The Hoya: The Guide: January 19, 2018 by The Hoya

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Blueprints of the Blue and Gray

ILLUSTRATION BY: MINA LEE AND EMILY SHAMBAUGH/THE HOYA

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Georgetown’s Buildings Blend Old and New William Leo

Hoya Staff Writer

Healy Hall and Lauinger Library, visible from both the Key Bridge and the front gates of Georgetown University, are what first come to mind when the words “Georgetown” and “architecture” are put together. It is in these buildings, after all, where students congregate to study, attend class and listen to some of the world’s most noteworthy policymakers. Yet, Healy Hall and Lau are exceptions to the neighborhood’s architectural design. Lined with colorful townhouses and aged brick buildings, Georgetown’s incomparable charm keeps tourist rates and property prices high, but the area’s architecture has more to offer than aesthetic pleasure. Resisting current pressures to build impersonal glass-and-steel high-rises, Georgetown’s commitment to the preservation of its older architecture allows the community to stay close to the neighborhood’s roots. Appealing Architecture The distinctive design of the neighborhood sets Georgetown apart from residential Burleith to the north and urban Foggy Bottom and Dupont Circle to the east. “It is a very uniquely built environment because it is the oldest part of the city,” said Thomas Luebke of the U.S. Commission of Fine Arts, which oversees new construction and advises the federal government on matters of design and aesthetics in Washington, D.C.

The houses of Georgetown stand out not only because of their brick and stone facades but also because of the way the buildings are arranged. “The facades of the houses come right to the back of the sidewalk, which is pretty common in the colonial period,” said Jonathan Fitch, a local landscape architect who has worked on projects in Georgetown. Houses are built very close together as well, completely filling the relatively small plots of expensive property. “So, basically, there are no front yards, and that makes a huge difference,” Fitch said. As for its roads, Georgetown’s extensive network of cobblestone and brick harkens back to an era before asphalt and concrete. Georgetown was founded as a town in 1751 — before the creation of the District of Columbia — and the longest continuously named street in D.C., Water Street, can be found in the neighborhood. Although many of Georgetown’s streets have been repaved and remade with other materials, its eccentric sidewalks are still largely composed of brick laid on earth. “[The brick is] not laid on a concrete slab, and it gets sort of water jawed; that contributes to the aged character of Georgetown,” Fitch said. “Over time the pitter-patter of little feet compacts the earth differentially under the sidewalk, so parts of it settle a little more than others, so you get a lumpy character.” These features did not spontaneously coalesce in the neighborhood but follow instead from a concerted preservation effort by the fed-

eral government. The creation of the Georgetown Historic District in 1950 – the first such historic district in Washington, and just the sixth in the United States – cemented Georgetown’s status as an architecturally significant destination worthy of preservation. That same year, Congress passed the Old Georgetown Act, which conferred the responsibility of reviewing most exterior construction in the neighborhood to the U.S. Commission of Fine Arts. This legislation places strict limits on what Georgetown University can build, heavily influencing the character of campus. from Colonial to Contemporary Georgetown developed its iconic look from an evolution through several periods. The first construction in Georgetown took place shortly after its foundation as a town in the early 1750s. As a settlement on the Potomac River it was immediately absorbed into the vast network of transatlantic trade that defined the colonial period. Georgetown’s heritage as a port has had a long-lasting effect on its buildings and its ambiance. “Georgetown always had very much a working waterfront character. It is a very important part of its history,” Luebke said. Architects refer to this period as colonial. Today, almost nothing aside from the layout of the streets survives. “There is a kind of an idea that Georgetown

has this colonial history and that the architecture goes way back,” Luebke said. “The truth is, there is very little from the 18th century that survives.” Georgetown’s look derives a great deal more from the Federal era, which stretches from the late 1790s through the 1830s, than from the Colonial period, according to Luebke. This era gave rise to the design of the classic, flat-fronted brick houses seen throughout the neighborhood. It also saw the first constructions on Georgetown University’s campus. Although this period’s architecture defines one part of Georgetown’s style, construction and development continued after the end of the Federal period. “So much of the Georgetown area and the Georgetown era is actually the Victorian era,” Luebke said. The Victorian era saw the construction of many of Georgetown’s most notable buildings and features. The construction of the Chesapeake and Ohio Canal began at the very end of the Federal period but was largely built during the Victorian era, and the canal was fully completed in 1850. It cost more than $11 million and connected the Potomac in DC with the headwaters of the Ohio River in western Pennsylvania. Healy Hall, Georgetown’s flagship building, was also built between 1877 and 1879, though it is in the medieval Flemish Romanesque style rather than the Victorian. Its architects Paul Pelz and John Smithmeyer also designed the Library

LEFT: ANNE STONECIPHER FOR THE HOYA; RIGHT: ANNA FREI FOR THE HOYA

Georgetown’s architecture has more to offer than aesthetic pleasure; rather, its commitment to traditional designs allows the community to stay close to the neighborhood’s roots. The House of Sweden on the waterfront, left, is just one product of centuries of construction and destruction that continues to this day.

friday, january 19, 2018 of Congress. Healy Hall was designated as a National Historic Landmark in 1987. Development continued into the 20th century, especially along the waterfront. “The newer projects tend to draw on the industrial heritage of the waterfront and the canal,” Luebke said. “And often from the early 20th century.” The Victorian-influenced Dumbarton Oaks, which features vast gardens designed by the famous horticulturalist Gertrude Jekyll, also took its current form in the 1920s and 1930s. Large sections of Georgetown retained a Federal look, but the area was by no means stagnant. In 1950, the situation changed with the Public Law 808, an act of Congress establishing the district of “Old Georgetown.” The law safeguards the historical style of the neighborhood, including the university campus, by requiring the U.S. Commission of Fine Arts to be consulted for any alteration or construction within the historic district. Official policy has frequently looked to the past for inspiration, even during the height of modernist architecture. Contemporary Charm Despite the influence of history on Georgetown’s modern architecture, a tension persists in the neighborhood between the sleek designs of contemporary construction and the historical image of the Federal era. To this day, Georgetown stands in contrast to the endemic modernism of downtown Washington, D.C., and the grand neoclassicism of government buildings such as the White House and the Supreme Court building. However, there are notable exceptions to Georgetown’s Federal and Victorian style. Lau embodies Brutalism with its exposed concrete and bulky, imposing form. Opened in 1970, it was designed by John Carl Warnecke as a counterpart to Healy Hall, even as financial struggles rocked Georgetown University. The House of Sweden on the waterfront offers a postmodern counterpoint to Georgetown’s historicism as well. Inaugurated in 2006, the building houses the embassies of Sweden and Iceland. It was designed by the internationally renowned Gert Wingardh and received the

