’s one great actor hauling everybody on their backs.

SHANKMAN: Casting [Henson’s] girlfriends was very important. The first person we actually cast after [Henson] was Tracy, and when I cast him he actually cried. He said, “You’ll let me in this movie? I promise I’ll do whatever you need.” And by the way that was crazy, ’cause I’d never met him before and we’re sitting at the St. Regis hotel in L.A. HENSON: I mean, you have to think about it — he had a second chance at life.

SHANKMAN: Yeah, and after him, the last person was Josh Brener, who played [Henson’s] assistant, which was the real love story in the movie for me.

HENSON: He was a scene-stealer that one.

I don’t ever read reviews of my work, but my agent said, “Taraji, you have to read this review,” and they singled him out.

With every eye roll or whatever, he had a witty comeback. And we were very interested in honest representation across the board. ... This guy wasn’t flaming; he had stats in his head, he wanted to be a sports agent, and his sexuality didn’t have anything to do with that.

Were there any improv moments that made their way into the final cut of the film?

SHANKMAN: [laughing] They all made their way. ... We did always shoot the

scripted material, but I will tell you this: Almost nothing Wendi McLendon-Covey says in the movie is scripted. Her character had no interest in Jesus in the script.

She was scripted as a country club mom who when she was in college had f--ked every rapper that had walked in front of her. And she was like, “I’m OK with that, but I need to do it my way.”

With Ali’s situation, as far as being in a male-dominated industry and trying to make it through not just as a woman but as a black woman, I was wondering if you saw any parallels to yourself navigating Hollywood?

HENSON: Yes, every deal I’m fighting for

my money, or having to prove that I’m worth it. And it’s always a fight, it never ends. And I could never understand when I was a young aspiring actress and would see the greats before me go ‘I’m still fighting’ and thought it couldn’t be true.

When you’re on the outside looking in, when it looks like they have so much...so yeah I’m still fighting.

SHANKMAN: I’ll tell you this, if you know any young black women who are interested in becoming directors, now is your time, particularly television is ahead of it.

But we cannot fill enough slots for who actually is there. If you are a black woman director in television right now, you are working, movies still have a ways to go, movies still have a way to go, but they’re catching up.

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NOVEL IDEAS

‘44 Scotland Street’ Offers a Locale Defined by Its People Kathryn Baker I have never been a spontaneous, go-withthe-flow person, and now that I’ve been in St. Andrews, Scotland, for a month I’m relieved to say that I have finally established a weekly routine. My Mondays are mostly free and devoted to readings and research.

I attend Zumba on Tuesdays, orchestra on Wednesdays and Bible study on Thursdays, and my long weekends provide ample opportunities to travel.

With this routine, I’m beginning to spend more time outside the confines of my flat and meet full-time St. Andrews students.

With each encounter, I am repeatedly asked one question: How are you finding St. Andrews so far?

My answer usually consists of three main components. First, I say the area is beautiful.

Secondly, I affirm that it’s wonderful to be in a small town. Finally, I reveal my most truthful observation of my time here thus far: The people here are unbelievably

friendly.

I just finished reading Scottish author Alexander McCall Smith’s 2004 novel “44 Scotland Street,” which was originally serialized in the national newspaper The Scotsman.

The novel was widely praised — not for its action-driven plot or tear-jerking romance, but for its charming depiction of Scottish people. It particularly follows a young woman named Pat in her second gap year, a self-obsessed rugby fanatic Bruce, the overbearing mother-son duo of Irene and Bertie, and the eccentric ex-anthropologist Domenica Macdonald.

Once I began “44 Scotland Street,” I was instantly enamored by the characters. I empathized with Pat’s quest for purpose, rolled my eyes at Bruce’s smugness and admired Domenica’s ability to slip philosophical probes into everyday conversation.

Above all, their interactions underscored the idea that a place is defined by its people.

As Pat discovered through her friendship with Domenica, even just one person can make a new environment feel familiar.

Before arriving in St. Andrews, friendship — or lack thereof — occupied the forefront of my abroad anxieties. I assumed no full-time student would bother getting to know me because I’m only here for one semester. I also

feared fellow Georgetown students would rather spend their time meeting full-time students instead of occupying their time with the familiar.

Simply put, I was wrong. Although I have yet to visit Edinburgh, it is not difficult for me to relate McCall Smith’s novel to my time in St. Andrews so far. Just as Scotland Street is a microcosm of Edinburgh, I’ve come to see the friend groups I have formed here as emblematic of the larger Georgetown and St. Andrews communities.

