The Hoya: The Guide: October 19, 2018

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LGBTQ Activists Fight for University Recognition DENNese mae javier and timothy MCNulty Hoya Staff Writers

In September 2007, a Georgetown University student was attacked by a group of men, including another Georgetown student, according to The Hoya and The Washington Examiner. The attackers yelled homophobic slurs at the victim, who suffered cuts, bruises and a broken thumb. The incident was just one example in a string of hate crimes against LGBTQ individuals that year, which were not addressed publicly by the university, speaking to a history of tension.

The response from students was prompt and powerful. GU Pride, with a coalition of students from across campus, led the Out for Change campaign, petitioning the administration for action through demonstrations in Red Square and sit-ins in the office of University President John J. DeGioia.

The student activists’ efforts were successful. By the end of that fall semester, DeGioia dedicated administrators to meet the needs of LGBTQ students and agreed to open a resource center. On Aug. 26, 2008, Georgetown University opened the LGBTQ Resource Center.

10 Years in the Making

This year marks the LGBTQ Resource Center’s 10th anniversary, which according to the LGBTQ histories at Georgetown published by the center has proven to be a resource for Georgetown’s LGBTQ community for educational purposes, a space to organize and a home on campus. While the LGBTQ Center has done significant work to improve the lives of LGBTQ students at Georgetown from OUTober to Lavender Graduation, many LGBTQ identifying students still faced persistent troubles when it came to housing.

The fight to establish the Crossroads LLC — a living learning community centered on gender and sexuality located in Village C East — highlights how students still had the basic need for secure and accepting housing; it additionally illuminates the troubles faced by LGBTQ students at Catholic universities.

April Sizemore-Barber, faculty advisor of Crossroads, recognizes that there are several formal spaces for students to engage with LGBTQ issues from organizations like the LGBTQ Center, GU Pride and GU Queer People of Color to classes in the women’s and gender studies program but that Crossroads provides a necessary alternative space for many students.

“We see the LLC as a space for those who are impacted by and want to discuss these issues (and their intersection with other identities), but may not have time or interest in pursuing them in a formal classroom. It’s a space that brings people together to create a community based around shared culture, discus-

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sion, and — from what I have observed — a lot of warmth and laughter,” Sizemore-Barber wrote in an email to The Hoya.

The path to Crossroads was not without difficulty, though. While the university now supports it after much student effort by those affected, it initially rejected the proposal. Grace Smith (COL ’18), former chair of the Georgetown University Student Association LGBTQ inclusivity policy team, spearheaded the effort to have the proposal for Crossroads approved during the 2017–18 year.

Facing religious pressure as the only Jesuit university in the United States with an LBGTQ Center, the university’s approval for the LLC starting this fall has sweeping impact according to Sizemore-Barber.

“To both the students who live in Crossroads or take advantage of the programing and to those still grappling with their own identities and coming out, the University’s message is clear: we see you; you matter,” Sizemore-Barber wrote.

Many organizations like GU Pride led by Jenny Xu (COL ’21), co-president of GU Pride, across campus seek to create the conversations and safe spaces that Crossroads does about these issues throughout campus through their initiatives and programming.

“This year with the help of College Democrats, GU Pride invited openly trans state delegate Danica Roem to speak. We’ve hosted a Coming Out Day Celebration in Red Square for everyone to see and participate in. We’ve got even more events in the works. We have energy, we have new ideas, we have diverse

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GU PRIDE

members -- now it’s about translating that into events and conversations,” Xu wrote in an email to The Hoya.

GU Queer People of Color addresses the intersectional issues faced by certain members of the LGBTQ community.

If this community is defined solely by sexuality or gender identity instead of viewing LGBTQ people as complex and multifaceted human beings, these gaps of inclusivity and accessibility will endure, according to GU QPOC President David Friedman (COL ’20).

“The LGBTQ+ community usually treats the community as one homogenous group and forgets about the various intersecting identities such as race, religion, etc. Sometimes I think they treat these as a second thought rather than as an initial consideration,” Friedman wrote in an email to The Hoya, “These failures [to recognize this diversity] result in divisions in the LGBTQ+ community in which QPOC will seek solace amongst members of their own racial groups instead of in the LGBTQ+

GU Pride

community.”

The Realities of Activism

While the students engaged with activism on campus are passionate about their work, the strain of activism can weigh on the person when it comes to interacting with the institutions that they wish to change and achieving their goals.

Marcia Chatelain, provost’s distinguished associate professor, and Daniel Porterfield (CAS ’83), president and CEO of the Aspen Institute, shared a conversation about student activism in an event titled “‘Edges That Blur’: The Interstices of Student Activism and Institutional Response” on Oct. 15 in honor of the LGBTQ Center’s 10th anniversary.

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FILE PHOTO: CAROLINE PAPPAS/THE HOYA

For those who actively engage in meditation, the practice reaps rewards, especially when it comes to stress relief and

GU PRIDE

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in their efforts to affect the community, but their work also provides the salve to the emotions experienced when witnessing problematic systems.

“Activism on a college campus is especially complicated by the fact that for so many of us the work we do is deeply personal,” Maske said.

“We see a need among our friends, our peers, our community. We witness pain, we feel that pain ourselves.

Taking action is a way to channel our collective pain, anger, or frustration. It is a way of seeking justice for our communities and healing.”

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Jenny Xu

Porterfield explained what institutions need to do to be leaders on social justice issues.

“How do we build institutions that can be a leader in society today? That necessarily requires the institution listening, but also dialogue partners that are willing to make progress, I would say steady, generally incremental, progress with some big strides,” Porterfield said.

Change is possible, but not at zero

cost. Who incurs the brunt of this cost, though, depends largely on the receptiveness of an institution to accommodating and meeting the needs of all of its students according Chad Gasman (COL ’20), former president of GU Pride.