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Kasper Salin Prize, the national architecture prize of Sweden, in 2007. Georgetown’s alluring ambiance is not the product of one flurry of development, or even a few famous buildings. Rather, the neighborhood is the product of centuries of construction and destruction that continues in the modern day. “It actually has more variety than a lot of the areas,” Luebke said. “It has the most variety over the largest historic span.” The Federal-era buildings that exemplify the neighborhood’s style survive not because of a successful embalming but conscious and concerted redevelopment and careful attention to aesthetics within the Georgetown Historic District by the Commission of Fine Arts. Today, the CFA oversees any alterations, demolitions or constructions within the Georgetown Historic District through an appointed committee of three architects known as the Old Georgetown Board. As a result, any project undertaken at Georgetown University – from the installation of solar panels in university townhouses to the construction of the new surgical pavilion at the MedStar Georgetown University Hospital – must be approved by the OGB at its monthly meeting. In the past, the OGB has played a significant role in determining the design of new structures at Georgetown. In 2013, the panel objected to the hard edges of the plan for a new study space on campus, resulting in modifications to lighting, landscape continuity and structural elements to soften elements of the design plan for the Healey Family Student Center, completed in 2014. Without these regulations, the rich collection of Colonial, Federal and Victorian architectural styles in the Georgetown neighborhood might have been replaced by homogenous modern development. Today, the distinctive look continues to delight residents and visitors while reminding us of the region’s roots. “[Georgetown has] a certain kind of smallscale charm that is simply not available in other places,” Fitch said. “It is lovely, and on top of that, it is genteel.”

TOP: AISHA MALHAS FOR THE HOYA; BOTTOM LEFT: SPENCER COOK/THE HOYA; BOTTOM RIGHT: CAROLINE PAPPAS/THE HOYA

A tension exists in Georgetown’s neighborhood between sleek modern designs and the historical remnants of the Federal era. To preserve Georgetown’s unique charm, the Old Georgetown Board oversees any proposed alterations or demolitions within the Georgetown Historic District. Without it, many of the area’s older architecture may have been replaced by now.

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restaurant review

An Internationally Renowned Chef Comes to DC Nobu D.C. 2525 M St. NW, Washington, D.C. 20037 | Cuisine: Japanese-Peruvian | $$$$ Liam O’Donnell Hoya Staff Writer

Chef Nobu Matsuhisa, known internationally for his blend of Japanese and Peruvian cuisines, has brought his mastery to Georgetown’s West End with the opening of Nobu D.C. in 2017. Although he has 38 restaurants located around the world, Nobu D.C. marks Matsuhisa’s first venture in the nation’s capital. With comprehensive lunch, dinner and drink selections, Nobu D.C.’s menu satiates the desires of amateur and sophisticated sushi lovers alike. While its atmosphere, at times, suggests an overbearing desire to live up to Matsuhisa’s international acclaim, Nobu D.C. lives up to its reputation for delicious cuisine. Located on the ground floor of the posh condo Residences on M Street, Nobu D.C. is a sophisticated dining destination in an upscale residential neighborhood. Inside, it feels like an exclusive club. Odd lighting and loud house music make cozy conversation nearly impossible, creating an atmosphere that is showy rather than intimate. The restaurant’s noisiness is only worsened by overzealous staff and servers. The server interrupted our conversation several times to ask how

we were doing or to attempt to sell us another dish we had not ordered. Additionally, our plates were taken away during momentary lulls before we had finished everything. Attentive service is always appreciated, but not when it is detrimental to the dining experience. Fortunately, Nobu D.C.’s food compensates for these shortcomings. Its plentiful menu provides the opportunity to sample a large array of dishes — perfect for large parties. Most of the dishes consist of several pieces that can be divided among many people. My party started with shishito peppers and edamame before moving onto salmon avocado rolls and spicy tuna rolls, which instantly made an impression. Compared to other chains, the sushi at Nobu D.C. stands out because of its supreme freshness. While soy sauce is usually necessary for sushi, at Nobu, the taste of the roll itself is strong enough to make you forget about any dipping sauce. Next, my friend and I shared two plates of the spicy tuna with crispy rice, a dish that perfectly displays Matsuhisa’s quintessential Japanese-Peruvian fusion. Easily my favorite item of the night, it consisted of bite-sized cubes of fried sticky rice dipped in a spicy Peruvian sauce and topped with

tuna tartar. The dish combined South American spice with fried rice and fish, creating a powerful and satisfying bite. As such a brilliant combination of flavor is hard to come by, it is easy to understand how Nobu earned its esteemed reputation. We ended our meal with red miso short ribs and salmon nigiri and sashimi. The short ribs are compact squares of the most tender pork pulled from the rib and doused in red miso sauce. Like the spicy tuna and rice, they have a strong and spicy flavor that overwhelm in the best way possible. The salmon nigiri, served on rice, and sashimi, served without rice, impressed in the same way as the earlier sushi rolls. The freshness allowed us to taste the rolls’ subtler flavors, differentiating Nobu’s salmon slices from those found elsewhere. While its service and atmosphere can be offputting and uninviting at times, Nobu stays true to its reputation for delivering great food. Each bite provided interesting and unique flavors unlike those found at other well-known sushi places. The stark difference in taste justifies the difference in price between Nobu D.C. and the standard Japanese restaurant. It will be an expensive dinner, but it is a perfect spot for those who regularly enjoy sushi and seafood.

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NOBURESTAURANTS.COM

Nobu D.C. combines Japanese and Peruvian cuisines with remarkable flair.

Feature

Pizzeria Paradiso at the Top of Its Game José Villalobos Hoya Staff Writer

For over 25 years, Ruth Gresser, the chef, owner and founder of Pizzeria Paradiso, has been working to refine the typical “pizza and beer” dining experience. She opened the first Pizzeria Paradiso in Dupont Circle in 1991, with the mission of delighting customers with savory and traditional Neapolitanstyle pizza pies. Since then, she has continued to explore different combinations and styles of pizza and beer while maintaining her commitment to providing high-quality service and food. For Gresser, the logical step after honing Paradiso’s pizza craft was improving the quality and selection of its beer. The realization of this goal came in 2006 with the creation of Birreria Paradiso, a craft beerfocused bar located below the pizzeria designed to complement the pizzeria services within Paradiso’s Georgetown, Dupont and Old Town Alexandria locations. In an interview with The Hoya, Gresser explained that Birreria Paradiso was intended to “elevate the beer after having elevated the pizza.” One of four venues opened and owned by Gresser, Birreria Paradiso became