I didn’t know most of the nine other Hoyas studying abroad here very well before I arrived, but I’m continuously surprised at how much common ground we have found in our experiences. From visiting cows and eating cakes at Balgove Larder just outside town to bonding over weekend drinks, I’m grateful to these smart, witty individuals for exploring the city with me and reminding me of home.

The St. Andrews students I’ve met have also been nothing but friendly and inviting.

At Zumba, I share laughs with the other girls as we struggle through the motions. At my first orchestra rehearsal, the members of the clarinet section helped me find sheet music and took respites from their warmups to ask me about myself. No matter where I go or who I meet, the people of St. Andrews seem to exude a happiness for life that is often

missing from the fast-paced, work-oriented nature of Washington, D.C. The final chapter of “44 Scotland Street” is titled “Gain, Loss, Friendship, Love,” and these four simple words sum up my first month in Scotland. When I chose to study abroad, I lost a semester of experiences with my best friends, some of whom are seniors, but I gained an opportunity to see a new part of the world. I said goodbye to my parents and loved ones, but each day I’m meeting new people and cementing friendships.

These people, with their joy and hospitality, have defined my month in Scotland.

I can compile a list of things to love about St. Andrews, but nothing tops its people.

From my flatmates who welcomed me into their nightly tradition of eating dinner while watching “The Big Bang Theory,” to the outgoing orchestra conductor who lent me a reed for my clarinet, to my brilliant tutors and lecturers — everyone I meet expresses genuine kindness and concern for my well-being.

Because of this caring community, I’m on my way to establishing my own Scotland Street, and St. Andrews is beginning to feel like home.

Kathryn Baker is a junior in the College.

NOVEL IDEAS appears in print every other Friday.

AFTER HOURS

Zenebech Celebrates Classic Ethiopian Cuisine Yebin Won At an Ethiopian or Eritrean table, a meal isn’t a meal without injera: a thin, spongy flatbread made of teff flour, a type of grain found in Eastern Africa. In many homes, the stew, vegetables and meat are arranged on top of the injera itself, rolled into small morsels, before being placed into one’s mouth.

Washington, D.C., is home to the largest Ethiopian expat community outside of their native country, and Zenebech’s story is woven into that history within the city.

Having opened 26 years ago on 11th and V streets NW, Zenebech was established by chef Zenebech Dessu, the matriarch and face of the restaurant, and Gebrehanna Demissie.

Starting as an injera bakery, the restaurant began to expand its offerings to other dishes after the positive feedback it received from

its trademark dish.

Zenebech’s success, however, was often marred by tragedies — its new Adams Morgan shop was involved in a fire not long after its second location at Shaw closed after a year. Even before the reopening of its Adams Morgan location, though, Zenebech was still considered the best Ethiopian restaurant in the District, according to The Washington Post.

Entering Zenebech, the first person I see is the namesake for this Ethiopian landmark.

Quickly flipping over an injera with both of her hands, Dessu, the co-founder of Zenebech, is hard at work as waiters swarm around her.

After being lead to a cozy booth, my friends and I pour over the menu to find the toppings and stews that we should pair with our injera. Finally, we decide on kitfo, a steak tartare-esque dish of raw beef tossed in butter, mitmita and herbs; chicken alicha wot, a mild chicken stew of yellow curry and boiled egg; tibs ferfer, beef tossed with pieces of injera; and an array of vegetable side dishes consisting of beets, cabbage, string beans, lentils and collard greens.

“Extra injera?” the waitress asks, to which we answer with a resounding “yes.” We do

not see her again for the next 40 minutes, though, as the packed restaurant has made service slow. The food, however, is well worth the wait.

As our huge platter of food arrives on a shiny plate, my nose was immediately drawn to the fragrant nech tib. Ripping off a piece of my injera as I had seen the lady at the next table do, I gingerly pick up the food.

As I take my first bite, I am taken aback at the burst of spices that envelop my mouth; mixed with the earthy tones of the tender goat meat and soaked pieces of injera, the spice blend is nothing like I have ever encountered before. All I taste is a marvelous spice symphony and tender chunks of meat.

The injera is spongy and wonderfully tart, reminding me of a cross between sourdough bread, sponge cakes and crepes. I quickly realize why injera itself is the plate for the foods; the tartness from fermentation is a nice complement to the richness of the food, while its texture is firm enough to hold the ingredients, but also spongy enough to absorb the sauces.