“It’s so tiring seeing things not going the way you planned them. That’s like a reality of activism,” Gasman said. “The burnout is so draining. As a tip for activists, when going into these spaces make sure you’re taking care of yourself otherwise the burnout’s just going drain you entirely until you don’t do anything.”

Angela Maske (NHS ’19) spoke to the challenges of campus activism from her experiences a student activist as president of H*yas for Choice in an interview with T he H oya . Student activists on campus put themselves through considerable personal strain

Room to improve

LGBTQ activist groups on campus believe that the student community and university administration still have work to do make Georgetown’s campus an environment that accepts, understands and supports all students in ways that make meaningful improvements to every student’s experience, especially those who historically have received the least support from both the culture on campus and the university administration itself.

Beyond creating safe spaces for LGBTQ Hoyas to explore gender and sexuality, efforts to steer everyday conversations away from the employment of language that perpetuates this negative stigma are vital to the well-being of affected students, according to Xu. “I fear that we, as a campus, become complacent with this cultural stigma because we are graciously allotted in-

stitutional resources,” Xu wrote, “One step we can take towards normalization is intervening when you overhear someone using language that perpetuates the stigma; if we can demonstrate that as a campus we respond negatively to stigmatizing language, people will be less inclined to use it.”

As well as conversations, the community must be backed by direct policy proposals and serious efforts to highlight those whose needs go ignored, even within the LGBTQ community itself. Adam Magaletta (COL ’20), director of professional development for the McDonough Alliance, a pre-professional LGBTQ student group, said that the university still has more to do, such as implementing gender-neutral bathrooms, to be an effective ally.

“As far as making improvements on this campus, there is still so much work to be done. Particularly, I think fighting for more inclusive policies regarding trans and gender non-binary students is really crucial,” Magaletta said in an interview with T he H oya .

“For example, our housing policy still does not allow gender-neutral housing, which is particularly worrisome for trans and non-binary students.”

Before students can push for change, there must first be a physical community of organizers who form a foundation of power that can create events like GU Pride’s Rocky Horror Picture Show. GU Pride Co-President Andrew Molinari (COL ’21) believes that this community is continuously developing in the digital world.

“I think what’s next is bringing it into real life. I hate that I have to say that. But I feel like so much of what happens with our community is virtual, on social media, in group chats, and I feel like this year and next year I would really like to see more of the LGBTQ community in person,” Molinari said in an interview with T he H oya , “I feel like that’s our next, next step. To make sure that every single person, no matter what their identity, every single LGBTQ person feels welcome here.”

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Felix Van Groeningen on Directing ‘Beautiful Boy’

ElfriEda Nwabunnia Hoya Staff Writer

In his new film “Beautiful Boy,” director Felix Van Groeningen has constructed a story that is incredibly beautiful in its anchored storytelling, commitment to reality and ability to make sensation without sensationalizing.

The film melds narratives from a father and son, David and Nic Sheff, to recount nearly a decade of dealing with Nic’s drug and alcohol abuse, primarily his addiction to methamphetamines.

Van Groeningen created a startling picture of heartache that is decidedly un-Hollywood in its refusal to make static heroes and villains or to glorify images of drug abuse and addiction.

The film features a cast of formidable actors, including leads Steve Carell and Timothée Chalamet, who play David and Nic, respectively.

The Hoya sat down with Van Groeningen on Oct. 1 to discuss the film and his creative process.

Did you have an overarching question about the nature of addiction, family or even love that you wanted to solve or chart with this movie?

Maybe not a question, but a need to talk about it. When I read the source material, the two books, I was really moved. It was an eye-opener.

It made me realize that in our society we look at addiction as moral failure and not as a disease.

For myself, I realized it was an important story to tell, and I guess the question is — what can we do about it? It’s not an easy question to answer, but we showed one family’s journey: one family that really believes in unconditional love.

It’s an incredibly beautiful job or profession to be spending your life with, I feel. It’s creative; it’s about emotions. So, go for it. If you’re interested, work hard; never give up.

around it. Openness is what will get us to try and help people who are suffering and try and find solutions so that less people in the future will fall into it.

Do you follow the same process for all your films? If not, what was special or stands out to you about “Beautiful Boy’s” process?

If yes, what is it?

As a director, what are the small moments of filmmaking that you decided to include, that you thought were crucial to the pictures you were trying to create?

Everything is always tied to the specifics of the film. I’ve made a film where music was really important, and that wasn’t the case here.

The process was fairly traditional. What’s important for me is doing rehearsals with the actors. I learned a lot through doing that.

Through doing that, it creates a certain trust between me and the actors, just being able to try things and question the script, question every line and every scene in the script. I do often rewrite a bit after those rehearsals.

The film comes at an interesting time considering the current opioid crisis across the United States that I think recently had Americans reckoning with the fact that drugs weren’t a problem for specific “othered” types of Americans — whether they be poor, of color, from broken families. What do you think “Beautiful Boy” can show us about the situation we are watching in the country right now, ourselves, and how we consider the effects of drugs on communities?

Yes — that it doesn’t discriminate, that it can affect anyone, that it’s not a moral failure, that it is a disease, that there is a lot of work to do, that there is no need to have shame

Finding the spirit of the house was a quest.

At some point we just filmed still images of the garden and inside the house and were not sure what we were going to do with it, and then the editor really came together in this scene that I’m really proud of, where you see this empty house, and it’s so haunting ’cause you feel that something is going to happen and eventually it leads to Nic breaking in.

It was a part of portraying this place that David had created for his family, where he wanted his kids to grow up in safety and happiness. He wanted to create this little paradise, and it became so haunting in a sense.

What the books did to me was that I literally felt that addiction could creep into a household, could seep into every fiber of a family life, and that for me did that.

Are you searching for the same thing or same singular feeling from the movies you choose to direct and, if so, what is it?