the first in what has become a resurgence of craft beer-oriented venues in the Georgetown area. Under the leadership of Drew McCormick, Birreria Paradiso’s new executive beverage director, the Paradiso group has been at the forefront of a national movement that seeks to expand its offerings of craft beer and differentiate themselves from large, corporate breweries. According to The Washington Post, starting last fall, Pizzeria Paradiso decided to only collaborate with and sell products from breweries that meet the Brewers Association’s definition of a craft brewer, which is “small, independent and traditional.” McCormick explained the difficulty of altering the existing beverage selections but maintained that the team is content with the decision, as it plays into Pardise’s larger mission of working with small, local producers. The shift in beer selections is not the only recent change for Birreria Paradiso. Beginning in December 2016, Birreria underwent renovations and last week the newest development in Gresser’s pizza and beer approach came to life. The new space, named the Pizzeria Para-

diso Game Room, opened Jan. 12, bringing Gresser’s vision of an elevated pizza and beer dining experience to fruition. The room offers a wide collection of arcade games, a comprehensive musical selection, full service of Paradiso’s famed pizzas and a craft-exclusive selection of beers. After ordering a specialty, slow ovencooked pizza with homemade, hand-worked dough, I was tasked with picking from a massive selection of drinks. The game room offers a selection of eight rotating taps, with four available at a time, and 60 different canned crafts. The move to can-based brews signals an attempt to switch back to the casual origins of pizza and beer. I selected a can of “Raised by Wolves,” a pale ale that shows off the impressive experimentations in dry-hopping techniques by the Right Proper Brewing Company, and I moved downstairs to check out the impressive new array of arcade games. After a few rounds of Skee-Ball, some friendly strangers invited me to play a game of shuffleboard. My food made it to the table just as the game was finishing, and I turned my attention to the smells and flavors in front of me. The spices and condiments were light but perceptible, complementing the

dough and toppings but not concealing any of the other tastes. The tomato sauce was delightful and the mozzarella was melted enough to keep the pie together. My only toppings were pepperoni and pork sausage, but they added the perfect touch of meaty flavor to my meal. After finishing the pizza, I wandered to the video game section. Classics like PacMan and Space Invaders will make any old-time gamers rejoice in nostalgia. Paradiso’s management was successful in honoring the arcade subculture of fight and combat games, headlined by the unparalleled Mortal Kombat. The new gaming and drinking venue has its faults: Seating and eating spaces are confined to small stools that operate as tables, potentially dissuading customers from ordering food. Yet, the ambience, entertainment and quality of food and drink compensate for this minor inconvenience. If the grand opening was any indicator, the Pizzeria Paradiso Game Room will be constantly filled to the brim with customers juggling a slice of pizza and a fine ale among the collection of vintage games as relaxing music plays.

friday, january 19, 2018

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After Centuries Apart, 3 Buddhas Reunite maddie finn Hoya Staff Writer

Positioned on Independence Avenue by the National Mall, the Freer Gallery of Art and the Arthur M. Sackler Gallery feature worldrenowned American and Asian art collections. Unlike more aesthetic-driven galleries, the Freer and Sackler galleries connect their art exhibitions to significant events and developments from the history of Asia. Aligning with this approach, the galleries’ latest exhibit, “Secrets of the Lacquer Buddha,” features sixth- and seventh-century Chinese lacquer Buddha statues and discusses the techniques used to make inferences about their creation and history. The exhibit marks the first time the three remaining sixth- and seventh-century life-sized lacquer Buddhas have been displayed together in one museum. One hails from the Walters Art Museum in Baltimore, another from the Metropolitan Museum of Art in New York and the third from the Freer|Sackler itself. Negotiating to get all three sculptures in the Freer|Sackler was difficult. Because of lacquer’s extreme fragility, the New York and Baltimore Buddhas had not been moved from their respective museums for nearly 100 years.

The Freer|Sackler even has a stipulation in its charter that the Buddha may not be removed from its present home for fear of any damage. For the next six months, the last three surviving ancient lacquer Buddhas will sit meditatively in the lower level of the gallery. Although this exhibit is smaller, and in some ways simpler, than the museums’ other collections, it tells a complex story. The three Buddhas sit cross-legged and stoic in a dimly lit room, complemented only by an informational plaque. Faint traces of the bright paint that once covered the statues add splashes of color to the brown lacquer. Each sculpture is unique, but the inspiration and intent behind their creation is the same. Guests can walk all the way around the Buddhas to view the poignant art from all angles. Most of the exhibit is concentrated in an adjoining room. This space, supplied with screens for pictures and information posted on the walls, tells the story of the Buddhas more scientifically than the way they typically are at an art museum. After the three sculptures were gathered together, Donna Strahan, the head of the Department of Conservation and Scientific Research at the Freer|Sackler Gallery, began intense scientific analysis of the Buddhas.

Prior to her work for the exhibit, Strahan had conducted extensive research on various artifacts from Asia. Her research included a study in 1993 on the lacquer Buddha from Baltimore, making her a perfect choice to spearhead the research for “Secrets of the Lacquer Buddha.” Her work consisted of X-rays of the sculptures and analyses of small lacquer samples. The lacquer used to construct the Buddhas was known to be from the Chinese Lacquer Tree, containing a toxic oil similar to that found in poison ivy. However, the research done by Strahan and her team in 1993 found traces of phosphorus and calcium, the same makeup as bon in the lacquer of the Baltimore Buddha. From this, Strahan inferred that ground bone was used as a thickening agent to assist in the sculpting. Similar molecules were found in the other two sculptures, suggesting the practice of using ground bone was common. Another shocking discovery came from the use of chromatography on an incomplete Buddha head dating back tothe eighth century. The technique led to the discovery of a layer of human blood present on the sculpture. Strahan is unsure if this layer of blood is the result of ritual or practicality, but she is currently conducting further research on the topic.

Although the use of blood and other bodily fluids for artistic purposes is not uncommon today, Strahan’s evidence might provide insights into the culture and religious practices during the Buddhas’ time, or even offer a link between our society and theirs. The exhibit is so transfixing in part because it bridges science and art. The mission of art like the Buddhas is to beautifully express the essence of Buddhist faith. There are artistic and scientific elements as to how the artist goes about expressing that essence, but the scientific elements are the ones that art viewers often ignore. Understanding the intersection of radiography, chemistry and biology involved in creating and analyzing a piece of art like the lacquer Buddhas is awe-inspiring. “Secrets of the Lacquer Buddha” invites curious minds to explore how art is created, and the immense scientific thought that contributes to that creation. Strahan summarized this sentiment well. “I hope by looking at materials instead of just the style, we can get people interested in how science helps us understand art,” Strahan said. “Secrets of the Lacquer Buddha” is located at the Freer Gallery of Art and the Arthur M. Sackler Gallery until June 10, 2018.