While the beets and beans are unremarkable, the cabbages, collard greens and lentils steal the show. The lentils, in particular, compliment the injera well

because of their watery texture immediately soaked up by the injera.

The kitfo is, admittedly, the biggest risk the three of us had taken. Upon online recommendation and the urging from one of my friend’s father, we go for what seemed to be the Ethiopian steak tartare. When we take our first bite, however, it is not cold like the steak tartare we are familiar with — in fact, it melts like butter at room temperature. The buttery goodness of the kitfo is elevated by the spunky spice blend.

By the time we are done, the three of us are tempted to pop open the first button of our pants. The injera looks deceivingly thin and the dishes on top deceivingly small.

When we receive our tab, we are shocked at the affordability of our meal that cost less for each of us than the Uber drive to the restaurant.

Living up to the mountain of praises since 1993, the humble injera bakery that became the face of the Ethiopian cuisine in D.C. has food critics and regular eaters raving for a reason.

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

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FEATURE

BLACK SHEEP/FACEBOOK

Spanning decades and featuring communities from across the globe, the Academy Award nominees for best short-subject documentary hone in on issues of social crisis and justice. Each short documentary takes a closer look at social issues that affect millions, but “Black Sheep” appears to be the frontrunner for the Academy Award.

Oscar-Nominated Shorts Tackle Global Social Issues ANNAH OTIS

Hoya Staff Writer

The 2019 Academy Award nominees for best short-subject documentary take storytelling to new heights with eye-opening subjects, impressive camerawork and nods to unsung heroes. All five films address past or present social crises, from pre-World War II Nazism in the United States to human trafficking in modern day Africa. This year’s nominees confront viewers with refreshingly raw content that showcases the best and the worst of humankind.

‘BLACK SHEEP’ This biographical film directed by U.K.based Ed Perkins rises above the rest of the category for its incredible cinematography and raw portrayal of race relations in England. The film follows Cornelius Walker, a son of African immigrants, as he recalls the horrors of growing up in a predominantly white, racist town outside London as a black person. Flashbacks of bullying and broken egos alternate with close-up static shots of Walker’s face as he narrates the experience.

Although the flagrant racism and brutal violence Walker endures is heartbreaking, his coping mechanism is even more so. Desperate to fit in, Walker shuns his physical identity for that of his tormentors. The cameras adjust to extreme close-up shots of Walker bleaching his skin, straightening his hair and inserting blue contacts. He is quickly accepted by the kids who once beat him up, but finds himself drinking to escape the pain

of abandoning his real identity. Grownup Walker admits that his decision to conform to white ideals was a source of shame for years following high school.

Walker’s candid story is a powerful reminder of the racial and sexual prejudices that plague our world. This film is a strong contender for first prize.

‘LIFEBOAT’ “Lifeboat” steps beyond the way in which the recent refugee and migrant crisis has been covered to document the tragedy of migrant experiences in a horrifying new light. Most of the film is spent following a German search-and-rescue ship tasked with saving migrants off the coast of Libya.

Long shots of the vast ocean are contrasted with close-ups of starved migrants crammed into tiny boats. The rescue captain and his crew spend hours transferring thousands of migrants onto their ship. In the process, they find dead bodies and individuals so weak they can barely talk. The film includes several interviews with currently settled refugees who recall the horrible conditions of their past lives.

Many were fleeing from a human trafficking holding center in which they were raped, abused and starved.

Though the migrants’ futures are unclear after achieving safety, the implication is that this particular group will find slightly better lives than the ones they left. They will at least be better off than the hundreds of drowned migrants whose bodies wash up on North African shores every year. The cameras do not shy away from graphic images of half-decomposed corpses being carelessly tossed into

the back of government vehicles for mass burial. This film is nothing short of shocking, but it is also a harsh reality we need to face if anything is going to change.

‘END GAME’ This Netflix-produced film puts death in a new perspective by documenting the challenges and fears terminally ill patients face in their final days. Although a lot of the footage feels like an invasion of privacy, it is hard to turn away from such a socially scorned topic. Several palliative care doctors are featured throughout the film. Each discusses the reality of death, regardless of what their religious beliefs may be, and discuss the scientific and even logistical aspects of the experience.

“End Game” makes a valiant effort to normalize the fears that accompany the death of people we know. At the very least, it is comforting to see how far modern medicine can go in easing the transition from life to death.