Well, every movie is different, of course, because they start from something very different. What I do always want a movie to do is at some point just become something better than I had expected, or emotional or

wilder or more ungraspable than I had ever imagined. That’s what I hope for. At some point the movie just becomes its own entity.

Where I’ve put everything that I want in it, but that by the journey — by finding how the right pieces fit together and taking out some things too — it just becomes something more, a very emotional journey that also surprises me. That’s something I always want my films to do, but this is only the second film where I think this really happened along the way.

There are a lot of moments in this film that say a lot without saying anything at all — a shot of Chalamet happily driving down to see his father, stepmother and siblings 14 months clean, and then a few scenes later making the reverse drive but it’s gray, he looks tired, and is on the edge of relapse.

When putting this film together, how did you know what you wanted to say, through dialogue or other explicit means, versus what you wanted to show and how you would show it?

Well, the flow of the movie is clear, and when he drives off, you know that that’s where he needs to head to. It’s always the quest of the DP [director of photography] and me — how can we convey the most in the images without being on the nose? Sometimes it’s accompanied by the dialogue, and sometimes it’s not. It was clear in the edits that the images were strong enough to convey what we were trying to. Every scene you know what the emotion you want to aim for is, and in your cinematography, you’ll try to go in that direction.

As a director, what was it like working with the actors in a film trying to create a story that has so much truth as well as already written narratives behind it? Did you feel more pressure than in other films you’ve worked on?

Not really, actually. I’ve done films that were based on true stories and have been in the awkward position where you research people’s lives and come up with actors, and then dress them a bit the same and then at some point show the movie to the real people, so of course there is something that is strange, but you get over it. You can’t — when you adapt a book, or two books, in this case — you always have to make changes; you can’t entirely be true, true, true.

And it doesn’t matter as long as the emotional core is truthful. We had no obligation towards the audience, because David and Nic weren’t known.

What is strange though is that in the process of casting the movie I didn’t cast Timothée nor Steve to resemble David and Nic, but somehow, when you see them now or when you see the characters in the movie, it does come very close.

It has to do with the openness the family had; they really let me into their lives. I took the crew to the real family; the costume designer and production designer went through a lot of photos of the family. We had access to that, and it helped us to get things right. It wasn’t a necessity, but it helped us to become a part of the family.

What would you say to students interested in making a career out of being a part of the creation of films, primarily directing?

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Felix Van Groenignen, right, director of “Beautiful Boy,” discussed his creative process with Steve Carell, left, Timothée Chalamet and Amy Ryan. The movie, which comes out Oct. 15, tells the story of a father and son whose relationship is plagued by opioid addiction.

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MOVIE REVIEW

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The soundtrack of “Beautiful Boy” enhances its realistic and haunting portrayal of addiction. The emotionally rich soundtrack conveys the characters’ feelings and invites the audience to empathize with them. It likewise effectively illustrates the sensation of using drugs, thereby further immersing viewers in the characters’ experiences.

Depiction of Addiction in ‘Beautiful Boy’ Haunts Viewers

Directed by: Felix Van Groeningen Starring: Steve Carell, Timothée Chalamet james kim

Hoya Staff Writer

Despite an occasional lack of coherent explanations regarding the characters’ relationships, “Beautiful Boy,” released Oct. 12, captivates viewers with its score, cinematography and unflinching account of drug addiction. Following up on his successful career as a Belgian director and screenwriter, Felix Van Groeningen makes his debut in the English-speaking film arena with “Beautiful Boy,” based on the 2008 best-selling homonymous memoir by David Sheff.

The film starts with writer David Sheff, played by Steve Carell, trying to help his teenage son, Nic, played by Timothée Chalamet, overcome his addiction to crystal methamphetamine. Along with his family, David does his best to liberate Nic from his addiction but realizes the process is more daunting and complicated than any other obstacles he has confronted.

The film does an excellent job of humanizing Nic’s struggles with addiction.

Contrary to an optimistic narrative that

addiction can be overcome through support from families and sponsors, the film depicts multiple occasions of failure and defeat. This realistic tone enriches the film by showing that addiction is not easy to overcome and that even the most determined recovering addicts can easily fall back into a vicious cycle of drug use.

There is a scene near the end of the film in which Nic desperately calls David to ask for support after being heavily addicted to methamphetamine. Instead of trying to sympathize with his son’s suffering, David sternly tells Nic that he cannot help him anymore because Nic has continuously lied about his addiction to his family. Viewers may think that such an attitude toward one’s son is too brutal, but it also realistically portrays how frustrating it is for David and his family to cope with Nic’s addiction.

The soundtrack of the film also deserves praise, because it helps viewers empathize more deeply with Nic’s and David’s struggles. During times when Nic is coping well with his addiction and his family is feeling thankful, cheerful

 music permeates the film and conveys the delight felt by the characters. But in scenes when Nic is at his worst, ominous music looms over the film and dominates the viewers with despair.

The film’s music also does a solid job of illustrating for the viewers Nic’s experience with drugs. For example, when Nic tries methamphetamine for the first time in his college dorm room, his voice becomes inaudible and trippy music pervades the theater to convey Nic’s drugaddled state.

The director’s cinematographic choices are also worthy of approval. The film does not develop around a multitude of places but is rather shown through a few select venues with different time frames.

This style of cinematography helps convey the effects of drug addiction on Nic and his family by depicting how a place that was once warm and loving can suddenly feel dark and foreboding.

David’s house in San Francisco is a great example of this use of parallel scenes. Before Nic’s addiction and when Nic is excelling in his recovery program, the house seems pleasant and welcom-

ing for Nic. But when Nic is on a downward spiral, his addiction creates a painful aura around the house.

Although the film does outstanding work with its soundtrack, cinematography and realistic representations of drug addiction, its explanation of the characters’ relationships lacks coherence. The film shows only brief scenes hinting at David’s divorce with his ex-wife Vicki, played by Amy Ryan, and does not clarify the reasons for their divorce. Considering that this divorce, which occurred during Nic’s childhood, could have had a significant impact on Nic’s decision to start using drugs, the director should have paid more attention to the development of their breakup rather than leaving viewers to speculate on its impact.