The Louvre Opens on the Island of Happiness faris bseiso Hoya Staff Writer

After more than a decade of planning and construction, the Louvre Abu Dhabi finally opened its doors to visitors Nov. 11., 2017. The museum serves as another stepping stone in the development of the United Arab Emirate’s cultural hub, Saadiyat Island, which translates to “Island of Happiness.” Although its construction ultimately cost the Abu Dhabi Department of Culture & Tourism an estimated $650 million, the Louvre is expected to reap rewards for the oil-rich nation. Aiming to do away with its petroleum-based economic crutch, the United Arab Emirates is using the museum as a part of its soft power diplomatic policy. If successful, Abu Dhabi would complement Dubai’s presence on the world stage as a global city of cultural tolerance. In a word, the museum is grand, epitomized in the museum’s architecture by Pritzker Prizewinning architect Jean Nouvel. The bold white of the museum gives it a remarkable glow against the water surrounding it. The elaborate aluminum-lacing dome covering the building is composed of 7,850 individual “stars” arranged in a geometrical pattern. It weighs in at around 7,700 tons and measures around 591 feet high. The opening ceremony did not lack in splendor, either. Among the attendees were Sheikh Mohammed bin Zayed Al Nahyan, Crown Prince of Abu Dhabi; Sheikh Mohammed bin Rashid Al Maktoum, ruler of Dubai; French President Emmanuel Macron; and Moroccan King Mohammed IV. The Louvre Abu Dhabi is being marketed

as a synthesis of historical works from around the world. Nouvel said to Architectural Digest it “would become a museum of civilizations,” and Sheikh Mohammad Bin Zayed tweeted that it “brings together unique art icons that reflect humanity’s collective genius.” Essentially, the Louvre Abu Dhabi is attempting to peer at history through a global lens. The goal is ambitious and the effort commendable, but the project has yet to fully achieve its objective. When walking through the gallery, display s feel like they’ve been mixed and matched. Rather than grouping them based on chronology or geographic location, curators have placed objects together based on visual likeness. Although this tactic results in the absence of a cohesive narrative, the hope is that viewers accustomed to colonialist approaches to curating art accept that all cultures and their arts are equally valuable. The nobility in that aim should be applauded. The outcome is a painting by British painter Francis Cotes sharing space with a portrait by Japanese artist Kitagawa Utamaro. Torah scrolls are displayed next to Quranic scriptures. A sarcophagus and a statue of Ramses can be found in close proximity to a Virgin and Child sculpture. With this approach, local visitors will not feel lost in a sea of foreign works. Various historical works from the Persian Gulf are scattered around the early historical galleries to give the museum some sense of cultural foundation. In some cases, that heritage is the centerpiece, as with the ancient coin exhibition. While there are a plethora of famous works, the cultural breadth does not bring with it a

LOUVRE ABU DHABI

The Louvre Abu Dhabi opened in November after more than a decade of planning. The museum has a charming mismatched feel, with hopes that viewers accept that all cultures’ art is valuable. sense of depth to the galleries. The experience is linear; visitors move promptly from one gallery to another. Since everything is placed in this stream of rooms, there is no chance to make the main ideas of the galleries more comprehensive. This layout leaves viewers without the option of choosing different paths and exploring different themes in detail. Furthermore, the lack of contemporary art — particularly from Arab artists — is disappointing. Nevertheless, these are minor issues for a young museum. Curators at the Louvre Abu Dhabi still have time to develop the museum. As part of the arrangement that granted them with the “Louvre” name for 30 years — a project worth an estimated $1.5 billion in total — the museum may borrow and display works from French institutions. The museum is also

continuing to shop for works around the Middle East; the museum should be able to display a unique permanent collection soon enough. One piece near the entrance to the galleries particularly stood out — the third part of 20th--century Italian artist Giusepe Penone’s “Germination.” It consists of a porcelain disk with the fingerprint of the UAE’s founder in the center. Surrounding the print are circles that radiate outwards like ripples from a water droplet. The piece was inspired by Sheikh Zayed bin Sultan Al Nahyan’s vision which helped bring the UAE to where it is today. It makes one wonder if the Louvre Abu Dhabi, like Sheikh Zayed’s fingerprint, could create a similar ripple effect not only in the Middle East art scene, but in the rest of the world. Only time will tell.

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friDAY, january 19, 2018

testing truisms

Does Absence Make the Heart Grow Fonder?

Vera Mastrorilli

or many of us, walking through the front gates of Georgetown University for the first time was a fresh start. Although moving to college provides a plethora of new social opportunities, it also distances us from prominent figures in our previous lives: our siblings, parents, high school friends and significant others. Does substituting after-school meetups with phone calls or grabbing a meal in O’Donovan Hall instead of gathering around the kitchen table weaken our relationships with people back home? Or, as the saying goes, does absence make the heart grow fonder? When we leave for college, we may vow to keep in touch with our friends from high school, but is remaining close realistic given all the new people we meet in classes, clubs and dorms? In fact, while distance may not bring us closer to our friends from home, it does not necessarily pull us apart. The fre-

quency with which friends communicate, rather than their proximity, determines the closeness of long-distance friendships, according to a Marquette University study of the relationships between college freshmen and their best friends from high school. The type of communication also matters if you want to avoid losing touch with your close friends. Because shared experiences are crucial to maintaining strong friendships, friends can remain emotionally close by sharing their problems and feelings with one another, a study by professors at Eindhoven Institute of Technology found. However, the study also reported that longdistance friendships often lack this critical interaction. Absence need not drive you apart if you maintain emotional intimacy despite the distance. So during your next Skype call, go ahead and complain about the food at the dining hall and share how excited you are to be part of Rangila — doing so may strengthen your friendship. While there is potential to maintain friendships across distance, can we keep our high school relationships alive? If the adage “absence makes the heart grow fonder” is in fact true, it does not explain why we break up with our high school girlfriends and boyfriends during our first Thanksgiving break at Georgetown. Some findings present a grim outlook for long-distance relationships in college. According to an East Carolina University study

about undergraduate students’ long-distance relationships, 20 percent of students said that separation made their long-distance relationship worse, while another 21.5 percent said the distance caused their relationship to end. However, other research finds that longdistance relationships are not doomed. A study from Queen’s University in Canada concluded that the quality of a relationship depends on the characteristics of the relationship and the partners involved, not on whether a relationship is long-distance or in-person. To go a step further, absence may indeed make the heart grow fonder for romantic partners. People in long-distance relationships consider their interactions more intimate, tend to act more cheerful toward their partner and have fewer everyday spats than those in in-person relationships, according to a study at the University of Kentucky. The data also reveal that long-distance couples talk about problematic or taboo issues less frequently than other couples do. Their romantic interactions may enable long-distance partners to maintain a positive perception of the relationship and help compensate for the lack of physical intimacy. While the absence of everyday conflict may create fondness in the short term, it can undermine the future success of a relationship. Conflict enables partners to assess their longterm compatibility, so if they do not address disagreements when they are apart, their

relationship may not last long after they are reunited. While we can end our high school romances if they do not work out, some long-distance relationships are here to stay. For example, how does going away to college affect our bonds with our siblings? When the physical distance between siblings increases — such as when one goes away to college — they interact less frequently and feel more emotionally distant from each other. This tendency, however, is not necessarily a bad thing. Most siblings actually become closer and get along better when one goes to college. They may fight less and make more of an effort to spend time together when they can. So now that you spend most of the year at Georgetown, your brothers and sisters may seem more likable than when you lived under the same roof. Absence can make the heart grow fonder, but even if it does not, our previous relationships do not have to suffer when we go to college. So, give your high school sweetheart a chance, look forward to making peace with your siblings during the next school break and shoot a text to your best friend from home. Rather than expecting distance to weaken your bonds, take advantage of the ways you can strengthen them during your separation. Vera Mastrorilli is a junior in the College. Her column, TESTING TRUISMS, has been renewed for the spring semester.

this week’s top five

What to Watch on Television in 2018 Kathryn Baker is a sophomore in the College and a senior editor of the Guide.

