The Hoya: The Guide: November 17, 2017

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ILLUSTRATION BY: MINA LEE AND MAGGIE YIN/THE HOYA

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Theater Sparks Dialogue On and Off Stage

Jane Mikus

Hoya Staff Writer

A bare stage in Poulton Hall is shrouded in darkness. At once, a young man strolls out from stage right and begins speaking to the audience. He asks for someone to yell “Start the f---king play!”

An audience member obliges, and at once, the stage is illuminated and a complex story of social and political tension unfolds.

Mask and Bauble Dramatic Society’s “Stupid F---king Bird,” staged in April 2017, is just one example of the hundreds of productions staged by Georgetown student theater groups over year.

As a community that exists within the global epicenter of political dialogue, student theater groups at Georgetown University proudly engage in conversations about the current social and political landscape.

Reading the mission statements of student theater groups reveals a sect of campus passionate about art, politics and their point of intersection.

Theater is an art form particularly well-suited to spark conversations about social and political issues, in part due to the direct engagement between performer and audience.

Student actress Allison Lane (COL ’19) considers theater to be a tool for discus-

sion and change. In October, she had a lead role in Nomadic Theatre’s fall production, “Exit, Pursued by a Bear,” which confronted the issue of domestic abuse.

“Every show I’ve ever done has left me feeling different,” Lane said. “Theater has that effect on audiences too by bringing to light things that normally wouldn’t be spoken about. It’s a way of sitting someone down in a chair and saying, ‘Here’s what’s going on. Now, it’s up to you.’”

Benny Weisman (COL ’19), a crewmember for “Exit, Pursued by a Bear,” similarly believes in the ability of theater to encourage stimulating conversation that is productive rather than argumentative.

“Theater provides a way to discuss [issues] without the pressure that the debatelike environment of Georgetown has allowed,” Weisman said. “It’s a no-judgment zone.”

Given theater’s distinct ability to inspire discussion, some students feel that theatrical productions have a responsibility to address politics and social issues.

Alex Yurcaba (COL ’18), director of “Stupid F---ing Bird,” which touched on the subjects of fake news and social tension, said student theater has an obligation to confront political issues.

“Any student theater that doesn’t address politics is doing it incorrectly,” Yur-

caba said. “We are really uninhibited by a lot of the social constraints that come with being a professional theater company. Students doing theater are afforded a lot of freedom — what you can say, what you are allowed to get away with. There is such a great opportunity to do challenging work and it’s a waste not to.”

For some students involved in the arts at Georgetown, performances and ideas are rooted in personal experience. Productions with strong political or social undertones are often charged by the values and beliefs held by the cast and crew. The Black Theatre Ensemble’s October production of “The Hand That Feeds You,” written and directed by Mackenzie Foy (COL ’19) and Kendell Long (COL ’19), confronted issues like police brutality and the importance of organizing against racial injustice, and was political and personal.

“I was coming out of a school year of really intense organizing work,” Foy said.

“I learned a lot about myself, mostly, and how exhausted I get with certain things, especially with inactivism. I was having a lot of conversations with myself about what it means to be an activist and what organizing is. Having those questions inspired a lot of the questions in the play about the sustainability of activism.”

As co-founding director of the Laboratory for Global Performance and Politics

a joint theater initiative between the theater and performance studies program and the Walsh School of Foreign Service, theater and performance studies professor Derek Goldman has engaged in extensive work to show how theatrical performance should be used as a tool to expose and discuss political issues.

Throughout his time as a professor in theater, Goldman has noticed this strong emphasis on personal experience as a source of inspiration for students.

For him, observing the incorporation of individual emotion into theater is one of the many rewarding parts of working with and teaching student performers.

Goldman teaches “Improvisation for Social Change,” an introductory course offering an interactive laboratory for students to explore socially engaged improvisational performance in individual and group settings. “‘Improvisation for Social Change’ is one of my favorite courses to teach, because what people are doing in that class is bringing the stuff that matters to them,” Goldman said. “There’s so much going on in their lives that it is easy to bring it in and surface it. Then, what we do is have artistic tools to explore what those issues are about. By extension, I think it’s gratifying to see the student theater groups taking those kinds of chances.”

