F RI DAY, FEB R UA RY 21, 2020
Secondhand Shopping in The district
ILLUSTRATION BY: ROSY LIN/THE HOYA
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FRIDAY, FEBRUARY 21, 2020
THE HOYA
Thrift Stores Offer Lower Costs, Sustainable Practices EMMA GINSBERG AND MAEVE SILK Hoya Staff Writers
Even on Georgetown University’s campus, where designer logos and styles can feature prominently on students’ clothing, shopping for secondhand clothing at thrift stores in the area is an avenue for students to showcase their individual fashion sense while maintaining cost-effectiveness. From cost to environmentalism to vintage style, students have many different motivations for buying clothing secondhand. Thrifting has expanded the methods by which Georgetown students encounter their newest wardrobe items, even if the distance of the traditional brick-andmortar locations has moved some of the process to the internet or caused certain students to hesitate to travel out to the suburbs of Washington, D.C.
cording to their website. They donate all proceeds from the project back into programs within Falls Church, Va., where the store is located. Clock Tower sells brands like Loft and Mossimo but is also stocked to the brim with every knickknack imaginable — the kind of store that could result in hours of treasure hunting. By contrast, Reddz Trading, located in Georgetown at the intersection of Wisconsin Avenue and P Street, sells preowned clothing but is not a traditional thrift store like Clock Tower. Rather, Reddz is classified as a consignment shop because it sells items on behalf of their owners and re-
ceives a percentage of the profit. The store is stocked with higher-end brands like Wildfox and Vince. Reddz serves as a bridge between the relatively expensive Georgetown neighborhood and the bargain finds at a typical secondhand store, and this reality influences the dynamic of the relationship between the shopper and the clothing, according to Lauren Breslow, Reddz’s assistant store manager. “We are strictly buy, sell, trade, and it’s special because it’s a win-win situation for the buyer and the seller,” Breslow said in an interview with The Hoya. “The unaffordable becomes
the affordable.” Although Reddz is not technically a thrift store, it has still witnessed the shift in thrifting culture that sees more young people finding value in reselling and purchasing used clothes, according to Breslow. Reddz was not initially built to cater to college students, but the influence of frequent local visitors has led the shop to shift its inventory toward a younger audience, according to Breslow. “We have been buying in a lot more young stuff, with the goal to get everyone to come in here, including millennials,” Breslow said. “It’s becoming more inclusive.”
NAVIGATING COST
For many college students, budget is a major concern when shopping for clothes. Thrifting provides an opportunity to expand their wardrobes for a fraction of the cost of new clothing, especially from higher-end stores in the greater Georgetown neighborhood. Popular retailers such as Urban Outfitters and Brandy Melville charge upward of $30 for vintage-inspired clothing that can often be found at thrift stores for significantly cheaper prices. The popularization of thrifting overlaps with a desire for affordability, as these inventive styles can encourage more people, like Amanda Estevez (COL ’23), to shop for cheaper secondhand clothing rather than opting for pricy brands to make a statement. The process of shopping secondhand can be a way to breathe new life into fashion while staying economically conscious, according to Estevez. “It’s to reclaim old clothing,” Estevez said in an interview with The Hoya. “It’s to give new life to pieces and to allow people to be inventive with their style on a budget.” On the other hand, although thrifting may save money, it takes more time than traditional shopping. Students who thrift must be willing to sift through countless piles of used clothing in various sizes, styles and degrees of quality to find a piece they want to wear. Thrifting in the D.C. area differs depending whether shoppers are looking for more expensive options directly in the District or are willing to travel into the suburbs of Maryland and Virginia to find better deals. Shoppers can find a range of styles, from homey to trendy, in the Goodwills of suburban Virginia and the high-end consignment stores of Georgetown. One affordable option is Clock Tower Thrift Shop, a store run by Northern Virginia Family Service that sells everything from furniture and toys to clothing and jewelry. Their purpose is not necessarily to be a trendy spot for vintage finds, but rather to offer a public service and strengthen the regional community, ac-
EMMA GINSBERG/THE HOYA
Clock Tower Thrift Shop, located at 2860 Annandale Rd. in Falls Church, Va., is one of the many thrift shops in the D.C. area. The store aims to strengthen the local community by offering low-cost secondhand clothing, furniture, jewelry and knickknacks.
FRIDAY, FEBRUARY 21, 2020
THE HOYA
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ganizations on campus have started thrift exchanges. Uncommon Grounds has hosted pop-up thrift stores on the Leavey Esplanade in recent years and the Georgetown Renewable Energy and Environmental Network and Thirty Seventh GU, a campus fashion and lifestyle blog, have hosted semesterly clothing swaps to encourage reusing and recycling clothing. The thrifting community appreciates the environmental effect of the enterprise. Along these lines, thrifting has become an easy and fun way to responsibly source clothing that shies away from unethical fast fashion companies, according to Breslow. “Buying resold clothing is becoming more popular,” Breslow said. “Fast fashion destroys the environment, and people don’t want to be a part of that anymore.”
CHALLENGING FINDS
EMMA GINSBERG/THE HOYA
Reddz Trading, located at 1413 Wisconsin Ave. NW in Georgetown, operates as a consignment store. Although their prices are more expensive, the styles and brands of their clothing are trendier, which makes sifting through their racks easier than at a thrift store.