‘The assassination of Gianni Versace: American Crime Story’

Produced by Ryan Murphy, the second season of the “American Horror Story” spinoff explores the murder of legendary fashion designer Gianni Versace, played by Édgar Ramírez, committed by serial killer Andrew Cunanan, played by Darren Criss. Other standout stars this season include Ricky Martin as Versace’s partner Antonio D’Amico and Penélope Cruz as sister and successor Donatella Versace. The show premiered Wednesday on FX.

FX NETWORKS

‘9-1-1’

‘Grown-ish’

Another Ryan Murphy production, “9-1-1” is a procedural drama series that follows the intense and frightening moments experienced by first responders, including police officers, paramedics, firefighters and dispatchers, while also providing a peek into their personal lives. The show premiered Jan. 3 on Fox and features Angela Bassett and Connie Britton, who both worked with Murphy on “American Horror Story.”

Creator Kenya Barris’ “Black-ish” received critical acclaim for its depiction of the common African-American experience and its heartwarming depiction of the family unit. Its comedic spinoff, “Grown-ish,” follows Zoey Johnson, played by Yara Shahidi, as she heads to college and begins her adult life. Airing on Freeform, the show also stars Deon Cole as Charlie Telphy and Trevor Jackson as Aaron Jackson.

‘Our Cartoon President’ The adult animated satirical series, premiering on Showtime on Feb. 11, stems from a recurring segment of creator Stephen Colbert’s latenight talk show “The Late Show with Stephen Colbert.” Taking a comedic glance at a typical day in President Donald Trump’s life, the show features Jeff Bergman as Trump, Zach Cherry as Secretary of Housing and Urban Development Ben Carson and Gabriel Gundacker as White House Policy Adviser Stephen Miller.

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‘Sharp Objects’ Following her release from a psychiatric hospital, crime reporter Camille Preaker, played by Amy Adams, returns to her hometown of Wind Gap, Mo., to investigate the murders of two young girls. The show is written by Marti Noxon, directed by Jean-Marc Vallée and is based off Gillian Flynn’s novel of the same name. Although plans for the HBO show were originally released in 2016, the show is not set to debut until Summer 2018.

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FRIDAY, JANUARY 19, 2018

THE HOYA

6 ‘BAD GENIUS’

Top 10 Movies of 2017

In a year that saw an unusual excess of comedic heist thrillers, “Bad Genius” easily tops the competition. In a phenomenal acting debut, Chutimon Chuengcharoensukying plays a teenage prodigy who establishes an exam-cheating business, first as a venture at her high school and later as a national enter-prise. The movie also offers a telling commentary on class structure and Thailand’s education system.

‘CALL ME BY YOUR NAME’

“Call Me by Your Name” reaffirms Luca Guadagnino as a master of mise-en-scene, telling a story through visual art and the theatrical landscape. Guadagnino and his crew present a sensual love story set against the handsome aesthetics of summertime in northern Italy. While at times the film plays out like a prolonged meet cute, the off-the-charts chemistry between Armie Hammer and 2017 breakout star Timothée Chalamet makes the story worthwhile.

SONY PICTURES

‘COCO’

Lee Unkrich and Adrian Molina take Pixar’s winning formula to uncharted territory in the ambitious and imaginative “Coco.” Telling the tale of an aspiring musician in search of his great-great-grandfather in the land of the dead, the film does justice to its heart-rending subject matter and pays due respect to Mexican culture.

Hugh Jackman’s final stint as the lone wolf of the X-Men checks all the boxes of a stellar super-hero movie, with intriguing heroes and villains, tense action sequences and stunning special effects. But “Logan” transcends the genre’s conventions and enters the realm of cultural mythology. The film encompasses a range of complex and mature themes, and arguably even serves as an allegory for immigration in 21st-century America.

Andrey Zvyagintsev’s latest directorial effort is difficult to watch. The vitriolic protagonists fail to show a hint of affection toward their son until he goes missing. “Loveless” aptly cap-tures a sense of disconnectedness and anomie in contemporary Russia, highlighted by cinematographer Mikhail Krichman’s camerawork.

‘LOVING VINCENT’

A spectacle in every sense of the word, “Loving Vincent” is composed of 65,000 oil-painted frames inspired by the paintings of Vincent van Gogh — a reverse tableau vivant of sorts. The film also works as a metadiegetic detective story — just as the protagonist investigates the mysterious circumstances of van Gogh’s death, the audience too plays detective with the numerous visual references to van Gogh’s oeuvre.

JOR KWANG FILMS

WALT DISNEY PICTURES

‘LOGAN’

FOX MOVIES

‘LOVELESS’

NON-STOP PRODUCTIONS

BREAKTHRU PRODUCTIONS

‘MY HAPPY FAMILY’

In a standout performance, Ia Shugliashvili plays Manana, a middle-aged woman who abruptly leaves her multigenerational household and begins life anew, liberating herself from the quotidian pressures of family life in Georgian society. With their unflinchingly feminist tale, filmmakers Nana Ekvtimishvili and Simon Groß prove that not all happy families are alike — they may not even exist in the first place.

ARIZONA FILMS

‘ON THE BEACH AT NIGHT ALONE’

Hong Sang-soo’s latest festival darling, “On the Beach at Night Alone,” shows the auteur at his most intensely personal. The film stars Kim Min-hee as a lovesick actress who reflects on her affair with a married director. In a turn of antimimesis, Kim revealed her own affair with Hong at a press conference for the film. Tabloid drama aside, the film is classic Hong, featuring plentiful awkward conversations over soju.

JEONWONSA FILM

‘THE OTHER SIDE OF HOPE’

As images of the European migrant crisis come and go, depictions of refugees in film and television have the ability to shape our discourse. Leave it to Aki Kaurismäki to craft a compelling tale of a Syrian refugee’s plight in Helsinki that is imbued with empathy and his deadpan style. Sherwan Haji plays an asylum seeker who searches for his sister with the help of an older Finnish restauranteur. “The Other Side of Hope” is humanist cinema at its finest.