‘PERIOD. END OF SENTENCE.’ Feminine hygiene is a sensitive subject of discussion in western cultures, and it is even less so in countries such as India.

The film initially reveals how menstruation has been used to inferiorize women and prevent them from pursuing further education or positions of prominence in their communities. It is shocking to see how little both men and women know about periods. Some refuse to even say the word, and others simply refer to it as an illness.

The latter part of the film follows a female-led startup that produces and sells

low-cost pads. The service is crucial: Many of the women in rural India cannot afford pads, so they use old cloth and discreetly bury it after use. As the women take control of their bodies and their financial future, their confidence skyrockets.

Compared to the other nominees, “Period. End of Sentence.” is poorly filmed with shaky camerawork and rough transitions. However, the documentary is a powerful reminder of the ways in which women are still being discriminated against. Regardless of where she lives, no woman should be made to feel ashamed of her body’s natural biology.

‘A NIGHT AT THE GARDEN’ At only seven minutes long, this film is by far the shortest of the group. It is also the weakest competitor, primarily because it feels so distant compared to the relevance of the other films. The film covers the 1939 American Nazi party rally at Madison Square Garden, which is certainly a historically significant event.

Yet it is hard to feel anything but disgust while watching Americans supporting a mortifying ideology. There is no narration and limited subtitles, so wrapping one’s head around the event is difficult to begin with. Since the film is composed entirely of black and white footage from 1939, it is also tough to imagine the film competing against original modern-day cinematography.

The 91st annual Academy Awards will kick off at 8 p.m. EST on Sunday, Feb. 29, and will air on ABC. Tune in then to see which film will win best short-subject documentary.

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FRIDAY, FEBRUARY 15, 2019

THE HOYA

What to Do in DC

MUSIC

NEW RELEASES

SUNA CHA

Hoya Staff Writer

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TIMOTHY MCNULTY Hoya Staff Writer

FIRST LADIES EXHIBIT: SMITHSONIAN AMERICAN HISTORY MUSEUM TOUR

Take this Presidents’ Day weekend to learn more about the country’s first ladies at the Smithsonian’s National Museum of American History on Feb. 16 at 10:15 a.m. Not only will you see exquisite dining plates and 24 gowns worn by first ladies, but the exhibit also explores the storied position of the first lady and its effect on the country.

JLO AND BAD BUNNY

SUFJAN STEVENS

ARIANA GRANDE

KIM PETRAS

ARIANA GRANDE ‘NASA’

KIM PETRAS FEAT. SOPHIE ‘1,2,3 DAYZ UP’

As the much-anticipated follow-up to her 2018 album, “Sweetener,” Ariana Grande’s most recent album, “thank u, next,” sees one of pop’s biggest stars continue to find her voice after a painful handful of years. On “NASA,” Grande asserts playfully, “You know I’m a star / space, I’ma need space.”

German pop singer-songwriter Kim Petras teamed up with electronica powerhouse SOPHIE on her new single “1,2,3 dayz up.” Released alongside two other singles, this collaboration showcases the talent of both artists as rising stars in a rapidly changing pop scene and makes for a great song.

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ZILIA SÁNCHEZ: SOY ISLA (I AM AN ISLAND)

The Phillips Collection is bringing Cuban artist Zilia Sánchez’s work to Washington, D.C., from Feb. 16 to May 19. The exhibit features more than 60 works from the artist’s diverse career, using a variety of mediums such as paintings, shaped canvases, sculptures and illustrations. Influenced by her world travels, Sanchez’s works cover mythological heroes, lunar shapes, geometry and topology.

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KHALID

MARINA

MARINA ‘HANDMADE HEAVEN’

KHALID ‘TALK’

Newly shedding “and the Diamonds” from her artistic persona, MARINA dropped “Handmade Heaven” as the first single to ring in her new stage name. Singing wistfully of a need for change, “Handmade Heaven” establishes that she is now making music on her own terms.

In a collaboration with the duo Disclosure, Khalid recaptures the laid-back, suave vocals and production that stole the heart of listeners back on his breakout song, “Location.” With a backing track equal parts trap and 8-bit, Khalid refines his sound while sticking to subjects that he knows.