CLOSER TO HOME
Georgetown students have also turned to online thrifting options because of the challenge of traveling out to suburban thrift shops. Many online marketplaces, such as Depop and thredUP, allow users to buy and sell every category of used clothes. Other consignment websites such as The RealReal and Poshmark specifically offer options for buying and selling previously owned luxury highfashion and designer goods. Thrift retailer websites streamline the thrifting process by eliminating the time shoppers spend searching through racks for their size. They neatly organize the available merchandise into categories with pictures and prices. This organiza-
tional benefit comes at a financial cost, however, as the sites typically require registration, take a cut of the sales and offer expensive shipping, which can drive up the price of thrifting. The challenge of thrifting in D.C. has led students to get crafty with their clothing hunts. Gina Kang (SFS ’22) frequently participates in clothing swaps on and off campus, most of which she discovers through Facebook rather than by going to actual thrift stores. Buying and selling used clothing is a sensible way to go about curating a wardrobe and going against the sweatshops of fast fashion brands like ASOS and H&M, according to Kang. “For me personally, it’s always just
felt like the right option to me, even before I learned about fast fashion,” Kang said in an interview with The Hoya. “I would never think to buy something full price when I could just buy it thrifted. I don’t see why anyone would not go to a thrift store.” Similarly to Estevez, Kang is motivated to thrift by a desire to keep up with trends and innovation in a cost-effective and sustainable way. “It’s become a more popular thing to do because, besides the sustainability of it, it allows you to find a unique style,” Kang said in an interview with The Hoya. “I can cycle through different styles without feeling guilty about it.” An increasing number of student or-
Parallel to the transition that has occurred in traditional brick-and-mortar retail stores with regard to the thrifting demographic, young people themselves have come up with increasingly creative ways to purchase used clothes for a cheaper price while reflecting a sustainable outlook on clothing. Natalie Regan (COL ’23) thrifted often in her hometown of Chicago, where there are multiple thrift shops within driving distance of her house (Full disclosure: Regan serves as a photo assistant for The Hoya.) At Georgetown, she has gone thrifting at many different locations, including at Buffalo Exchange near Logan Circle and at the now closed Crossroads Trading near U Street. With many of the secondhand stores in the Georgetown area offering pricy consignment items, Regan has turned to more traditional thrifting options in Northern Virginia. However, these options present their own challenges because of their distance from campus, according to Regan. “The major issue is that the thrift stores are pretty inaccessible, especially those in Northern Virginia,” Regan explained in an interview with The Hoya. While the value in thrifting is in the clothes themselves, sometimes finding ways to access these distant thrift stores throughout the D.C.-Maryland-Virginia area can be more expensive than buying other clothes from nearby at face value, according to Regan. “I ended up paying around two times as much for the transportation as I did for the clothes I bought, and other forms of transportation are not very convenient, either,” Regan said. “These obstacles have discouraged me from thrifting recently.” Despite the struggles that can be associated with thrifting, the experience can ultimately be incredibly rewarding for students who can maintain a distinct fashion sense without breaking the bank, according to Regan. “I get clothes that are unique while also saving money, searching through the options and finding a shirt or pair of jeans that I wouldn’t find somewhere else,” Regan said. “That’s the beauty of thrifting.”
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FRIDAY, FEBRUARY 21, 2020
THE HOYA
ALBUM REVIEW
Justin Bieber Matures Artistically, Lacks Depth on ‘Changes’ ‘Changes’
Justin Bieber GRACE VAINISI Hoya Staff Writer
Justin Bieber broke his five-year hiatus with his new album released on Valentine’s Day, an appropriate drop date considering “Changes” focuses on love. Much has changed for the newly married former teenage heartthrob, made apparent by the title and content of his latest work. Sixteen songs and a remix play off each other to create a cohesive, well-paced album, and though his lyrics lack any emotional depth, “Changes” demonstrates the singer’s newfound maturity in his journey as an artist. Bieber rose to fame at 13 after his YouTube covers were discovered by talent manager Scooter Braun, and he was promptly signed to RBMG Records, co-founded by R&B singer Usher. Since then, Bieber has had a turbulent career, as can be expected for anyone who rose to fame at such a young age. He seemed to have found a more mature sound when his album “Purpose” was released in 2015, but his growth was overshadowed by his dropping out mid-tour and largely disappearing from the public eye. With his latest album, both his personal and professional life seem to be back on track. “Changes” centers around Bieber’s wife, Hailey Baldwin Bieber. Bieber cites her as his inspiration for the
album and for his return to music. His adoration for Baldwin permeates each song of the album, though his romantic lyrics remain somewhat subdued. The first three songs of the album, “All Around Me,” “Habitual” and “Come Around Me,” are sweet love songs to his wife that set the tone for a saccharine but emotionally void album. In “All Around Me,” Bieber sings, “Our love’s unconditional / I need you all around me.” The sentiment is appealing but doesn’t really say anything substantial about being in love. Though the song is undoubtedly catchy, its lyrics lack the nuance necessary to make it stand out from millions of other love songs. The fourth song on the album, “Intentions,” brings a welcome change of pace with its more upbeat rhythm and with Atlanta-based rapper Quavo’s feature. This track deserves its praise, as the song showcases Bieber’s musical evolution and his vocals especially well. Next comes “Yummy,” another potentially catchy song with little emotional meaning. The chorus, “Yeah, you got that yummy-yum / that yummy-yum, that yummy-yummy,” leaves much to be desired. It’s a practically meaningless pop song with a beat that, while fun to listen to at first, hardly contributes anything to his album. The next few songs offer more of
the same — they’re not particularly memorable but are fun and well executed. Bieber’s collaborations with Post Malone, Clever, Lil Dicky, Travis Scott and Kehlani add much-needed variety to the album and engage fans that wouldn’t otherwise listen to his music. With the titletrack, Bieber finally offers some of the emotional vulnerability that is lacking throughout the preceding songs. He sings, “I just wanna be the best of me / even though sometimes I forget to breathe / so that I can be the best for you / That’s all I wanna do.” The vulnerable side of Bieber who struggled with his mental health throughout the past several years is seen in “Changes,” making the song stand out as the most memorable of the album. His more sensitive, mature content is all the more valuable to his fans, especially since so many of his fans grew up with him and matured with him. This vulnerability just barely shows it-
self in the last few songs of the album, “Confirmation,” “That’s What Love Is” and “At Least For Now.” In “That’s What Love Is,” he sings, “It’s a blessing that you’re in my life / make me look even better / When we shine, we shine together / Yeah that’s what love is.” The wisdom in these lyrics is a far cry from that of his “baby, baby, baby, oh” days that launched his stardom over a decade ago. Though the lyrics feel superficial through most of the album, Bieber’s “Changes” is well paced, making it pleasant for an occasional listen. This musical maturity shows his continued progress from a one-dimensional singer more famous for his haircut than his musical talent to a serious musician. Bieber’s professional life is moving in a positive and meaningful direction, though his superficial lyrics prevent him from creating new, personal connections with his fans.