LEFT: MASK AND BAUBLE, RIGHT: NOMADIC THEATRE

At Georgetown, student theater groups address political and social issues in their productions. Mask and Bauble’s spring production of “Stupid F---king Bird” touched on the topics of fake news and social divisions, and in October, Nomadic Theatre staged “Exit, Pursued by a Bear,” which focused on domestic abuse andi its impact on survivors.

friday, NOVEMBER 17, 2017 For student productions that confront issues as sensitive as police brutality or domestic violence, one frequent challenge is to perform thought-provoking scenes without causing extreme, overt shock in audience members.

Although it is important for a production to stir conversation, there is also a crucial difference between a show that is appropriately challenging and a show that is overwhelming for its performers or audience. For Foy and Long in “The Hand That Feeds Me,” achieving this balance was enormously important.

“I don’t want to put anyone in a position where they have to relive a violent situation or imagine that physically.

I struggled a lot with what that would look like. It ended up being something really cool in part because I didn’t want anyone to hit somebody on stage in a police costume,” Foy said. “I didn’t want that for the person playing the police officer. I didn’t even want the audience to have to watch that.”

Similarly, in “Exit, Pursued by a Bear,” Lane worked diligently to present her character in a way that successfully portrayed the severity of domestic violence to respect all those who had lived through analogous experiences. Lane’s performance required meticulous character study, allowing her to internalize the emotional weight of abuse and translate that into a visual performance.

“I was mostly concerned with doing justice to people who have been in this situation and making sure that anyone who is really going through that experience could relate to the character and find themselves there,” Lane said. “That was my main concern — I wanted to make sure I wasn’t making light of a situation that really is so grave.”

Despite the challenges of addressing delicate issues on stage, the responsibility to do so is critical — now more than ever. In today’s turbulent political and

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social climate, dramatic performance serves as a platform for open and honest discussion.

Maya Roth, a theater and performance studies professor at Georgetown, sees a need for theater to serve as a means of engagement in today’s political and social landscape.

“We don’t have a lot of social spaces in the world and in the U.S. right now,” Roth said. “There used to be more public forums, but I think theater can create that. We are so fortunate to have dynamic spaces where you can reconfigure the spatial relationship and be in small spaces, because that means the audience feels profoundly connected and part of the experience. It’s not just a personal story, but it has social implications.”

For Goldman, the chaos of politics today presents student theater with the opportunity to engage with important issues on an unparalleled level of depth.

“The paradox of these times is that there are so many desperate challenges from an unprecedented refugee crisis to climate challenges, to our national polarization and the way that old ghosts are resurfacing in terms of hate and intolerance,” Goldman said. “There’s so much wrong. But this is actually where the arts are at their strongest.”

The recent student productions at Georgetown have proven that the arts are indeed at their strongest. In a time that requires deep engagement with political and social discourse, student performers at Georgetown have risen to the occasion with courage. The conversations inspired by their productions will undoubtedly make waves in the Georgetown community and beyond.

“Realizing the conversation and questions that were stirred as a result of folks seeing the show was the most affirming feeling,” Long said. “The content and themes of the play do not end once everybody does their bows. It all continues.”

TOP: NOMADIC THEATRE, BOTTOM: BLACK THEATRE ENSEMBLE

Nomadic Theatre’s fall production of “Exit, Pursued by a Bear” calls attention to issues of abusive relationships and domestic violence. The Black Theatre Ensemble’s fall play, “The Hand That Feeds You,” confronts racial injustice and police brutality.

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Being a Conscious Consumer in the District emrose kathawala Special to The Hoya

In our hectic daily lives as Georgetown students, we can easily forget that we are also consumers — where we choose to spend our money matters. Our purchases at certain stores and restaurants not only support those establishments but their practices as well.

Washington, D.C. is full of restaurants and businesses dedicated to sustainably produced and locally sourced products.

The Farmers Restaurant Group has restaurant locations in D.C., Maryland and Virginia, including Farmers Fishers Bakers, a popular restaurant in the Georgetown area beloved by students and their families. The restaurant group is certified

by Leadership in Energy and Environmental Design and promotes environmentally friendly and sustainable practices.

FRG’s LEED certification means that its buildings have been designed to have minimal impact on the environment, use less water and energy and be resource efficient. The restaurants’ chairs are made from sustainable materials and their food is composted. The farmers

who grow and harvest the food products of Farmers Restaurant Group employ responsible farming methods, including ethical treatment of animals and fair treatment of workers.

Along with these sustainable practices, the restaurant group partners with stores in the D.C. community to promote locally produced goods. For example, Founding Farmers, one of the group’s restaurants, uses honey from The George Washington University’s bee-keeping colony.