PHILLIPS COLLECTION

DISNEY ON ICE: WORLDS OF ENCHANTMENT

Any Disney fan will appreciate this exciting event on ice happening Feb. 14 through Feb. 18 with tickets starting at $20! Join your favorite Disney characters from “Cars,” “The Little Mermaid,” “Toy Story” and “Frozen” as they perform at Capital One Arena. Experience the magic of Disney through this icy artistry and watch your favorite moments come to life during the performance.

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SMITHSONIAN

DISNEY ON ICE/FACEBOOK

THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL

From Rick Riordan’s best-selling series, “Percy Jackson and the Olympians,” the titular character returns to save the day, but this time on stage in a musical, from Feb. 15 through 17 at the Kennedy Center. Percy Jackson, the demigod son of Poseidon, goes on an epic quest to find Zeus’ lightning bolt and prevent a war between the Greek gods with the help of his friends. The musical was nominated for three Drama Desk Awards, including for best musical.

PERCY JACKSON MUSICAL/FACEBOOK

FRIDAY, FEBRUARY 15, 2019

CONCERT REVIEW

THE HOYA

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PERFORMANCE REVIEW

Pond Mesmerizes With Theatrical Dreamscape

POP-UP MAGAZINE

Combining art, storytelling and multimedia displays, Pop-Up Magazine breathed life into the various stories its diverse performers shared. Ranging from a tutorial in sacred classical music to a heartfelt retelling of a childhood friendship that ended prematurely, Pop-Up Magazine translated the traditionally print medium to the stage.

Pop-Up Magazine Brings Stories of Humanity to DC JOSE VILLALOBOS Hoya Staff Writer

Pop-Up Magazine began with the vision of creating a live magazine, a space where writers, musicians, photographers, filmmakers and animators could convene to transform their projects from written pieces into a heartfelt and authentic experience.

Founded in 2009, Pop-Up recruits authors from a wide array of backgrounds to bring their stories to a space and retell them in front of a live audience. This storytelling is accompanied by multimedia support ranging from animations and voice recordings to movie clips and live music. Every author gives a full-on performance, which combines elements of stand-up poetry, investigative journalism and TED talks.

These incredible performances are coordinated en-tour across the country, with shows from California to New York, as the magazine collaborates with renowned stages and recruits big-name contributors from both the entertainment and journalism industries.

Pop-Up made its long-awaited stop in Washington, D.C.’s Warner Theater on Feb. 9, putting on an unforgettable show that included stories about dating in desolate Alaskan towns, bonding over mistaken sports fandom, getting a free burrito for permanent ink and the life and death of ringtones.

Some of these stories were complemented by complex musical arrangements and au-

diovisuals, but the best accompaniment of the night came for Sam Harnett’s “Sacred Sounds” piece, a fascinating showcase of the wonders of music engineering and how modern technology can complement art.

In an attempt to introduce the audience to the difficulties of properly performing medieval Christian chants in our time, Harnett invited Cappella Romana on stage, a professional vocal ensemble from Portland that specializes in sacred classical music.

As he explained, old Gregorian and Byzantine chants were made with the acoustics of each church in mind. Among these storied churches, which had countless chants dedicated to it, was the Hagia Sophia in Istanbul, which operated as a mosque before.

With Cappella Romana chanting at his side, Harnett demonstrated the marked changes to the music that come from increased reverberations and acoustic engagement. The acoustics were arranged by a sound engineer who studied the sound waves and physical composition of the Hagia tirelessly to recreate the sonic environment for the Pop-Up. My favorite story, however, was that of Casa Sanchez, a sleepy burrito joint in San Francisco that, to increase popularity in the 1990s, came up with a fascinating promotions and outreach strategy. If customers got a tattoo of the restaurant’s logo — a man wearing a sombrero and sitting on a maize rocket ship — they would be guaranteed free food for life.

While this might sound bizarre and un-

eventful, filmmaker Sam Green, producer of “A Thousand Thoughts” and “The Measure of All Things,” followed the history of the promotion, interviewing the family owners of the restaurant and the many people who decided to get inked up.

The resulting documentary film tells an endearing story of community-building and a sense of belonging. The Sanchez family, after overwhelming popularity, was forced to cut the promotion to the first 50 people to get tattoos. These people, when interviewed, shared a sense of content and pride in being part of the “first 50.”

Some said the restaurant represented the hope that they always had somewhere to go to in time of need, while others revealed that they typically pay back the cost of their free food in tips. Green even managed to capture some personalized tattoos and clips of people explaining what made their Casa Sanchez ink unique.