BILLBOARD
After a lengthy hiatus, some of the tracks on Justin Bieber’s “Changes” give his fans the emotional vulnerability and powerful vocal performances they have come to expect. However, songs like “Yummy” and “All Around Me” fall short of expectations, making the many features on the album necessary for differentiation in the track listing.
FRIDAY, FEBRUARY 21, 2020
THE HOYA
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ALBUM REVIEW
TAME IMPALA/FACEBOOK
Australian multi-instrumentalist Kevin Parker returns with his first Tame Impala project since 2015 on “The Slow Rush.” By combining his trademark atmospheric sound with a time-focused musical experience, the album pulls away from the melancholic notes much of Parker’s older content hits on and toward a more joyful and ambitious future.
Tame Impala Perfects Temporal, Atmospheric Sound ‘The Slow Rush’
Tame Impala GABRIELLE IRWIN Hoya Staff Writer
Tame Impala’s Kevin Parker has time on his mind. His new album “The Slow Rush” could not be more aptly named, as it kept fans waiting for five years since the release of “Currents.” The album is strongly cohesive; as a whole, its parts work together in harmony to guide listeners through Parker’s analysis of time and how to spend it. “The Slow Rush” may not be what longtime fans expected or hoped for, but it is bold, confident and honest. Parker’s view of the world has wandered away from longing on the world around him to focusing on the time he has to enjoy his newfound, happy life. His concern with the future enjoyment of his life and how quickly it could erode are evident throughout the 12 tracks of this album, but the monumental difference is that he sounds more hopeful than ever before. The album opens with the track “One More Year,” which features Parker singing in a deep and warped voice. The loop switches between left and right outputs to produce a trippy listening experience. His fear of routine and monotony is inflicted on the listener when he sings “We’re on a rollercoaster stuck on its loop-de-loop / ‘Cause what we
did, one day, on a whim / Has slowly become all we do.” The track has a dreamy quality, and the warped voice and adjoining bass persist throughout the song, which ends the way it started and creates a full circle. The album peaks on “Posthumous Forgiveness,” arguably the most important song on this album and one of Parker’s masterpieces. The song is marked by a shift both lyrically and rhythmically; the track morphs from anger at his father to lament that Parker can’t hear his father’s voice sing along or see Parker’s success. Parker articulates his complicated and painful emotions in easy rhymes bolstered by the music. “Posthumous Forgiveness” is so raw, so human and so open it can only be met with admiration for its creation. “Tomorrow’s Dust” lies in the middle of the album, and it is one of the songs that will become a fan favorite over time, due in large part to the similar notes it hits on from his past discography. The song builds up from bare beats and a gentle guitar riff to Parker crooning over it, and it slowly flows into a full Tame Impala track with his signature synths. “Tomorrow’s Dust” remains soft even with the laser sounds, and its soothing quality relates to its lyrics. “There’s no use trying to relate to that old song / And no use biding your time if the bell is tolled”
is a warning not to wait for events that have already passed, and to not hold onto things that are no longer relevant. The focus is forward — tomorrow has already become today, an especially powerful message. Listeners are anchored down from the flightiness of “Tomorrow’s Dust” with the heavy piano intro to “On Track,” a song in which Parker accepts that reaching his goals will not be a linear path. The sparkly electronic sounds over the bridge are ethereal and soothing, and Parker’s contentedness is captured in the lyrics: “I keep getting older, the rest gets easy.” Smooth and airy, this song should not be overlooked in an album full of bold artistic decisions and messaging. “Lost in Yesterday” subverts the future focus of “Tomorrow’s Dust” to warn of the dangers of being caught up in memories. The synth goes in and out; the pre-chorus is simple and beautiful, and the overall sense of the song is a bit melancholic despite its upbeat melody, an interesting artistic dichotomy that Parker hits on with flying colors. Parker notes that not all memories need to be recalled, and in “Lost in Yesterday,” the only sadness is in letting go of things once held dear. To embrace that time will keep on moving and to live in the present is how one may avoid getting “Lost in Yesterday.”
The end of the album culminates in “One More Hour,” which creates a sense of continuity with the title of the first track, “One More Year.” The track is airy but grounded by powerful guitar riffs that provide an epic feel to Parker’s soft words. He sings that he never did any of his music for money, fame or her until now, so he has grown into his responsibilities and is hopeful for a happy future. Parker wants to retain his independence; he “wants to be the man I am” and “spend some time alone.” The instrumentals in this song are endearing and dreamy and promise nothing but Parker’s best effort. Soft yet confident, the final track of “The Slow Rush” lets the mind of the listener ride off into the metaphorical sunset. Overall, “The Slow Rush” certainly has a stronger pop, electronic and funk influence than its predecessors. The sound of the album is not like his others, but Parker is not the sort of artist to repeat himself; the point of his music is to explore genres through his personal growth. Still, the signature elements of Parker’s style — beats, laser synths and his voice — are all there. The theme of time seems apt given his recent marriage, and his contentment is a happy development to hear. The listener can only hope that Parker can ride this high forever.