The film’s lack of effective explanations for the characters’ relationships restrains “Beautiful Boy” from being laudable in its entirety. Nevertheless, “Beautiful Boy” is a haunting true story that will leave its viewers moved by its practical portrayal of drug addiction and expert use of background music and cinematography.

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Director’s cut

‘First Man’ Juxtaposes Intimate With Infinite Olivia Simon Rain greeted me outside the theater after a screening of Damien Chazelle’s “First Man.” As I walked back to Georgetown, the world around me felt both smaller and larger at the same time.

If you’ve ever experienced something so highly impactful in an understated way, the ensuing gap in expectation pinpoints the exact feeling I had in my stomach after leaving the theater — and not necessarily in a negative way. Let me explain.

“First Man” has been a long time coming. Though I did not expect Chazelle to be the director behind the project, a film needed to be made that attempted to humanize those involved with the Apollo 11 mission by dedicating itself to the first man behind it.

Part biopic, part space-art-project, “First Man” recounts the career of Neil Armstrong, played by Ryan Gosling, as an astronaut at NASA and documents the

challenges of his personal life.

Early on, the film reveals that Armstrong’s first child, Karen, died as a toddler, which takes a huge emotional toll on him and his ability to be present with his family. As a result, his work with NASA becomes a way for him to focus on something beyond himself and his personal life. The film mainly depicts the space missions and projects with which Armstrong engages before captaining Apollo 11, alongside the personal toils he endures on Earth.

Some people may walk away from the film believing it possesses a glaring flaw: “First Man” feels too small for the vastness of its subject. In relation to other recent films about space, such as Christopher Nolan’s “Interstellar” or Alfonso Cuarón’s “Gravity,” “First Man” feels submissive, as though its tone is unable match the great mystery of space. The film’s subdued color scheme, portrayal of Armstrong’s passive energy and focus on his personal matters all contribute to a feeling of disproportion when positioned beside his riveting space missions.

Yet this sense of discomfort is essential to Armstrong’s story, as it reflects the quietness and distance that radiate from his own persona. All aspects of the film are devoted to capturing and relaying his

perspective, both as an astronaut and as a person.

Armstrong’s perspective is not only ingrained in the tone of the film but also used as a structural element tracing his emotional peaks and periods of stagnation.

The film’s opening sequence is shot from Armstrong’s point of view as he navigates a test flight, while the second sequence of scenes expresses the loss his family suffers when Karen passes away. Much of the film is constructed in this way, pitting the ultimate exhilaration Armstrong feels in space against his personal life.

As Armstrong is working at NASA, “First Man” captures the feelings of excitement and innovation, tinged with a personal sense of release from his normal life. The scenes in between, in contrast, illustrate his everyday existence and the human struggles he faces.

With every tragedy, Earth seems to become that much quieter and that much smaller, as Armstrong retreats further into his shell. By delving into the intricacies of Armstrong’s suffering, “First Man” is not about his adventures or accomplishments in space but rather about the man behind them.

Finally, Chazelle deserves considerable credit for the manner in which he brings the film full circle. Throughout the film,

Armstrong seems to try to eliminate any sort of association between the two parts of his life — his career as an astronaut and his personal life. Yet, because the two parts are so inevitably connected, each path ends up hindering the other in some capacity.

This tension resolves itself only once Armstrong finally reaches the moon. In a scene early on in the film, Armstrong is in the middle of an interview with NASA when he is asked why he believes in space.

He responds by discussing the idea that space allows us to see things from a new perspective or even see things we had never noticed before. His words prove true once he’s standing on the moon.

Chazelle’s “First Man” is truly a work of art but is not necessarily easily digestible. The film is not only aesthetically beautiful and extraordinarily intimate but also ambitious in its subject matter and in its commitment to conveying Armstrong’s character.

With ample reflection, “First Man” delivers a profound meditation on the strife of human existence in the shadow of something bigger than all of us — the marvels of space and the great unknown .

Olivia Simon is a senior in the School of Foreign Service. DIRECTOR’S CUT appears in print every other Friday.

The music on my playlist

Kathryn Baker’s Top Picks ‘baby driver’ simon & garfunkel

Kathryn Baker (COL ’20) currently serves as an executive editor for The Hoya.

‘the ballad of mona lisa’ panic! at the disco Drawing inspiration from Pablo Picasso’s alluring portrait, this song off Panic! at the Disco’s 2011 album, “Vices and Virtues,” showcases frontman Brendon Urie’s thrilling vocals and lyrical abilities.

The song grapples with the idea of masking one’s inner struggles — a concept mirrored by the heavy drumbeats that mask an underlying piano melody. While I can listen to Urie on repeat 24/7, playing this track while exercising proves especially fruitful, due to its fast tempo and dramatic sound.

PANIC! AT THE DISCO

GEORGE EZRA

‘all my love’ george ezra From the song’s first down beat, George Ezra pulls me in with his deep, sultry voice. As a bass strums steadily in the background, Ezra charms by crooning “All my love is yours / All my time is ours.” The song then picks up at the chorus, making it my go-to track for autumn picnics or latenight drives around the city. The embodiment of easy listening, “All My Love” makes me want to sit back and admire “all those setting suns and all those rising moons” of which Ezra sings so affectionately.

Simon & Garfunkel’s ’70s acoustic hit off their acclaimed album “Bridge Over Troubled Water” is a musically complex song, combining instruments with everyday audio elements such as revving engines. But don’t let the snappy beats mislead you: The lyrics are riddled with references to the Vietnam War, economic hardships and the free love movement.

And no, Edgar Wright’s 2017 film “Baby Driver” is not solely based on Simon & Garfunkel’s song; its inclusion is just an added perk.