Sadao Oka, supervisor of Founding Farmers, elaborated on the restaurant’s mission of helping farmers’ livelihoods and making quality food accessible to all.

“As much as we take from the environment, we try to give back to it as much as we can,” Oka said. “We have to make sure we keep giving back to the ecosystems that provide for us.”

As the first fine dining LEED-certified restaurant group in the country, Farmers Restaurant Group is making its mark on the District’s restaurant scene.

For those who prefer a more casual restaurant setting, Busboys and Poets is a cozy spot filled with artwork that promotes local artists. There are currently four Bus-

boys and Poets locations in D.C. Like Farmers Restaurant Group, Busboys and Poets promotes environmentally sustainable practices: The restaurants recycle oil, paper, glass and plastic, and they use 100 percent renewable wind energy, 100 percent fair trade tea, direct trade coffee and grass-fed, hormone-free and free-range beef from local farms.

But there is more to Busboys and Poets than just being environmentally sustainable.

According to Shallal, the mission of Busboys and Poets is to provide an open, welcoming space for people of different races, socio-economic statuses and identities to come together. The restaurant frequently hosts open-mic nights that promote free speech and expression, as well as events that benefit nonprofits.

“This business isn’t about the money; it’s about benefitting the community,” said Andy Shallal, the restaurants’ owner and founder, in an interview with The Hoya.

The first Busboys and Poets location opened in 2005 in the U Street Corridor.

The restaurant is named in reference to American poet Langston Hughes, who worked as a bus driver in the 1920s before

going on to produce some of the 20th century’s most prolific poetry about black culture.

On Feb. 16, Shallal, along with several other prominent D.C. restaurant owners, including chef José Andrés, closed his restaurants’ doors in support of the Day Without Immigrants protest. The purpose of this protest was to promote acceptance of immigrant communities and acknowledge their contributions to the D.C. community, in light of anti-immigrant rhetoric arising after the election of President Donald Trump.

There is a plethora of other restaurants in the D.C. area that address a variety of social, political and environmental issues.

Falafel Inc. in the Georgetown area donates part of its proceeds to support refugees; and Sweetgreen, started by alumni of Georgetown, promotes environmentally sustainable practices The District’s retail and restaurant scenes have proven that there is space for advocacy on a number of important social and environmental causes. Eating and shopping responsibly are more than possible in a city with such a breadth of options.

CLOCKWISE FROM LEFT: BUSBOYS AND POETS, FARMERS FISHERS BAKERS, ALI ENRIGHT FOR THE HOYA

The Georgetown neighborhood and the greater Washington, D.C. area is filled with businesses dedicated to sustainable practices and diversity. Students can visit restaurants like Busboys and Poets, which celebrates local artists and immigrants, Farmers Fishers Bakers, a LEED-certified fine dining spot, and Falafel, Inc., a casual eatery supporting refugees.

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GU Professors Address Political Art ALIA KAWARE

Special to The Hoya

Georgetown is a center of dialogue about art and politics, integrating both of these disciplines through its diverse coursework.

The department of art and art history gives students the opportunity to explore political concepts and movements through a strong arts education.

Art as a Foundation Georgetown’s art and art history department tackles political art in different ways.

The art department does not offer specific courses on the subject, though there are several art history courses that directly discuss it.

“Generally as a department we do not stress politics as subject of a painting, but it is provided as one of the many directions an artist can go,” said John Morrell, director of undergraduate studies in art. “But if students do [create political art], I remind them to be aware of what political statement may be inappropriate to someone else.”

According to Morrell, students tend to look at art in terms of its aesthetics, rather than its deeper meaning. As a result, students are not encouraged to dive headfirst into creating political art.

Art as a Mechanism of Politics While the art disciplines emphasizes skills and mechanics, the art history side of the department offers classes that directly tackle the intersection of art and politics throughout history and the relevance of this relationship today.

Shana Klein, an art history professor at Georgetown who has taught courses in African-American and Native American art, will teach a class called “Monuments and Memorials” this coming spring semester.

Klein believes the class will spark discussion about the Confederate monuments that are being torn down. The class will also focus on the theme of national identity in art as well as the misrepresentation of certain communities in art.

“Historically, representations of AfricanAmericans have been stereotyped,” Klein said. “So I try to find out from students how these images are biased.”

She teaches the importance of understanding the context behind pieces of art to understand the political and social issues behind them.