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FRIDAY, FEBRUARY 21, 2020
THE HOYA
THE REEL DEAL
Long-Take Resurgence Enhances Film Plotlines, Action Tucker Oberting Don’t look now, but movies are becoming faster than ever. Average shot lengths — the amount of time between camera cuts — have decreased significantly from about 12 seconds in 1930 to only two and a half seconds, according to Cornell University psychologist James Cutting. While the change in shot length may not seem to have much of an effect on viewers, over the course of hundreds or even thousands of cuts, the effect is substantial. Shorter shots are designed to feel as though something important is happening at all times. In shorter scenes, there is hardly a moment to breathe, let alone reflect on the action. Against this movement, long-take films like director Sam Mendes’ World War I epic “1917” stand out. Long-take films better showcase artistry and thoughtfulness
in moviemaking. An explanation of the history of the long or single take and how we got here offers insight into what makes “1917” and its long-take peers like “Birdman” and parts of “Goodfellas” really stand out in a sea of choppy action films. By hiding the cuts between shots, films like “1917” create the illusion of one continuous stream of action. Each moment is important because everything on screen is causally related to what comes next. Long-take films express the stream of consciousness approach to storytelling that encourages the audience to be engaged throughout the entire film. Lose your place or skip ahead, and you’ll end up lost with no way to recover. The long-take film is by no means a new approach to filmmaking. The technique was pioneered by Alfred Hitchcock’s 1948 film “Rope,” based on the stage play of the same name and starring James Stewart. Working under the limits of film stock, the transparent plastic film strips, Hitchcock filmed shots in segments of up to 10 minutes. He hid transitions with timely cuts and camera movements when the lens was temporarily obscured, such as panning over an object or a wall.
Though “Rope” has become a cult classic among movie buffs, critics argued that the unproven long-take approach was too distracting. They claimed that the real-time pacing coupled with the restricted apartment setting rendered the film overly theatrical rather than cinematic. But “Rope” marks one of the many examples that distinguish Hitchock as a master filmmaker who was far ahead of his time. Long-take in “Rope” is able to draw the audience deeply into the story of publisher Rupert Cadell (Stewart), who inspires the murder that motivates the plot, keeping viewers fixated on every action and every movement. Critical and commercial responses to “Rope,” however, ultimately turned generations of filmmakers away from another big-budget attempt at a singletake motion picture. If Hitchcock, with his history of critical acclaim and abundant accolades, couldn’t pull it off, then perhaps no one could. Instead, intensified continuity editing, which involves brief shots and abundant closeups, has become increasingly common, particularly in action movies. The relentless “Fast and Furious” franchise exemplifies this technique. The aim of intensified continuity editing
is essentially to overwhelm viewers with action and intensity. Split-second shots create the false impression of stunning action in place of more practical choreographed stunts, which require more technique and skill to execute, championed by the likes of Buster Keaton and Jackie Chan in the past. The modern resurgence of the longtake films indicates that filmgoers are exhausted by the influx of jumpy, full-throttle pacing. Of course, there will always be room for action-packed summer blockbusters with their choppy shots. Outcomes at the box office and award shows, however, reward films at the longer end of the pacing spectrum, like “1917” and “Birdman,” which illustrates newfound appreciation for the merits of the long take. In the era of intensified continuity, the single-take film has found redemption at the least expected of times. Hitchcock did not fail in his so-called “Rope” experiment — he was only 70 years too early to witness its success and appreciation. Tucker Oberting is a junior in the College. THE REEL DEAL runs online and in print every other week.
EXPLORING EATERIES
Adams Morgan’s Lucky Buns Fuses Bar Food, Asian Flavors Hal Rogers Washington’s food scene is growing rapidly with burger options. As the burger scene continues to grow, options can be overwhelming, with excellent choices near campus like The Tombs or Good Stuff Eatery making leaving the comforts of Georgetown increasingly difficult. Despite this, Lucky Buns in Adams Morgan offers an array of exciting options that can make a commute fun and delicious. This small restaurant and bar just off 18th Street and Florida Avenue is loud and crowded daily. Cold bar stools, small tables and a perpetually dark atmosphere define this rising star in a bar environment that has captivated local food critics and restaurant-goers since it opened in 2016. What Lucky Buns lacks in comfort due to their small space, they make up for in quality. Head Chef Alex McCoy draws on British and Asian flavors as well as local ingredients
to construct towering, flavor-packed burgers. Freshly baked brioche buns and locally sourced patties from Creekstone Farms come with every order. Popular items such as the “Bogan Bun” and the “El Jefe Bun’’ seamlessly merge traditional and unconventional flavors into one full burger. Lucky Buns distinguishes itself with a variety of flavor-packed sauces like their South Asian inspired “lucky sauce,” green chili relish, shark sriracha or Sichuan peppercorn. Those looking for traditional burgers and modern twists alike will find themselves leaving Lucky Buns satisfied. Furthermore, those uninterested in a beef burger will discover they have some of the best chicken sandwiches in the city. Their “Dirty Bird Bun” comes with a massive fried chicken thigh that shocks with its crispiness, size and flavor. Likewise, the “Chicky Bun” comes complete with a tender piece of grilled tandoori chicken that puts a basic chicken sandwich to shame. Even vegetarian diners looking for a burger fix will leave full. Their “Crunchy Bun” consists of a large, lentil-based vegetarian patty, melted gouda cheese and onions. All burgers are available on a traditional brioche bun, lettuce or over a salad bowl. Lucky Buns also offers an array of exciting sides that add flair to traditional bar food favorites. One can get a standard order of freshly