SIMON & GARFUNKEL

SUPERORGANISM

‘havana’ superorganism Compared to Camila Cabello’s performance of “Havana,” indie-pop group Superorganism’s cover of the award-winning song strips it of its Afro-Cuban influences, instead incorporating synth and unconventional sound bites. I discovered this cover while listening to the “Spotify Singles” playlist, a habit that has helped me discover countless new artists, and was instantly enraptured by the group’s nonchalant sound. Despite the stylistic changes, Superorganism’s cover is still suitable for dancing — I find myself bopping my head and tapping my foot whenever the song comes on my Spotify shuffle.

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concert REVIEW

Peach Pit Dazzles With Intimate Performance Nick Okerlund Hoya Staff Writer

Pop group Peach Pit thrived in an intimate performance at DC9 Nightclub on Oct. 10, displaying a new energetic sound that thrilled the crowd.

As the clock struck 10 p.m., anticipation climbed minute by minute for Peach Pit, a group of bluesy lo-fi rockers hailing from Montreal.

Peach Pit’s melodic and methodical tunes were a perfect fit for the intimate venue. DC9 Nightclub hosts lesser-known artists on the second floor of a tiny threestory U Street restaurant and bar, with some of the most reasonable ticket prices Washington, D.C., has to offer.

In such a setting, the artist-audience distinction was almost nonexistent.

Crowd members helped the opening band transport its gear to and from the stage.

Artists from all three bands performing that night milled about the bar area and merchandise table without a posse of paparazzi tailing them. By the time the second opener stepped onstage, there was still ample space in the sparse crowd.

The Vernes, an energetic but altogether forgettable medley of garage rockers, opened the night. In comparison, the second opener Sun Seeker was much more cohesive and distinct. Operating out of Nashville, Tenn., the quartet added a country twang to laid-back indie surf-rock by mixing a southern accent with whimsical vocal harmonies. The lead singer,

sporting a bright red hunting coat and a 1920s paperboy cap, humanized the band with his chuckle-worthy deadpan interjections throughout the set. After a set’s worth of repetitive lyrics, however, the audience was ready for the main act.

There were no pyrotechnics, no suspenseful buildup and no guitar shredding to announce Peach Pit’s arrival.

Rather, band members Chris Vanderkooy, Mikey Pascuzzi, Peter Wilton and Neil Smith shuffled their way through the dense crowd just like any other concert attendees. The band exuded the same humble confidence throughout the intimate spectacle that ensued, acting as guys with a penchant for, as they put it, “chewed bubblegum pop.”

Cutting through the audience, Peach Pit finally climbed onstage amid triumphant cheers, wearing their signature outfits: lead guitarist Vanderkooy in his orange turtleneck, pink overalls for bassist “Peachy Pete” Wilton, a button-down and baseball cap for the drummer Pascuzzi, and a purple crewneck sweater over a yellow collared shirt for lead vocalist and rhythm guitarist Smith.

Peach Pit opened with “Techno Show,” a clever and energetic tune belittling the electronic dance music scene. “It’s not like me to watch some guy spin a bass drop,” lead singer Smith sang while catchy licks from Vanderkooy’s Fender Telecaster filled the empty space. Though the song is not their most popular — or anything close to it — the crowd was all

for the track by the end of the jam session.

“Techno Show” was released on Peach Pit’s first full studio album, “Being So Normal,” released in September 2017. The album title is a pointed jab at judges of a local battle of the bands, who critiqued the band’s performance as “being so normal.” The album witnesses the band’s evolution but not its transformation: The band experiments with tempo, style and lyricism without abandoning the wistful blues so deeply ingrained in Peach Pit’s identity.

Following this evolutionary vein, the band played “Alrighty Aphrodite,” a track whose enticing drum-guitar interplay makes up for its lack of rhythm guitar, and “Private Presley,” a mournful tune with an army-style drumroll interspersed between verses. Both songs culminated in passionate, soaring guitar solos accentuated by the shriek of the wah pedal, an effects tool, by Vanderkooy.

The group’s performance of “Drop the Guillotine,” a rework of an identically named track on its first EP, “Sweet FA,” further displays the new Peach Pit. Once a lackadaisical, slow composition, the new version features double the tempo and double the firepower, as was demonstrated by the band’s synchronized headbanging.

As the set went on, Peach Pit warmed up to the engaged audience. Smith, usually quiet and reserved, shared a story from the band’s night in a cramped New

York City hotel several days before. He even saw fit to bless the crowd with two unreleased tracks: one a disco ball-heavy downbeat ballad about past love, and the other a laid-back, drug-induced ditty conceptualized during a camping trip called “Live From the Swamp.”

After ending the set, Peach Pit left the stage through the crowd, only to return the same way to play the inevitable encore. Acknowledging the awkwardness of that moment, Peach Pit launched right into its encore. The group began by taking song suggestions, a sign of respect for and camaraderie with the audience.

After playing “Not Me” off its 2017 album “Being So Normal” per request, Peach Pit threw the audience a curveball by covering Pixies’ iconic track “Here Comes Your Man.” As the encore drew to a close, the band concluded with its self-titled track “Peach Pit.” Not only its most popular song but also the inspiration for the band’s name, Peach Pit performed the delicious sunnyday chorus with vigor and finality. In the night’s climactic pinnacle, Vanderkooy crowd-surfed without missing a note of the carefree guitar solo.

After its impassioned rock star finale, Peach Pit stepped off its foot-tall pedestal and humbly headed to the merchandise table for conversation and signatures.

Friendly, respectful and rocking Canadian superstars for a moment, the band members were once more four average Joes in a throng of locals.

PEACH PIT

Peach Pit, the Canadian lo-fi band, was a perfect fit for the intimate DC9 Nightclub venue with its down-to-earth presence and stripped-down performance.

Although simple, the group’s musicality impressed, proving there is no need for flashiness or over-the-top performance when sheer talent can easily steal the show.