Encouraging a participative classroom environment, Klein is always looking for students to speak to her about their interpretations of artwork.

“I encourage them to think about not only who is represented in the image, but also at whose expense is this image produced or who has been marginalized or written out of the picture plane,” Klein said. “It is the omission and the absences in art that can be just as enlightening as the people who are visualized in art.”

“Monuments and Memorials” is just one of several art history classes that discusses the importance of art in politics throughout history and examines the impact of

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this interaction on society today. Klein encourages students to try enrolling in an art history class, regardless of what discipline they study.

Art as an Interdisciplinary Subject An artist can never create art in isolation.

“Artists are not working in a vacuum.

They are influenced by the cultural and historical events around them, so art is, for that reason, one of the more perfect platforms and devices that we can use to talk about history and politics,” Klein said.

“Art, as a creative platform, allows people to discuss politics. It has a visual impact by helping us process concepts differently and altering our perspectives about gender and race and class.”

Bruce McKaig, a professor of studio arts, reinforced this idea.

“Artists are sponges just like we are,” he said. “They cannot produce something that is completely isolated from their contemporary context.”

Thus it seems almost inevitable for political and social events to influence art.

Klein realizes that many of her students’ perspectives on art history have changed over the course of taking one of her classes.

“They thought art was all about looking at the aesthetic and formal quality of painting and analyzing the color and the light, but they realized that it also has to do with politics and economics and the historical context in which it’s produced,” she said.

Regardless of what impact it has, art is a platform for discussion and broadcasting political and social messages. Through the art and art history department, Georgetown students are able to further explore political concepts that are so often discussed in their history and government classes.

TOP: GU ART DEPARTMENT, BOTTOM: ALLIE FREI for the hoya

Georgetown’s art history courses encourage students to draw inspiration from current events and politics. Although visual arts focus more on the process of producing an artwork, art history is more concerned with the context of art.

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Making Them Laugh: Comedy and Politics Maddy Forbess Special to The Hoya

Comedy has long been an avenue for people to express their personal and political beliefs. The rise of late-night comedy shows that deal with political issues reflects our nation’s widespread engagement with politics.

Political comedy can be interpreted in two ways: as making light of a serious situation or illustrating the absurdity existent in the former and call for meaningful change.

As the nation’s capital, Washington, D.C., is host to many comedy groups that incorporate politically charged humor in their routines. Mark Chalfant, artistic and executive director of Washington Improv Theater, discussed the prevalence of political undertones in his group’s routines in an interview with The Hoya.

In the fall of 2016, the Washington Improv Theater staged a comedic production with a political focus, “POTUS Among Us.” The show, an improvised satirical presidential debate, is reprised every four years in tune with the presidential election cycle.

Chalfant said that it is the responsibil-

ity of comedians to offer commentary on politics.

“Decisions in politics will make a difference to our lives. Not to comment on them would be irresponsible,” Chalfant said. He views comedy as an effective way to deal with the state of politics today.

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Comedic relief is a real thing. Tension is released biologically and chemically when people laugh together and feel that sense of community in a room.”

MARK CHALFANT Artistic Director, Washington Improv Theater

“Comedic relief is a real thing,” Chalfant said. “Tension is released biologically

and chemically when people laugh together and feel that sense of community in a room.”

Chalfant’s characters all express his own beliefs. Although comedians may not propose real solutions to the political issues brought up in their shows, Chalfant maintains that it is important for comedians to have decisive political views of their own.

Georgetown University comedy clubs share Chalfant’s perspective as well. Students frequently engage in political banter through on-campus comedy groups.

From the Georgetown Improv Association to The Georgetown Heckler, a satirical news magazine, students can join a variety of comedy clubs at Georgetown.

The Heckler, for example, publishes satirical political and lifestyle pieces. The Heckler aims to parody both Georgetown affairs and events in the greater D.C. community; it has published stories mocking controversial political figures — like “News-In-Picture: Bill Clinton Unveils New Tinder Profile For Campus Return” — as well as campus politics, including a story titled “SAC Goes Extra Mile to Ensure Place on Wrong Side of History.”

The myriad comedic organizations at Georgetown work toward a combined goal

of providing comedic relief in a politically entrenched society. Yet not all organizations have the same perspective on the issue. Some groups, like The Heckler, choose to use comedy as a forum to discuss politics, whereas others, like Georgetown Improv, use comedy as an escape from the American political scene.