cut fries, or for an extra dollar, make them curry fries for a great salty, savory mix. Similarly, their crispy tater tots come topped with cheese curds and a flavor-packed romesco sauce that makes them enticing and addictive. Diners strong enough to resist their starchy options will enjoy the “Thai Cucumber Salad” with chilis and peanuts. This hidden gem of the diverse menu is a crispy and flavorful side that compliments their burger well. Lucky Buns goes well beyond the scope of your typical burger place. Their sandwiches, sides and flavors are wide-ranging, ensuring the desires of every pallet are fulfilled. This diversity in taste embodies the spirit of Adams Morgan. Though Washington’s food scene has undergone a tremendous transformation over the last several decades, Adams Morgan has long stood as an area of tremendous culinary diversity. Making your way along 18th Street from Dupont Circle to Adams Morgan, you will find food options from every corner of the world. Flavors ranging from Asian to African can be found side-by-side in this stirring area just north of Dupont Circle. Unlike much of D.C, Adams Morgan is exciting at nearly every hour of the day, giving the neighborhood a lively vibe and vitality that is often lost across the nation’s capital. After a burger, walking through Adams Morgan will prove to be an entertaining and
exciting stroll. This animated atmosphere quickly dissipates, however, upon entering Meridian Hill Park. For those looking to walk off a colossal burger, this surprisingly elaborate and well-maintained park in Adams Morgan is bound to impress. The U.S. Congress commissioned the park in 1910 with the intention of emulating many of the grand public spaces of Europe on a smaller scale. Such influences are apparent when walking through the French Baroque garden or the magnificent 13-basin Renaissance cascade fountain. Statues accentuate this European influence, and the symmetry in the park gives the space a classical regality that can’t be found elsewhere in Washington. Large trees line the borders of the park in perfect rows, making it feel remarkably isolated despite its urban setting. Benches are plotted along the sidewalks and ample green space in the center of the park make it a popular gathering space on nice days. Any excursion that consists of a fantastic burger and bar food at Lucky Buns and a walk through Meridian Hill Park will guarantee a flavorful and exciting experience that only Adams Morgan can offer. Hal Rogers is a sophomore in the College. EXPLORING EATERIES runs online and in print every other week.
FRIDAY, FEBRUARY 21, 2020
THE HOYA
B7
THEATER REVIEW
FOLGER SHAKESPEARE LIBRARY
The Folger Theatre’s production of Shakespeare’s “The Merry Wives of Windsor” adapts the play to 1970s England, highlighting themes of women’s autonomy during the era of women’s liberation rather than the era of Queen Elizabeth I. Talented performances by the cast bring out both the important social message as well as the clever comedy of the play.
‘Merry Wives’ Delights With Impressive Acting, Humor ANNAH OTIS
Hoya Staff Writer
Director Aaron Posner’s modern rendition of William Shakespeare’s “The Merry Wives of Windsor” is a crowdpleasing comedy with just as much relevance to modern audiences as to 16thcentury ones. Even those uninterested in Shakespeare will enjoy this humorous — and occasionally musical — performance, if only because it is set in 1970s England and features hilariously archetypical hippie costumes. Featuring two women in the main roles, “Merry Wives” at the Folger Theatre is a playful and entertaining commentary on female political and domestic power that has less to do with love and more to do with gender relations, appropriate both to Shakespeare’s time and this rendition’s era of women’s liberation. In “Merry Wives,” Sir Falstaff (Brian Mani) — referred to as Falstaff — is fully developed into a grossly obese, repulsive man with eyes for two married
women, Mistress Page (Regina Aquino) and Mistress Ford (Ami Brabson). His interest is largely driven by his desire to take their husbands’ wealth. When the women discover Falstaff’s plans, they conspire to make a fool of him. What ensues is a hilarious demonstration of just how far they will go to uphold their honor and unhinge their pursuer, exemplifying women’s independence and cleverness as they seek revenge. The husbands play a lesser, albeit still important role upon learning of Falstaff’s intentions. Mr. Page (Tyee Tilghman) does not doubt his spouse’s loyalty, but Mr. Ford (Eric Hissom) is consumed by jealousy. At the same time, a subplot follows the love life of Page’s daughter, Anne (Linda Bard), who has enraptured three different men. These threads ensure a fast-paced play that ties everything into a neat bow by the final act. Despite the risks of recontextualizing 16th-century references, this 1970s rendition is ideal for placing the characters in the era of second wave feminism,
a time rife with political debate and misbehaving men. As a result, Shakespeare’s strong female leads standing up to the egotistical Falstaff fits right in with the 20th century. Setting the play in more modern times makes it appealing to a wider range of people, some of whom may not otherwise have been interested in watching 16th-century material. Posner’s reimaging is both exceptionally creative as well as relevant to modern audiences, drawing on more salient historical and political references than the original. The impressive acting in “Merry Wives” gives depth and timelessness to the comical and contentious relations between characters, bringing to light the disparities in gender relations and the underestimation of women. Mani’s interpretation of the wide-waisted Falstaff is refreshingly energetic and well executed. Mani is joined in the spotlight by Aquino as Mistress Page and Brabson as Mistress Ford, both talented actresses. Mr. Ford is very successfully brought to life by Hissom, a seasoned Shakespeare
actor. Equally impressive is Tilghman as Page. He is better known for his work in film and television, although the theater seems to agree with him as well. Kate Eastwood Norris makes a hilarious Mistress Quickly and Cody Nickell is brilliantly charismatic as Dr. Caius. Given the play’s emphasis on female autonomy and wit, it is disappointing and ironic that the performances of some of the actresses do not stand out as compared to their male counterparts. Aquino and Brabson make their marks, but Bard and Danielle Gallo, who played Pistol, fall short of expectations. Neither seem to have the dramatic gusto or emphatic body language of some of their male colleagues. Dante Robert Rossi as Fenton and Derrick Truby as Simple are truly excellent actors who outshine the women they play opposite. Even so, an overall exceptionally talented cast and amusing plotline make this a play worth watching. The wittiness and snide references to 1970s culture will evoke laughs even from those who dislike classroom Shakespeare.