B8

the guide

THE HOYA

friday, october 19, 2018

What to Do in DC

MUSIC

New Releases

sarah cammarota Hoya Staff Writer

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Faris Bseiso Hoya Staff Writer

Boo at the zoo

The Smithsonian National Zoo will host its annual “Boo at the Zoo” family-friendly nighttime event from Friday, Oct. 19, until Sunday, Oct. 21. The event takes place from 5:30 p.m to 8:30 p.m. each night — early enough for youngsters’ bedtimes — and features events catering to young families such as treat stations, spooky Halloween-themed trails and, of course, the zoo’s typical animal attractions. Tickets cost $30.

SIA

Shawn Mendes

sia ‘i’m still here’

Shawn Mendes feat.

Teddy<3, ‘Under Pressure’

Given the lightning pace of the music industry, some artists tend to get left behind if they don’t maintain a consistent run of releases.

After almost a year without new singles, Sia has returned to remind listeners of her pop talents. Using her powerful voice to complement an equally forceful instrumental, Sia is back to uplift listeners with an assertive single.

There are many fans of both Queen and David Bowie who hold extremely high standards for any artist attempting to cover their songs. Shawn Mendes, however, does a great job adding an acoustic spin to the ’80s classic. “Under Pressure” is a welcome modern rendition from the teenage heartthrob.

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Bad Bunny

Bad Bunny feat. Drake Free Nationals feat. Daniel Caesar and Unknown Mortal ‘mia’ Orchestra, ‘Beauty & Essex’ Bad Bunny and Drake have teamed up to The Free Nationals are breaking out with the release of their debut track. After gaining exposure as Anderson .Paak’s band, the group is finally claiming its place in the musical stage.

The help the Free Nationals acquired for this love ballad includes R&B staple Daniel Caesar and psychedelic rock band Unknown Mortal Orchestra, who add star power to the single.

release a sensational reggaeton track. The song marks another new genre that the Canadian star explores in his ever-evolving discography; Drake uses it to bring back the soulful singing that propelled him to fame, this time with a Spanish twist. “MIA” is also another stepping-stone for the Puerto Rican rapper as he reaches out to wider audiences.

‘Turn me loose’ Final Weekend

The weekend of Oct. 19 is the final weekend to see “Turn Me Loose,” the play adaptation of comedian Dick Gregory’s life.

Sponsored in part by John Legend, the drama recounts the struggle and bravery of Dick Gregory as one of the first comedians to introduce race and activism into his performances. The celebratory dramatization of the activist’s life finishes its run at the Kreeger Theater. Tickets run from $56 to $72.

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As October kicks into full swing, seasonal restaurants and bars have been popping up around Washington, D.C. One particularly frightening seasonal fixture is the Death Becomes Us PopUp Bar. The bar is run out of the rotating space in the Shaw neighborhood occupied by Pop-Up Bar D.C., a constantly changing seasonal bar space. Death Becomes Us has three true-crime– themed bar spaces: one dedicated to the Black Dahlia murder, another to the Salem witch trials and a third focusing on a Hungarian serial killer. There is no entry cost, and the bar is open every day through the end of October.

Free Nationals

Smithsonian National Zoo & Conservation Biology Institute

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The National Gallery of Art will be hosting weekly sketching workshops each Friday in October to highlight the meditative nature of drawing. On Oct. 19, the mindful sketching workshop will take place in the East Building of the museum at 11 a.m., 12 p.m. and 1 p.m. for 45 minutes each.

The workshops are open to artists of all ages and skill levels, and D.C.- based meditation clinic Take Five Meditation will provide tips for connecting drawing with mindfulness techniques. The workshops are free and first come, first serve.

Arena Stage

Death Becomes us Pop-up bar

Pop-Up Bar DC

Sketching is seeing: Mindful Sketching

National Gallery of Art

friday, october 19, 2018

the guide

THE HOYA

B9

concert REVIEW

John Mayer Charms Audience With Acoustic Show Annie gott

Hoya Staff Writer

With only a mic stand, rug and guitar, John Mayer’s performance at Baltimore’s Modell Performing Arts Center on Oct. 7 proved that musical talent and stage presence alone are enough to keep audiences enthralled — no holograms or backup dancers required. Billed as “An Acoustic Evening With John Mayer,” the show was this year’s installment of Maryland-based PRS Guitars’ annual “One Night, One Show, One Cause” to benefit the Johns Hopkins Kimmel Cancer Center.

The Modell Performing Arts Center, formerly known as the Lyric Opera House and built in 1894, provided a stunning setting for the benefit show, with its ornate moldings and impressive ceilings.

The space features excellent acoustics and added grandeur to the simple stage setup, while still being a small enough venue to create an intimate feel.

The opener, Matt Scannell, is the frontman of the band Vertical Horizon, which was formed at Georgetown University when he and a friend were students. This evening, however, he was alone with only an acoustic guitar. With a voice reminiscent of James Taylor, Scannell played various Vertical Horizon songs, including one

from the group’s album “The Lost Mile,” released earlier this year. He ended his set with the band’s most famous hit, “Everything You Want,” which topped the Billboard Hot 100 in 2000.

Soon after Scannell finished, Mayer took the stage to roars from the crowd and immediately began with the up-tempo 2012 song “Queen of California.” Even though there were no sets or other performers on stage, behind him dramatic blue spotlights cast up from the ground and beamed out into the theater. These light displays elevated the visual impact of the show without distracting from the music.

Unsurprisingly, Mayer’s expert guitar playing was on full display, and he switched acoustic guitars frequently. The richness, precision and creativity of his playing filled the theater and never felt underwhelming. Additionally, on some songs such as “In the Blood,” he played both harmonica and the guitar, even soloing on the smaller instrument.