Sean Lerner (SFS ’20), a member of Georgetown Improv, discussed the group’s intentional avoidance of politics in its routines. Instead, the comedy group performs a variety of ridiculous yet relatable comedic bits that provide an outlet from Georgetown’s politically engaged campus.

On the night after the inauguration, the group performed without incorporating a single scene that even remotely broached the topics of politics or the government.

“The audience actually thanked us after the show for doing so,” Lerner said.

Whether it be on Georgetown’s campus or in the greater D.C. community, comedians use their skills to provide meaningful social commentary on the state of political affairs in the United States today.

Comedy enables society to highlight to divisive issues, or alternatively, to forget about politics altogether. How we choose to engage is up to us.

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Washington, D.C., is home to many comedy groups that incorporate political humor into their routines. Washington Improv Theatre, for example, stages a satirical presidential debate every four years entitled “POTUS Among Us.” Mark Chalfant, artistic director of Washington Improv Theatre, believes it is comedians’ responsibility to respond to political issues.

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Activism and Art: Exhibits to Visit

Hoya Staff Writer

Going up the elevator at the Hirshhorn Museum and Sculpture Gallery, one cannot help but notice the vibrant, golden art decor that spreads all along the wall — but there is much more to the artwork than beautiful and symmetric patterns. There are security cameras, steel chains, handcuffs and social media icons incorporated throughout.

Stepping off the escalator and walking into the first room of the gallery, I was challenged by the gaze of a towering man. Ai Weiwei stands in front of me, staring, judging. Using his index fingers and thumbs to widen his eyes and intensify his stare, he gives a clear message through the black and white still: Look. You can see the injustice, the pain and the suffering. Force yourself to watch, to face reality.

Exploring Injustice at the Hirshhorn Born in Beijing, China in 1957, but then exiled to the Xinjiang province because of the “intellectual threat” his father presented, Ai Weiwei grew up understanding the pains of repression and abuse. After living in New York in the 1980s — where he pursued a career in the arts and enjoyed political freedoms and artistic activism — he returned to China with the intention of creating platforms for artists to speak freely, and to use his work in defense of human rights and against oppression.

“Freedom is a strange thing,” Ai Weiwei once said. “Once you’ve experienced it, it stays in your heart.”

Ai Weiwei’s “Trace” highlights his activism and empowerment of others seeking political freedom and social justice. The exhibit, currently on display at the Hirshhorn, consists of almost 200 portraits of prisoners of conscience, political protestors and freedom activists, all of whom have been cruelly punished, publically shamed and accused of crimes and treason.

The message of the exhibit is clear, outlining the same difficulties that Ai Weiwei has faced.

As an open challenger to the policies of the Chinese Communist Party, Ai Weiwei has been assaulted, threatened and put under house arrest. Yet he has not stopped his efforts. And he is not alone.

D.C. has enjoyed an explosion of artistic political expression over the last few years. Ai Weiwei might be one of the most prominent ones, but he is not the only player in the city.

He is not even the only one in the Hirshhorn, a museum known for its love of modern, expressive and usually politically charged art.

The Hirshhorn, with its penchant for supporting creative and progressive exhibits and statements, also hosts “Belief + Doubt” a fullroom installation by Barbara Kruger.

Additionally, on Nov. 8, it opened “Pickett’s Charge,” a groundbreaking work by contemporary artist Mark Bradford.

Kruger’s work consists of a series of questions written in sans serif white characters, spread across walls, floors and the sides of an escalator. The power lies in the simplicity of this work, and the depth of the matter that it covers. Kruger poses inquiries about justice, value and purpose.

Kruger questions what matters to humans and how we live. Questions like “Who is be-

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yond the law?” “Who is free to choose?” and “Who speaks?” point to injustices and inequalities in our societies, and explore the dynamics of power and authority around us. Paired questions like “Who does the crime? Who does the time?” not only complement each other in rhyme and flow, but make easier connections between dynamics of power and subjugation, control and oppression.

Bradford uses a similar technique in trying to develop political statements through his art. Known for his incorporation of abstract artistic techniques into the political scene, Bradford uses his work to explore socio-political issues, and grapples with historical perspectives to meditate on current events.

Bradford’s most recent work is inspired

by Paul Philippoteaux’s 19th-century “Gettysburg Cyclorama,” which depicts Pickett’s Charge, the last stand by the Confederacy at this bloody battle. Bradford takes the original piece [physically and conceptually] and transforms it, cutting through fabric, rearranging pieces and adding his own trends and lines.