Based on writer-director Carla Simon’s childhood, “Summer 1993” follows Frida, a 6-yearold girl who is sent to live with her family in the Catalonian countryside after her mother dies of AIDS. Seen through the eyes of a latently grieving Frida, this Neorealist gem shies away from sentimentalism; instead, the audience is immersed in Frida’s experiences. The result is a raw, authentic portrayal of bereavement and maturation.

SPUTNIK

‘SUMMER 1993’

AVALON

THE HOYA

the guide

FRIDAY, JANUARY 19, 2018

JAY-Z - ‘4:44’

Top 10 Albums of 2017

BROCKHAMPTON ‘SATURATION III’

What is most striking about BROCKHAMPTON is not the colorful and varied production that quickly worms its way into listeners’ heads. Rather, the most captivating feature of the group is the diversity of flows and lyrical approaches it presents on every song, from boisterous Ghana-accented staccato hooks to smoother rhymes recounting personal history.

JONTI - ‘TOKORATS’

“Tokorats” marks the third studio album from Australian electronic and alternative artist Jonti. Although the album meanders from one sound to another, it never loses its way, maintaining an airy dream-pop tone throughout. Difficult to dislike, “Tokorats” serves as the ideal soundtrack for a cruise down a lazy river.

KENDRICK LAMAR

KING KRULE - ‘THE OOZ’

Stamping London musician King Krule with a genre label is difficult, as his work blends elements of punk rock, hip-hop and jazz together into a melancholy melange of noise and emotion. Breaking through the mix is the vocalist’s distinctive deep murmur that evokes extraterrestrial landscapes, leading to one of 2017’s most unique and memorable projects.

JONTI

KENDRICK LAMAR - ‘DAMN.’

One of the year’s most highly anticipated projects, “DAMN.” is a masterpiece that showcases rapper Kendrick Lamar’s sharp lyrical skill and gift for album-length conceptual architecture. Lamar proves himself to be an adept storyteller on the twists-filled “DUCKWORTH.,” while on tracks like “FEAR.,” he reveals his inner demons. Bold and raw, “DAMN.” fully cements Lamar’s place at the forefront of the rap world.

BROCKHAMPTON

“Routines” is immediately charming and reverberates with warm familiarity. The album is saturated with layered guitar licks and has a fuzzy, faded sound that grants the project a nostalgic tone, positioning the Bloomington, Ind., band as an exciting new indie-rock group.

KING KRULE

HOOPS - ‘ROUTINES’

HOOPS

With his 13th studio album “4:44,” Jay-Z returns to a simpler style, eschewing guest rap features, radio-friendly hooks and current trapinfluenced musical trends in favor of 10 short tracks produced by his longtime associate, No I.D. The result is triumphant and authentic: The rap legend sounds perfectly in his element on the soulful “Smile” and pens an open-hearted apology to his wife Beyoncé on the title track with compelling spirit and thoughtfulness.

MAC DEMARCO ‘THIS OLD DOG’

As likeable as ever, Mac DeMarco strums and croons his way through his third album, “This Old Dog,” spilling out some of his most mature and enjoyable songs yet along the way. Although the music has a lackadaisical, carefree tone, DeMarco has a knack for crafting both cheerful afternoon romps and pensive pieces best listened to at sunset.

JAY-Z

MAC DEMARCO

SAMPHA - ‘PROCESS’

As moody and foggy as the South London streets from which singer-songwriter Sampha hails, his debut album, “Process,” is an ethereal journey through the up-and-coming artist’s anxieties and malaise. The sparse ballad “(No One Knows Me) Like the Piano” puts Sampha’s breathy murmurs center stage, while “Under” is carried by bold basslines and bright notes.

SAMPHA

ROSTAM - ‘HALF-LIGHT’

The debut solo studio album from former Vampire Weekend singer Rostam, “Half-Light” features a refreshingly diverse range of instrumentation. The sounds ranging from acoustic guitar to noisy distorted vocal samples to Indian tabla drums shows the ambition of “Half-Light.” Remarkably, the album’s varied influences come together seamlessly to create a cohesive project with a hazy, dreamlike tint. The key? Rostam’s delicate voice and easygoing charm.

Rap oddball Tyler, the Creator has always been a wild card, but on “Flower Boy,” he channels his boundless creativity into a refined and cohesive project. Jettisoning the shock humor that marred earlier projects, Tyler instead delves deep into his struggles with depression and his confusion with sexual identity. These musings are underlaid by sleek synth notes and smooth vocal performances by guest stars Frank Ocean and Rex Orange County; yet just when the syrupy-sweet singing makes heads begin to loll, jarring rap-heavy tracks like “Who Dat Boy” jolt the listener awake.

ROSTAM

TYLER, THE CREATOR ‘FLOWER BOY’

TYLER, THE CREATOR

friday, January 19, 2018

The Killers

the guide

THE HOYA

Concert review

The Anthem Kathryn Baker Hoya Staff Writer

When word came out that longtime guitarists for The Killers, Dave Keuning and Mark Stoermer, would not take part in the band’s “Wonderful Wonderful” tour following the release of its fifth studio album of the same name, critics began to speculate about the future of the renowned rock group. Yet when lead singer Brandon Flowers took the stage of The Anthem last Wednesday night, donning skintight black pants and a silky shirt, he let his audience — and all his critics — know that he and The Killers are here to stay. The band launched its show with “Run for Cover,” a hard-hitting escapist anthem. An explosion of pink confetti marked the transition to the next song, “The Man,” which samples the 1975 song “Spirit of the Boogie” by Kool & the Gang, and set the tone for a concert characterized by juxtapositions of playfulness and serious emotion.