Green concluded by revealing that Casa Sanchez closed up as a restaurant but continues to thrive as a chips producer in the region, with the logo making its way around.

The family’s dedication to the tradition meant they negotiated in the leasing out of their property to a new restaurant that they had to live up to the tattoo deal.

The show combined some of the previously mentioned lighthearted and feel-good stories with deeper and more harrowing narratives. Sophia Nail Allison, a filmmaker for Sundance Institute New Frontier Lab, presented a rendition to Latasha Harlins — a

black girl whose death at age 15 is believed to have sparked the 1992 Los Angeles riots — through the eyes of her best friend in childhood.

A powerful project, the rendition combined personal narration with clips from interviews and scenic shots that captured both Southern California’s low-income neighborhoods and beautiful beaches. Allison showcased the difficulty of living in Los Angeles and the different racial and social tensions that existed at the time, giving Latasha’s childhood friends and family a role in honoring her story.

Mirroring the contents of a magazine, the show combined long features with shorter pieces, all divided into recognizable categories like sports, education and opinion. And yet it did so much more.

Every piece demonstrated craft and caring, with authors clearly putting in important work into their respective stories.

Every single story felt like it left a mark on the audience, like a little piece of it stayed with all of us. As a writer, one of my biggest fears is that my stories will get lost and I will not properly honor people and events I care about. Pop-Up Magazine has found a powerful and productive way of overcoming this potential mishap.

With the vision to create a one-time show that had interesting and dazzling stories made almost palpable by complementary sensory aids, the organizers have ensured everyone is touched by the stories they hear in the show and carry them onward.

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FRIDAY, FEBRUARY 15, 2019

THE HOYA

INTERVIEW

Rock Band Opens Up About New Album, Artistic Evolution DENNESE MAE JAVIER Hoya Staff Writer

Weathers procured their position in the alternative rock space through the success of their debut singles “I Don’t Wanna Know” and “Happy Pills.” Masterfully adorned with warm percussion, searing guitar riffs and intoxicating melodies, the songs attained an anthemic status.

Despite the sincerity behind these early tracks, the Los Angeles-bred band felt detached from their melancholy subject matter. Collectively, the quartet, composed of vocalist and guitarist Cameron Boyer, lead guitarist Cameron Olsen, drummer Cole Carson and bassist Brennan Bates, decided to transform their sound. The lyrical depth and sonic maturity showcased in their latest album, “Kids In The Night,” and single, “Dirty Money,” magnificently demonstrate the magnitude of the band’s development.

The Hoya sat down with Weathers to discuss their evolution as a band, the personal stakes they hold and the impetus and motivation behind their music.

Their responses have been edited for brevity and clarity.

“Kids in the Night” shifts thematically from the music you first released as a band while retaining the thoughtfulness of your earlier singles. What inspired the progression of your music from “Happy Pills” and “I Don’t Wanna Know” to songs on your debut album?

BOYER: We all knew each other way before “Weathers” and we were pretty young when we wrote “Happy Pills,” so we’ve grown up together, and a lot has changed, including our style in music.

When those singles came out, we were completely different people than we are now. A lot of great things happened after the release of “Happy Pills,” but we decided that we wanted to let our music

DENNESE MAE JAVIER/THE HOYA

Now on tour with Castlecomers, the members of alternative rock group Weathers from Los Angeles decided to take a yearand-a-half break to reflect on how they wanted to evolve stylistically after the release of their earlier music like “Happy Pills.” grow with us before we continued.

Essentially, we took a year and a half off to make this band and music completely our own, and that was really scary because we were on a major label. Imagine being on a major label and telling them, “Yeah, those songs you love? We’re changing everything.” It was terrifying.

OLSEN: We wrote close to 50 songs, and “Problems” was the first song where we thought, “This is it.” We did a lot of soul-

searching before that. There’s always going to be those people who try to get you to take the more pop route or go in a lot of different directions, but we found exactly what we wanted.

BOYER: It’s funny, when we wrote “Problems,” we weren’t super stoked until our producer, Tim Pagnotta, showed us the demo. When we first heard it, Olsen and I knew that this sound was exactly what we had been looking for. After that came “I’m Not Ok,” and we thought “This is something. Something’s happening.”

So we zeroed in on that sound, wrote a ton of songs, narrowed it down to our best 11, and got “Kids In The Night.” At that point we were ready to show the world who we were.

Considering the heavy subject matter in some of your music, which song do you think had the most emotional or personal impact in the process of writing and recording?