After crowd favorite “Who Says” came Mayer’s version of Tom Petty’s “Free Fallin’.” It began with a unique guitar intro, with improvisation sprinkled throughout the song that made it feel dynamic and fresh, while highlighting Mayer’s mastery of the guitar. “Free Fallin’” also showcased his recognizable falsetto, which still

shines despite his multiple vocal cord surgeries. Although Mayer’s set list spanned musical eras without sticking to chronological order, his acoustic guitar served as the unifying force.

Between songs, Mayer frequently reflected upon himself and his career, and at times it felt like he was performing stand-up comedy. His jokes generally drew laughs from the crowd, including one about the unwelcome memories that come with his old Amazon ship-to addresses. “I wanted a USB charger,” Mayer said. “I did not need a complete rundown of the past addresses of love lost.”

The mood of the audience shifted, however, when Mayer launched into a long-winded, five-minute speech after his performance of “Daughters.” He told the crowd that he “thought about that song in context with what’s going on in the world right now” and wanted “to tell you a secret that nobody in this room is ready for.”

Mayer then framed the social pressures men face to be capable of seducing any and all women as “sexual trauma” that “every man has in his upbringing.” He concluded that “we won’t have the life we all deserve” until the “alpha male contract” is eliminated.

While it initially seemed that his intermission was over, after finishing the

2006 ballad “Slow Dancing in a Burning Room,” Mayer paused and said, to mixed audible reactions from the crowd, “Might have been a good point that this was not the place to say that. So I apologize to you if I put you off.”

Re-focusing on the event at hand, he commended the work of the Johns Hopkins hospital. “It’s something I’ve wanted to do for a while, and the timing works out now, so thank you very much,” he said before launching into “Neon,” which featured the most impressive guitar playing of the night.

Before playing his new song “New Light,” which already has over 100 million streams on Spotify, he said, “It’s nice to have a big song after about 10 years.”

The stripped-down version was the opposite of the production-heavy studio version, and the audience got to see Mayer figure out how to play it acoustically.

“I had no idea that the response would be like this. Thank you,” Mayer said before beginning the spirited penultimate song, “Waiting On the World to Change.”

Pulling out the harmonica one last time, he sang the swan song of the night, 2012 release “Born and Raised.” The introspective number felt like an appropriate conclusion for a stripped-down show that featured Mayer as both a gifted musician and unfiltered human in equal parts.

john mayer

John Mayer’s performance in Baltimore wowed adoring fans with mastery of his instrument, voice and stage presence. The stripped-down concert was part of Maryland-based PRS Guitars’ annual “One Night, One Show, One Cause” and benefitted the Johns Hopkins Kimmel Cancer Center.

B10

THE HOYA

the guide

friday, october 19, 2018

CONCERT REVIEW

BROCKHAMPTON

During one of the group’s first North American performances without former member Ameer Vann, BROCKHAMPTON’s different and, at times, awkward delivery reflected this altered dynamic. Nonetheless, the group gave a passionate and memorable performance to an enthusiastic audience.

BROCKHAMPTON Returns With New Aesthetic Allan Navarro Hoya Staff Writer

Rap group BROCKHAMPTON rocked The Anthem on Oct. 16, as part of the I’ll Be There Tour promoting its fourth album, “iridescence.” The band’s mediocre performance at points proved that it is fumbling with its identity.

The self-proclaimed “greatest boy band in the world” exploded onto the music scene in 2017 with the release of the “Saturation” trilogy, three of the most well-received albums of the year.

Yet 2018 has been mired in controversy for the group: Founding member Ameer Vann was kicked out of the band in May after accusations of sexual misconduct became public. This performance was one of their first in North America after Vann’s removal; in the lead up to the show, fans were curious to see how the group would perform without a key member.

The stage design looked simple and understated. Giant LED screens backed the performance, alternating between showing video of the concert itself or music videos of the tracks, both of which were altered using thermal-based effects. The screen framed the performances beautifully and added an unexpected element of color and excitement.

The group’s use of live instrumentation, namely a violin, was a surprising aspect of the show but reaffirmed the somber mood of the show and served to reinvent the instrumentals of tracks like “SWEET” and “BLEACH” to fit the band’s new aesthetic. The instrumentation also served as instrumental backing for the short vignettes of blinking eyes that played during breaks in the show on the screens.

Coming onto the stage shortly after 9 p.m., Kevin Abstract, the group’s frontman, made clear that the show would not be a performance to forget. Each band member wore a black jumpsuit that prominently featured the face of someone who inspired them, ranging from Shia LaBeouf for Abstract to Jesus for Joba.

These outfits are a change from the notorious bright orange jumpsuits they wore throughout their “Saturation” tours, again highlighting the somber tone in their performance.

Opening with a solo and emotional rendition of “WEIGHT,” Abstract rapped about how fame has transformed the group members’ lives. The rest of the band — including Dom McLennon, Matt Champion, Joba, Merlyn Wood and Bearface — joined Abstract on stage and finished off the song passionately.

After a lengthy 10-minute break during which the stage lights turned off while the band

oddly stayed on stage, the group re-energized the crowd performing “Saturation”-era tracks “ZIPPER” and “QUEER.” Vann’s absence became evident when the group performed “GUMMY” and “STAR,” tracks that feature extended verses by Vann. The group chose to omit and skip the verses entirely, creating awkward transitions in the musical flow of the songs.

The band’s performance of “TONYA” immediately following these two tracks seemed almost to be a comment on Vann’s exclusion. The single was the first released by the group after Vann’s removal and features lyrics about unstable stardom. The band members turned their backs to the crowd during the performance of the song, highlighting the poignancy of the subject matter.

The group subsequently jumped back into the energized show, performing fan-favorites “GOLD,” “SWAMP” and “SWEET.” Finishing off its initial performance with more tracks of its new album “iridescence,” including the standout “J’OUVERT,” BROCKHAMPTON left the stage with fans still wanting more.