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THE HOYA
FRIDAY, FEBRUARY 21, 2020
What to Do in DC
MUSIC
New Releases
MEGAN WEE
Hoya Staff Writer
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EMMA GINSBERG Hoya Staff Writer
CRYFEST: THE CURE VS THE SMITHS FEB. 22, 9 P.M. | $15 BLACK CAT
Cryfest: The Cure vs. the Smiths hosted by Black Cat D.C. is in its 18th iteration this Saturday. It is the largest Cure/Smiths dance party in the United States, celebrating the two hugely popular independent ’90s British rock bands. The DJs for this event are guaranteed to play the bands’ greatest hits like “Friday, I’m in Love” by The Cure and “There Is A Light That Never Goes Out” by The Smiths that audience members could certainly slowly mosh to with their friends.
TAME IMPALA/FACEBOOK
GENIUS
TAME IMPALA
OLIVIA O’BRIEN
‘TOMORROW’S DUST’
‘JOSSLYN’
Tame Impala’s highly anticipated new album “The Slow Rush” features “Tomorrow’s Dust,” a lengthy track right in the middle of the LP sprinkled with chill guitar twangs. Although the artist questions, “So why do I go wrong on repeat?”, this consistent, funky beat is definitely right to put on repeat.
The second track off artist Olivia O’Brien’s second micromixtape, “The Results of My Poor Judgement,” is one of the catchiest tunes the purple-haired pop star has ever released. Although the song features a few crude lyrics that will likely prevent it from being a radio hit, it is as much of an earworm as any other breakup anthem.
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DC DIVE SHOW FEB. 22 & 23 | $15-$25 WALTER E. WASHINGTON CONVENTION CENTER
The D.C. Dive Show promises presentations on speakers, seminars, workshops and events, the flagship presentation being divers Jill Heinerth and Amos Nachoum. The two will present their experiences in the Arctic, with Nachoum being the first to capture images of polar bears swimming and Heinerth the first to cave dive into an iceberg. Travel and diving enthusiasts will surely find interest in the findings that all the speakers will present at the two-day conference, which is open to the public.
3 OH WONDER MUSIC/FACEBOOK
@LENKAMUSIC/TWITTER
OH WONDER
LENKA
‘IN AND OUT OF LOVE’
‘THE SHOW’
Although Oh Wonder’s new album definitely diverts from the lyrical content of their previous discography, the song “In And Out Of Love” returns to the wistful love songs that have defined the musical pair’s work. The slow beat, swelling violin and creative lyrics make this serenade an exquisite listening experience.
“The Show” was first released back in 2008 at Australian artist Lenka’s debut. Now, 12 years later, her re-released version of the track is the perfect combination of nostalgic and modern. The new version of the song is a more synthesized, upbeat variation of the singer’s biggest hit, featuring delightful triangle dings and clapping sounds.
PATCH
POST MALONE THURSDAY, FEB. 27 CAPITAL ONE ARENA
One of the world’s biggest pop stars, Austin Post, otherwise known as Post Malone, will be making the D.C. stop on the second leg of his Runaway tour in support of his third studio album “Hollywood’s Bleeding.” Malone is known for songs like “Sunflower,” “Rockstar” and “Circles,” which have solidified him as one of the most influential crossover pop-rap stars. Singers Swae Lee and Tyla Yahweh also join him on the tour as opening acts.
4
BLACK CAT
STUBHUB
‘A THOUSAND SPLENDID SUNS’
The Kreeger Theater will be staging its production of “A Thousand Splendid Suns” based on bestselling novel by Khaled Hosseini, also known as the author of “The Kite Runner.” The novel received widespread critical acclaim upon its release in 2007, as do reviews for its play adaptation. The play tells the story of two women from different generations in Kabul, the war-torn capital of Afghanistan, and explores themes of loss and survival.