@WEATHERSBAND/TWITTER

The members of alternative rock group Weathers have known each other since long before finding success as a band. This history has given them time to grow artistically.

BOYER: Personally, “Secret’s Safe With Me” has the deepest cut. My mother has schizophrenia and bipolar 1, and the song is essentially about the moments when I’ve been with my mom when she wasn’t really present. In the song, I’m basically hoping that wherever her mind takes her is someplace that’ll make her happier than her reality. It was really hard to write and singing it live, or even

in just the vocal booth, is really tough.

OLSEN: I would say “I’m Not Ok,” at least for me. I feel like everyone really relates to the song and its subject matter. You can see it on people’s faces when they’re singing along; everyone’s gone through something like that. That’s why we open “Kids in the Night” with “I’m Not Ok,” because it encapsulates the entire album.

In your latest single, “Dirty Money,” you explore unconventional aspects of fame and success. How do you think your treatment of toxic relationships, self-discovery, and acceptance, both in this single and in the album as a whole, presents or creates a dialogue with your experiences of mental health in general?

OLSEN: A lot of the songs in “Kids in the Night” take a negative experience and make it positive but “Dirty Money” in a way is about a positive experience, success and how it can turn negative. So it keeps the conversation going by showing how the roles can be reversed.

BOYER: Something funny happened with “Kids in the Night,” in the sense that when we wrote and recorded the album, the actual topic of mental illness didn’t come up at all. It wasn’t until we released it when the fans took our album and started this conversation of mental illness. And that’s exactly what we wanted to happen, not specifically about mental

THE HOYA

FRIDAY, FEBRUARY 15, 2019 illness, but we wanted people to take the album and make it their own. The album was about taking bad experiences, turning them around into good experiences, growing up and learning from them.

When I look back at a lot of shitty things that happened, it’s like “yeah, that sucks” but look where we are today and look who I am today, and I feel comfortable with that. If it would’ve happened any other way, who knows where I’d be?

It’s amazing how the album itself has grown into something that’s a lot bigger than us.

Cameron, you’ve helped co-direct some of your music videos. From a Tarantino-esque narrative juxtaposed against garage band scenes to shots reminis-

cent of film noir, your tastes seem to be heavily influenced by the film industry.

How do you personally bridge the gap between your music and love of film?

BOYER: I first started a band when I was 13. When I was 14, I made my first short film and fell in love with it. Since then, I’ve been doing both things side-by-side, but it wasn’t until the “1983” music video when I was given the opportunity to actually direct one of our own, which I co-directed with my longtime friend Michael Costa.

Having the opportunity to combine both my passions was really cool. Basically, I try to use the stylistic choices of certain genres to express what we want to communicate in our music. For example, with “1983,” I wanted to bring the music

to life, while also maintaining the song’s ambiguity. Shooting in black and white helped keep that mystery. For “Problems” I was able to pay homage to some of my favorite directors, Quentin Tarantino, like you said. I felt like his style matched the song’s upbeat and chaotic nature. You might even be able to pick up on some “Pulp Fiction” references.

Thanks to the success of your earlier singles, you’ve gained tour experience, touring with the likes of Saint Motel and performing at Lollapalooza, even before the release of your debut album.

What lessons did you learn from these experiences and how have these affected your tour and relationship with Castlecomer?

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CARSON: The tour with Saint Motel was the first cross-country tour any of us had ever done, and we didn’t really know what we were getting ourselves into, but we just fell in love with it and being on the road. Also, I’m from Illinois and I had never been to Lollapalooza. I have always wanted to go but I was like, “Nah, I’m going there and I’m going to play it for the first time” so that was a really special moment for me, and I think that tour taught us all a lot of lessons.

The Saint Motel guys are awesome, and they showed us the ropes so now we know what’s up when we show up to the venue.

Learning all the technicalities and transitions early on really helped us run a smooth tour with Castlecomer, so now it’s just a lot of fun because we’re all on the same page and we can just focus on the music.

TOP AND BOTTOM LEFT: DENNESE MAE JAVIER/THE HOYA, RIGHT: WEATHERS/FACEBOOK

Working with Saint Motel has helped the Weathers learn the mechanics of touring, leading to a better experience as they travel with Castlecomers, where they can focus solely on the music that they are performing. In addition to going on the road, the group has been able to express themselves through carefully crafted videos.

ILLUSTRATION BY: ELOISE OWEN/THE HOYA