After a few minutes of animated chanting and screaming, the band returned to the state stage and performed a three-track encore, punctuated by “BOOGIE,” the track that served as

the opener during its last North American tour.

With this final burst of energy and excitement, BROCKHAMPTON satisfied its passionate fanbase with a show few would forget.

The standout performer throughout the show was Joba, with unmatched joyful energy and powerful delivery. Joba has always been one of the most exciting voices in the group, displaying a wide range in vocal style throughout the band’s discography: His performance Tuesday matched this dynamism.

Aside from Joba, no individual member was spectacular. Wood and Champion seemed content and jolly as usual, while Abstract and Bearface were generally more somber, befitting the mood of their newer music. Interestingly, McLennon’s energy seemed to dwindle as the show progressed, with him even stepping off stage during the performance of “SAN MARCOS,” which ended the first portion of the show.

The imperfect nature of the performances reflected the flawed, reeling state of the band after the expulsion of Vann. Its performance, while still energizing and passionate, was not entirely what fans of BROCKHAMPTON have come to expect. Maturation was inevitable for a group like BROCKHAMPTON; its live show, while still electric, showcased the changes the band has experienced in the past year.

friDAY, October 19, 2018

the guide

THE HOYA

B11

ALBUM REVIEW

sheck wes

“Mo Bamba” was an instant hit, but Sheck Wes proved that he is not a one-hit wonder with his new album, “Mudboy.” The tracks deal with themes such as his high school basketball career, his African heritage and his childhood, although the lyrics disappoint. Still, the energy and production make the album a fun and compelling listen.

Sheck Wes’ ‘Mudboy’ Solidifies His Star Status MUDBOY Sheck Wes Allan navarro Hoya Staff Writer

After the soaring success of his track “Mo Bamba,” rapper Sheck Wes manages to create an impressively produced and eclectic trap album with his debut “Mudboy,” cementing his place as a rapper to keep watching despite the lyrical shortcomings.

Harlem-based Wes quietly posted his breakout track “Mo Bamba,” named after Orlando Magic center and childhood friend Mohamed Bamba, on SoundCloud in June 2017. Yet the track’s popularity did not skyrocket until a year after the single’s release. By the time the song debuted on the Billboard charts, Wes had already earned a joint record deal from Travis Scott’s Cactus Jack Records and Kanye West’s G.O.O.D. Music.

“Mudboy” capitalizes on the acclaim “Mo Bamba” received and further affirms his status as one of rap’s budding stars. Yet “Mudboy” never quite reaches the heights of the carefree club banger “Mo Bamba,” which was put together in 20 minutes and features a beat cut off midway through that can be heard across college campuses and basketball arenas alike.

Much of the track’s popularity can be

 attributed to the rising star Mo Bamba himself, who was drafted sixth overall in the NBA draft in June 2018, coinciding with the song’s ascension in popularity.

Nevertheless, Wes remains the shining star on the track with his passionate and energetic vocals, heard over driving synthesizers and punctuated by ad-libs after nearly every line, combining to create arguably the catchiest trap rap song of 2018.

After the success of his breakout track, Wes had a lot to prove with “Mudboy,” a 14-track album with no features executively produced by Wes. The two other singles that preceded the release of the album, “Chippi Chippi” and “Live Sheck Wes,” made up nearly the entirety of Wes’ discography before the release of the album and are similarly energetic but devoid of lyrical meaning. Wes’ onedimensionality and seemingly limited song-making ability called into question his staying power in rap for some.

Wes more than proves himself, though, from the first track of the album. Wes establishes himself as not another runof-the-mill SoundCloud rapper with the track “Mindf----r,” which opens with 90 seconds of instrumental backing, carefully cultivating the atmosphere of the LP. The first five songs, including the standout “Wanted,” are all bursts of en-

ergy that few artists today can match.

The tracks also outline much of what becomes Wes’ signatures on the album, in the ad-libs on songs like “Mudboy” and “B---h,” as well as his references to himself in the third person.

The sixth track on the LP, “Never Lost,” provides a brief respite from the overwhelming energy permeating the beginning of the LP. The low-key track, produced by WondaGurl, who has worked extensively with Travis Scott, features breathy singing and rapping by Wes, who croons longingly about his upbringing in Harlem. Wes raps about how he started slipping into crime and how his mother sent him to Senegal, where his family is from, to reform himself. The months Wes spent in Africa clearly had a significant impact on his life, as they are mentioned multiple times throughout the latter half of the LP. The next few tracks on the album speak to Wes’ connection to the basketball world. Wes was a star player when in high school until an injury ended his career early. He raps candidly about not paying attention in school, choosing instead to watch ESPN and lamenting about how he could have been a regular on ESPN highlight reels if he had been healthy. “Kyrie” is another banger in the

vein of “Mo Bamba”; in the song, Wes compares himself to Boston Celtics players Jayson Tatum and Kyrie Irving.

The second half of the album again pivots back to Wes’ upbringing and time in Africa with the personal track “Jiggy on the S---s.” On this track, Wes makes the standout choice to rap the majority of the bridge in Wolof, the native language of Senegal, speaking about how his mother left him in Africa with no identification or passport. Wes also points out that no other rappers switch up their languages in rap. Still, the shortcomings in Wes’ songwriting ability are evident on this track: Outside of the bridge, Wes barely does more than repeat and slightly alter the central refrain to fit his message.

The atmosphere created by Sheck Wes is one few modern trap artists can match.

The cohesiveness of the album is readily apparent and unparalleled by many of his up-and-coming contemporaries.

His lyrical deficiencies are made up for with stellar production, and initial fears about the lack of features are quickly remedied by Wes’ dynamic song styles on the LP. Among the most fun and eclectic trap releases of the year, the solid debut album “Mudboy” solidifies Wes’ place in the rap industry and assures his status as more than just another one-hit wonder.

Illustration BY: anna kooken/THE HOYA