THROUGH MARCH 1, 2020 | $41-$75
ARENASTAGE
FRIDAY, FEBRUARY 21, 2020
THE HOYA
B9
MOVIE REVIEW
‘To All the Boys’ Sequel Lacks Chemistry, Charm of Original Directed by: Michael Fimognari Starring: Lana Condor, Noah Centineo, Jordan Fisher DORIS ZHANG Hoya Staff Writer
Despite the captivating romance in “To All the Boys I’ve Loved Before,” its sequel fails to build on the story of the couple’s new relationship. With an uninspiring relationship and awkward anachronisms, the sequel does not deliver the romance promised by its pre-Valentine’s Day release. “To All the Boys: P.S. I Still Love You” picks up as Lara Jean (Lana Condor) and Peter (Noah Centineo) go on their first date as a new couple. Their romantic bubble is soon popped, however, when John Ambrose (Jordan Fisher), one of Lara Jean’s past crushes, comes back into her life, introducing uncertainty into her new relationship. The stereotypical love triangle ensues as teenage jealousy and insecurity escalate relationship tensions. The lack of romantic chemistry between Lara Jean and Peter leaves the audience unsure whether viewers should root for the couple. Though the couple’s first date at a romantic restaurant is full of soft lighting and charming ambience, the interaction between the two seems perfunctory. Even with the two sitting
feet apart, there is no chemistry when Peter reaches over to kiss Lara Jean’s hand. The rest of the date night, though cute, fails to regain the electricity that viewers saw in the first film in 2018. The depiction of the relationship is further sabotaged as neither protagonist is able to show genuine care for the other. Despite constantly saying that she loves Peter and wants to be with him, Lara Jean nevertheless fails to tell John Ambrose of her relationship status even when he is clearly flirting with her. Her confusion between the two men may be understandable, but her repeated choice to hide her relationship makes the audience question if she really cares about Peter as much as she says. Peter similarly shows problematic tendencies that undermine the film’s attempts to portray him as sympathetic to the audience. On Valentine’s Day, knowing Lara Jean is expecting a grand gesture, Peter only gives her a necklace and reads her an unoriginal poem he passes off as his own. Though he later explains that he only hoped he could write something as good, his lackluster defense does not justify why he did not simply spend more time to come up with a
more thoughtful gift. Peter later fails to pay attention to Lara Jean at a party, only leaving with her after coincidentally noticing her sitting in the corner. His lack of effort in maintaining their relationship does not match his claim about loving Lara Jean, which is a distracting incongruity throughout the film. Halfway through the movie, it seems like even a happily-ever-after would only be lukewarm. Throughout the movie, anachronisms in the otherwise modern setting make the plot too relatable to young audiences. With Valentine’s Day featuring stereotypical a cappella group serenades and a carnival date, it seems as though a middle-aged writer was trying too hard to imagine what teenagers do these days. The anachronisms detract from the authenticity of the film and make
it even harder for audience members to see themselves in the plot. One of the few saving graces of the sequel is Kitty (Anna Cathcart), Lara Jean’s younger sister. With her witty comments and humorous interruptions, Kitty offers a welcome distraction from otherwise awkward situations with uninteresting dialogue. Her playful relationship with Lara Jean accurately captures the type of banter typical of sisters, adding some much-needed authenticity to the movie. While “To All the Boys: P.S. I Still Love You” had potential to build an unforgettable romance following the cheeky previous film, the movie failed to capture the opportunity. Even original fans of the Lara Jean and Peter relationship were left wanting for a reason to root for them again.
ACE ENTERTAINMENT
“To All the Boys: P.S. I Love You” fails to live up to the previous film, giving a lackluster portrayal of the new relationship between Lara Jean Covey and Peter Kavinsky. The couple lacks romantic chemistry throughout the movie, leaving the audience questioning whether they should even root for the protagonists to ultimately end up together.
B10
FRIDAY, FEBRUARY 21, 2020
THE HOYA
PERFORMANCE REVIEW
SLOW HOLLOWS/FACEBOOK
Slow Hollows impressed audiences at Songbyrd Music House and Record Cafe with a performance that highlighted their musical versatility and experimental genre choices as well as showcasing their evolution. The band cultivated a casual, friendly environment with their attitude and aesthetic, even mingling with the audience after the end of the set.
Slow Hollows Showcase Versatility at High-Energy Show IYANAH LANGA Hoya Staff Writer
Songbyrd Music House and Record Cafe welcomed Slow Hollows to their Byrd Cage on Feb. 12, where the Los Angeles-based indie rock band performed to a small but dedicated crowd. The band showcased its experimental music taste, which catered beautifully to the intimate crowd. The Byrd Cage, the basement venue of Songbyrd, was dark and cozy, with a stage draped in red velvet curtains and amps painted on the back wall. Album art and band stickers covered almost all visible surfaces, and the space was lit with colorchanging mood lighting, giving it a grungy garage feel. Slow Hollows, formed by Austin Anderson in 2013 with bassist Jamie Atkinson and drummer Nick Santana, began as a simple surf rock trio whose music has evolved and matured. The band currently consists of Anderson, the frontman and singer-songwriter, who also plays piano, guitar and drums, trumpeter Daniel Fox, bassist Aaron Jassenoff and drummer Jackson Katz. The band has evolved past its more surf rock proclivities into a mixture of lo-fi indie, post-punk and dream pop as Anderson has
developed his own style with insights from artists he has worked with such as Tyler, The Creator, Frank Ocean and BROCKHAMPTON. Tyler, The Creator, in particular has become a mentor of Anderson’s, lending an ear to several of their albums and producing “Heart” from “Actors,” which adds a distinct neo-soul sound to their discography. The concert began with their 2018 single “Selling Flowers,” a dreamy bedroom pop tune that set the tone of their set. As the first song finished, they stopped momentarily so that Jassenoff and Katz could encourage the crowd to “stop being shy” and scoot closer to the stage. The band exuded a sense of casualness that made the entire crowd comfortable engaging with them — they all wore jeans or sweatpants and T-shirts, not putting themselves above the crowd while still giving their all in the performance. This casual nature shined through in their performance, which opened itself to all concertgoers, whether they had heard one song or were die-hard fans. Anderson himself did not interact much with the crowd, blending into the background whenever he was not singing and allowing Jassenoff and Katz to take the lead in conversing with the crowd. They began a running joke almost immediately: Katz
would ask a question, and when someone responded, Jassenoff would shake his head and jokingly say that they don’t interact with the audience. Slow Hollows performed a sampling of songs from all three of their albums, reaching as far back as 2015’s “Atelophobia”, showcasing their ever-shifting style. The variety of tracks showcased created an expansive range of styles in the band’s music that allowed fans of every age of the band’s music to enjoy a portion of the concert. The crowd was unfazed, dancing with the musicians on stage whether they played their slow, sad 2015 song “Okay” or “You Are Now on Fire,” an upbeat song from their newest album. Rather than singing along, the crowd was almost quiet as they listened to Anderson croon softly into the mic. The instruments frequently played over his singing, honing the focus of the performance on to the real draw of their songs: their typical inventive genre crossovers. Anderson, who loosened up considerably during the course of the concert, told the crowd when there were only two songs left, which immediately sent his bandmates into a frenzy of playing. The crowd began jumping up and down and headbanging.