Following the disco dance hit, Flowers threw the bandwagon fans in the audience a bone with the third song, “Somebody Told Me,” one of the band’s more popular tracks from its 2004 album “Hot Fuss,” which landed on the Billboard Hot 100 and was nominated for two Grammy awards. After the song’s notably abrupt guitar finish, Flowers took a moment to quote daredevil Evel Knievel’s message noting that fans expect effort, not perfection. Possibly referencing the hesitation and doubts surrounding the tour, Flowers promised that he and his fellow bandmembers would give The Anthem their best. From there, the already-dynamic lead singer turned up the heat, delivering song after song with an athletic intensity absent from many live shows today. Flowers took the opportunity to showcase his other musical abilities by assuming lead guitar on “For Reasons Unknown,” a 2006 track that discusses the fear and sentimentality associated with getting older. Whether it was the power of his guitar

or the back-and-forth with the audience toward the end of the song, the performance rejuvenated Flowers, prepping him for a singalong of the band’s most beloved hits, including “Runaways” and “Read My Mind.” Flowers switched up his set list by introducing Maryland musician Joe Pug to the audience. He proceeded to sing Pug’s country-rock song “If Still It Can’t Be Found,” proving that his sultry vocals work for just as well for softer folk melodies as they do in his rock-rooted repertoire. The Killers hinted at an ending to the concert with “All These Things That I’ve Done,” featuring a prolonged chorus of “I got soul, but I’m not a soldier.” But instead of waning, the audience’s anticipation and energy grew stronger with each repetition. The song’s pleading lyrics, “Is there room for one more son,” echoed hopes that the band would return to the stage and perform for just a bit longer. After a few suspenseful minutes, the band reappeared, with Flowers donning a shimmering gold suit reminiscent of fel-

low rock legend Elvis Presley. Once again, The Killers subverted the audience’s expectations, performing lesser-known tracks “The Calling” and “Andy, You’re a Star” for the first half of the encore. For the penultimate track, the group performed “When You Were Young,” the Bruce Springsteeninspired lead single from The Killers’ second studio album, “Sam’s Town.” Flowers set up his final track with the words, “I know life can be tough; sometimes that’s the way it goes. But, you got to remember — sometimes it goes the other way, too.” With a smile, Flowers began belting the lyrics to “Mr. Brightside,” a classic that has graced college parties and alternative rock radio stations since its 2004 release. As red, white and blue streamers fell from the ceiling, Flowers used his remaining energy to lead the breathless concertgoers in chanting the lyrics. With the ending notes of his salvation song, Flowers cemented The Killers’ role as one of the most influential and beloved rock groups of our time.

THE KILLERS

When The Killlers took the stage at The Anthem on Jan. 10, they played many fan favorites, including “Somebody Told Me,” “Runaways,” “Read My Mind” and “Mr. Brightside,” and were also joined by Maryland musician Joe Pug for a rendition of the song “If Still It Can’t Be Found,” adding a local flair to the popular band’s performance.

B10

the guide

THE HOYA

MUSIC

FRIDAY, JANUARY 19, 2018

THIS WEEK’S TOP FIVE

NEW RELEASES

Architectural Standouts in DC

UNION STATION

Completed in 1908, Union Station stands as a beautiful examples of neoclassical architecture. The architect, Daniel Burnham, designed arches, facades and statues inspired by ancient monuments like the Arch of Constantine and the Baths of Diocletian. In typical Beaux-Arts fashion, allegorical sculptures and paintings point to a future of industry and progress.

MOUNT EERIE

OF MONTREAL

MOUNT EERIE ‘DISTORTION’

OF MONTREAL, ‘PARANOIAC INTERVALS / BODY DYSMORPHIA’

In his new single, Phil Elverum — also known as Mount Eerie — picks up where he left off on his last album, “A Crow Looked at Me”, in continuing to work through the pain of his wife’s death. The guitar and piano accompanying his voice are somber and sparse, perfectly paired to his confessional and understandably depressing lyrics, which touch on themes of fatherhood, youth and coping with loss.

Coming in at over seven minutes long, of Montreal’s new single proves that the Athens, Georgia band is as experimental as ever. Featuring electronic, space-age sounds in its production and a beat more pronounced than in their previous work, the song sounds like it belongs in a dance club — and it would, were it not for the paranoid and inquisitive soul-searching found within its lyrics.

JAY ROCK, KENDRICK LAMAR, FUTURE AND JAMES BLAKE, ‘KING IS DEAD’ Competing against a star-studded lineup, Los Angeles rapper Jay Rock proves he can hold his own in a lyrical showdown. The verses by Jay Rock and Future are tight and uncompromising and Kendrick’s are even faster paced, complementing the song’s hard-hitting bass line with lyrics discussing his doubts about being in the limelight.

YOUNG GALAXY

YOUNG GALAXY ‘UNDER MY WING’ One of today’s smoothest synth-pop bands, Young Galaxy, from Montreal, has released a tantalizing single, “Under My Wing,” with plinking sound effects overlaid by silky whispers. The track combines upbeat, rhythmic percussion with a glossy, subdued melody, bringing to mind images of a candle dripping drops of soft wax into a pool of water.

SMITHSONIAN INSTITUTION

THE HIRSHHORN MUSEUM AND SCULPTURE GARDEN

With its doughut-like cylinder mounted on four massive legs, the Hirshhorn Museum and Sculpture Garden looks like a geometer’s dream. Once you get past the design’s inherent peculiarity, however, the building’s simplicity and elegance has a powerful charm. It remains controversial among the public but stands as a symbol of a profoundly imaginative movement.

SMITHSONIAN INSTITUTION

NATIONAL MUSEUM OF THE AMERICAN INDIAN

Great efforts were made to incorporate design principles from Native cultures into the National Museum of the American Indian. It is not the product of one thinker but of many Native American architects. The result, built in 2004, is a building with postmodern resonances and an organic aesthetic. Its sloping design echoes the natural stone formations from which its Kasota limestone was quarried.

JAY ROCK, KENDRICK LAMAR, FUTURE AND JAMES BLAKE

SMITHSONIAN CASTLE

Located on the National Mall, the Smithsonian Castle’s vibrant red color differentiates it from its dull sandstone and marble neighbors. In addition to its distinct tone, the Castle is one of few Gothic buildings in an area brimming with modernist or neoclassical forms. The building was restored in 1969 after falling into disrepair, though the reconstruction efforts stayed true to its Gothic roots.

UNION STATION D.C.

The Republic of Finland’s Embassy in Washington, D.C. was built in 1994 with an ecological focus and was awarded LEED Platinum certification in 2015. Its facade features protruding trellises to allow for the growth of vines, and it strives to incorporate the vegetation of the Embassy’s lush grounds and the forest of Rock Creek Park into its style.

SMITHSONIAN INSTITUTION

FINNISH EMBASSY

FINLAND.ORG

the guide

friday, January 19, 2018

Maxo Kream Hoya Staff Writer

“Your name is Emekwanem Ibemakanam Ogugua Biosah / Emekwanem means, ‘Don’t f---k with me.’” In these first two lines of his debut album “Punken,” menacing Houston rapper Maxo Kream introduces himself by his birth name. After a long pause, a dark drum beat rises and Maxo emerges to set the scene with his lyrical agility. The album’s theme of growing up in Houston amid violence and crime is similar to that of his previous work and serves as a welcome increase in his ambition. The second track, “Grannies,” which was previously released as a single, follows the same pattern as Maxo delivers a powerful hook: “Wake up in the morning, load my pistol, can’t leave home without it / Come from where you see a lot of bodies, but don’t talk about it.” Maxo excels in storytelling, painting vivid backdrops and delivering gritty verses to create a foreboding mood. As the boundaries of trap music continue to expand, Maxo provides a balanced fusion between the charismatic energy of his peers and historic influences of his predecessors. While Houston’s rap scene has declined since its mid-2000s entry to the mainstream and now stands in the shadows of trap music hotbeds like Atlanta, Los Angeles and recently southern

B11

Album review

Punken noah Hawke

THE HOYA

 Florida, artists like Maxo show the city is still a force to be reckoned with. The third track on the album, “Capeesh,” is more atmospheric, serviced by the haunting vocals of Trippie Redd, a rising star from Canton, Ohio, who has drawn comparisons to Lil Uzi Vert. Trippie Redd’s melodic energy pairs well with the harsh textures Maxo employs and punctuates the album’s unflinching raps. On “Hobbies,” which features a flow similar to the “Bad and Boujee” intro of Migos, Maxo attacks the beat, rapping, “Pesos, Dracos, still serve movin’ packs in the vaco / Botox, faceshots, pop at a n-----a top ’til the K lock.” Harsh lines like this are common, and Maxo delivers them with unwavering precision, making murder appear quotidian. This nonchalant attitude toward violence continues on “Beyonce (Interlude),” in which Maxo compares his collection of weapons to celebrities like Kevin Costner as his “choppa won an Oscar.” The track is well-placed, separating the roughest material from the more polished, though the content remains strong throughout. The second half of the album begins on a more relaxed sound, with soothing guitar strums under a conversation between two women, with one raving about Maxo. He follows suit, bending his flow to fit the mood as he brags about his sexual history. “Astrodome Pt. 2” closes with a conversation between the same two women with a decidedly negative

Action Bronson

view on Maxo, perhaps because of his exploits. Maxo maintains the mellow mood with funny punchlines about his affinity for marijuana and codeine among a plethora of other substances with “Love Drugs.” While not remorseful, he is certainly self-aware as he recognizes his love of drugs prevents him from loving a woman. “Pop Another” samples psychedelic rock band Tame Impala’s song “Reality in Motion” and demonstrates Maxo’s versatility. The Houston rapper is able to adeptly flow even over more reserved instrumentation. Arguably the best track on the project, “Roaches” sees Maxo verbally maneuver through minimalistic production, reminiscing about a childhood spent shooting guns and remembering “back when music had content and metaphors / Way before the mumble nonsense and poppin’ handlebars.” The simple beat allows him to dominate the song and hammer home insightful commentary that still maintains the style of modern trap. The album closes with the single “5200,” in which Maxo flexes about “getting money 5200 different ways,” a nod of loyalty to his gang affiliation. Maxo delivers a strong debut album with “Punken,” a fitting introduction to those who have never heard the Houston artist’s music. Although no producer is involved with more than three songs on the project, Maxo curates

MAXO KREAM

a consistent vibe across the board, resulting in an impressively cohesive listen. Maxo shows his skill for songwriting about the harsh realities of street life, compiling 14 quality tracks to present a raw and unfiltered autobiography. The up-and-coming rapper’s intricate verses are sharply delivered, and he possesses an uncanny talent for hooks, providing powerful bursts of aggression on each track. Maxo is the clear star of the show, able to carry the project with only three features interspersed between his own appearances. Maxo’s clear technical talent shows he has arrived, yet his vision and commitment are more impressive and indicate that the 27-year-old rapper is here to stay.

concert review

The Fillmore Silver Spring megan shapiro Hoya Staff Writer

New York City rapper Action Bronson brought a larger-than-life stage presence and buckets of charisma to his Dec. 22 appearance at The Fillmore Silver Spring. Since his 2011 debut studio album “Dr. Lecter,” Arian Asllani — better known by the stage name Action Bronson — has built a reputation as a quirky misfit with an old-school rap style and an ear for eclectic beats. His Blue Chips 7000 Tour performance at The Fillmore demonstrated his passion for music and colorful personality. Although Bronson is now known as a rapper, he spent his 20s as a respected “fire-flame” gourmet chef in New York City and hosted a successful online cooking show dubbed “Action in the Kitchen.” It was only after he broke his leg in the kitchen that Bronson began to focus solely on his passion for music. Bronson frequently draws on his experience

as a chef to add musical flavor to his songs. During the concert, allusions to both gourmet dishes and everyday ingredients were imaginatively interspersed throughout the lyrics. “At times, my only friends in life are drugs and the cannoli,” Bronson chanted. A bold audience member shouted back, “Yummy,” causing the crowd to erupt in laughter. The Fillmore lacks seating and has preassigned sections for concertgoers, leading to long lines that extend outside the building. However, queuing up is a small price to pay for an intimate concert experience. Standing amid the dim blue lights in the fog-filled room, it is easy to get lost in the music and atmosphere. Bustling percussions, electric pianos and intoxicating baselines infected the venue. Bronson’s witty lyrics, which alternated between boastful and self-deprecating, paired perfectly with the energetic instrumentals. Songs such as “Bonzai” and “My Right Lung” enchanted the crowd with retro, jazzy beats. “La Lune,” which was performed near the middle of

the concert, featured Bronson rapping over car service-hold music. The song starts off slowly, eventually building in tempo and rhythm before cutting out just as it reaches its groove, paving the way for the rest of the lively set. “Hot Pepper” was accompanied by an onstage performance by Meyhem Lauren, another New York City rapper and a close childhood friend of Bronson. The chemistry was undeniable as Bronson and Lauren raised the intensity through their cohesive verses. Each line built on the other, resulting in a crowd-pleasing finale. Each song progressively raised the spirit of the dimly lit venue. “Easy Rider,” a powerful song backed by an lively guitar riff, led the audience to sway in unison. Likewise, “Let Me Breathe” resulted in head-bobbing and jubilant cheers. The set cumulated with the performance of “Baby Blue.” As the audience sang and rapped along to Bronson’s iconic hit, a feeling of community washed over the crowd. “Baby Blue” features a melodic chorus paired with a percus-

sion-laced beat. The memorable lyrics, familiar theme of heartbreak and fluid bassline made “Baby Blue” the best performance of the concert. Bronson is not only a talented musician; he is also an engaging performer. Each song was enhanced by Bronson’s stage presence and subtle confidence. His charming carelessness was especially highlighted when he kicked over a prop ladder onstage after a particularly powerful verse. Each interaction he had with the crowd — whether giving a shoutout to Washington, D.C., or thanking the audience for coming out — was playful and contributed to a sense of camaraderie. “Action! Action! Action!” the audience cheered as Bronson departed the stage. Together, everyone stood in the overhead lighting, exhilarated by the music and theatrics they had just witnessed. Action Bronson’s eccentric persona and colorful lyrics left a strong impression on everyone in attendance, binding the crowd together by pure force of charisma.

Illustration BY: Valeria MA and Saavan Chintalacheruvu/THE HOYA