Fox, who switched between playing the piano and the guitar all night, put one leg on Jassenoff as they played their instruments. Anderson took the opportunity to move toward Katz on the drums and play with him, dancing around while Katz kept the beat. Just as they finished their last song, one of the strings on Anderson’s guitar broke, and the rest of the band began to improvise a tune while he squatted on the floor to restring it. As he fixed his guitar, Anderson counted down from 30, and as soon as he hit one, the band jumped into the last song of the night as though nothing had happened in the middle. This exciting conclusion exemplified the carefree nature of the show. Because of the small, intimate setting, each of the band members mingled with the audience after the set ended, taking photos, signing autographs, manning the merch tables and having normal conversations. Despite Slow Hollows’ continued success as an alternative, indie rock band and the attention they receive from highranking musicians such as Kevin Abstract and Tyler, The Creator, Anderson and the rest of his band evoke a feeling of familiarity and casualness that few live acts can match today..
THE HOYA
FRIDAY, FEBRUARY 21, 2020
B11
ALBUM REVIEW
Denzel Curry Displays Intensity, Wordplay on ‘UNLOCKED’ ‘UNLOCKED’
Denzel Curry and Kenny Beats ALLAN NAVARRO Hoya Staff Writer
Underground rapper Denzel Curry continues to display his Miami origins across his first project of 2020, “UNLOCKED.” Featuring production from underground producer Kenny Beats across the EP, Curry brings his trademark hyper-aggressive bars and clever wordplay to Beats’ invigorating beats that continue to define his distinct voice in hip-hop. Curry’s rise in rap began in 2015 with his hit song “Ultimate” becoming the background song to viral water bottle flipping videos. The heavy bass drop and powerful vocal delivery not only made the song perfect for events of epic proportions, like the water bottle flips, but also allowed Curry’s voice to shine in a saturated hip-hop environment. After being named one of XXL’s Ten Rising Freshman in 2016 and featuring in a freestyle project with now superstar rappers like Lil Uzi Vert, 21 Savage, Lil Yachty and Kodak Black, Curry’s impressive wordplay and showmanship stood out among his peers. Through his impressive string of releases across recent years including
“TA13OO” in 2018 and “ZUU” in 2019, Curry has solidified himself as one of the loudest voices in hip-hop out of South Florida. While Curry appeared on Kenny Beats’ YouTube series “The Cave” in August 2019, the budding friendship between the two musicians was clear. The series sees Beats produce a beat in a few minutes and the rapper spits a freestyle, while showcasing their respective personalities. The chemistry between the two artists in the video shines in the tracks on “UNLOCKED” with each beat perfectly complementing Curry’s bars. Although the EP runs just shy of 18 minutes, the energy in each track pervades the runtime. “Track 01” opens up with an old-timey radio interlude, with its final 20 seconds of the intro cut introduces a “hysterical” Denzel Curry and an industrial, glitch-hop inspired backing beat that establishes the mood of the album. “Lay_Up.m4a” is one of the highlights of the track listing, with the song being one of the few instances of a full-fledged song with two verses and a central refrain. The first verse calls particular attention to the struggle of being Black in the U.S. with Curry’s bars, “I wanted to be Corleone but mixed with Cornelius / Embezzling millions / Have
the crackers be shocked by my brilliance / By my appearance, it’s apparent that I am a (N----r).” These lyrics are spread out across the album and showcase the dichotomy of Curry’s wordplay and political awareness. Curry’s wordplay and references on “UNLOCKED” showcase his uncanny ability to find the perfect metaphor for every lyrical endeavor. Just across the second track “Take_it_Back_v2,” Curry namedrops abolitionist Frederick Douglass, civil rights icon Rosa Parks, Chinese military strategist Sun Tzu and Georgia rapper Bubba Sparxxx. This wide array of references colors the track listing of “UNLOCKED” and creates an engaging soundscape across the EP, connecting the messaging of the album to wider themes across world history. This wordplay can sometimes work against Curry. As almost every other bar features some sort of referential lyric, some of these references can occasionally fall flat, pulling the listener away from the entire experience. Lyrics like “Bars harder than the morning wood / Tryna pee up” on “So. Incredible.pkg” create a sore spot on the record that, unfortunately, appears too often across the bulk of the album. Even though some of the bars do fall flat, the majority of the wordplay continues Curry’s rise as one of hip-hop’s premier lyricists, especially as almost every track runs less than three minutes, so the
weak spots never linger in the listener’s mind. These short tracks allow each song to flow into one another seamlessly without allowing one singular sound to dominante the track listing. Up-and-coming producer Kenny Beats’ production across the EP also stuns, with a fantastic combination of industrial and robotic sounds that know when to take the backseat to Curry. Beats’ place as a favorite producer among some of hiphop’s more underground acts, like Rico Nasty, Vince Staples and Curry, have allowed him to tailor the sonic landscapes of their projects to each artist’s particular whims, from the industrial with Curry to west-coast sounds with Staples. The EP was released alongside an animated short film featuring music videos for every track on the album, claymation and animated forms of both Beats and Curry. This visual accompaniment to the album increases the production value and world building each artist attempts to achieve across his discography. Curry continues to showcase why he is seen as one of hip-hop’s most powerful underground voices, backed by production from Kenny Beats. Although “UNLOCKED” is not as artistically ambitious as his 2018 album “TA13OO,” the EP serves as the perfect bridge between artistic epochs for Curry in preparation for upcoming, more ambitious releases.
BILLBOARD
In collaboration with up-and-coming underground producer Kenny Beats, South Florida rapper Denzel Curry showcases the clever wordplay and powerful social and political messaging that has made him into one of hip-hop’s brightest young stars throughout the 2010s on “UNLOCKED.” The short, 18-minute EP brings out the best of Curry’s bars and Beats’ production.
ILLUSTRATION BY: ROSY LIN AND TARIKA KUMAR/THE HOYA