The result is a series of circular walls that show movement, passion, tear and wear. You see the fabric of American society move and wave around, and you can follow the path that Bradford has been going through. He looks back at one of the most violent times in American history and connects it to our present.

Resistance and Change Moving beyond the Hirshhorn, we can see other artists and movements, making statements and putting together works to reflect our realities and to protest issues of our time.

The International Art & Artists gallery at the Hillyer Art Space put out a call for submissions to their exhibition “Create/Change,” which was on display until last month. The call for submissions to this exhibition focused on individuals’ roles as “artist-citizens,” having them speak of what they see as civilians and express their concern with everyday life.

Works by 17 artists from 17 different cities were shown, and they express different views and challenges that people from around the country face. There are pieces that seem to explore everyday life in America, with subtle mention of contentious issues. A black-andwhite video depicting a woman engaging in traditional Muslim prayer rituals along a local street seems to highlight a consistent clash between secular and religious life. There are much stronger political statements, such as those addressing violence against black Americans. All in all, it is a collaborative work that highlights the daily lives and struggles of Americans.

“Resist,” originally at Zenith Gallery and now displayed at restaurant and lounge Busboys and Poets, calls for artists to depict movements of discontent and protest, many of which focused on the Women’s March that was hosted in Washington, D.C., on Jan. 21. This gallery features all types of artwork, speaking against issues of nuclear proliferation, climate change, religious intolerance and sexism.

“Resist” is just one example of the clear examination of the activism that has grown around the city and influenced the D.C. arts scene. A city that has tried to remain silent and objective in matters of political division is awaking, and its art is showing this.

TOP, MIDDLE: HISHHORN MUSEUM AND SCULPTURE GARDEN, BOTTOM: HILLYER

Pieces by Ai Weiwei and Barbara Kruger are highlights in a series of exhibits at the Hirshhorn addressing conflicting themes of democracy, power and injustice.

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Musicians Taking a Stand in 2017 Meghan DeCourcey Hoya Staff Writer

Throughout history, politics has occupied an important space in the world of music. Music allows artists to channel their emotions and voice their opinions through rich sounds and lyrics. Listeners have often taken songs and used them to represent entire movements.

Although music has always been used as a platform for social discourse, the past year has seen growth in artists using their talent and celebrity to speak out about issues of racial injustice, police brutality and the stigma surrounding mental health.

As more figures have become involved in politics in the past year, there has been a rise in political albums.

Professor David Molk, who teaches in Georgetown’s music department and also works as a DJ, explained what motivates artists to release politically charged music.

“You can come out with an overt political album with maybe one of two hopes,” Molk said. “You are looking to convince other people that your point of view is the right point of view. The other side of that would be creating a source of strength for people who already believe in what you believe in, and so those seem like they sit on opposite ends of the spectrum.”

Whatever the reason, these albums serve to bring about some type of change.

A Tribe Called Quest released “We Got It from Here… Thank You 4 Your Service,” the group’s sixth and final album, just three days after the 2016 presidential election. It felt especially timely, touching upon issues of economic and racial inequality.

The first single from the album, “We the People…” references the first three words of the Constitution, often regarded as a symbol of the United States as a land for everyone.

The song pushes back against this notion and exposes policies of intolerance and discrimination. The hook of the song alludes to the surge of racism, xenophobia, homophobia and Islamophobia in the United States: “All you Black folks, you must go / All you Mexicans, you must go / And all you poor folks, you must go / Muslims and gays, boy, we hate your ways / So all you bad folks, you must go.”

Besides speaking candidly on these injustices, the album also serves to honor one of the members of the group, Phife Dawg, who died in March 2016 due to complications from Type 1 diabetes.

Turning in a different direction from his previous albums, Childish Gambino released “Awaken, My Love!’ in December 2016.

The album is made up of rhythm and blues, soul and rock tracks.

In “Boogieman,” Gambino takes a wellknown mythological monster and uses it to illustrate the stereotyping of blacks in

America. Gambino refers to himself as the “boogieman” because he is the one seen as the threat to law enforcement, even though it is the officers that have the guns. Gambino drives the point home when he sings, “But if he’s scared of me / How can we be free?”

While there are laws clearly abolishing racial segregation, there is still fear and prejudice that sustain the cycle of discrimination against blacks and other minority groups in the country.

Among the highest-streaming albums of the year was Kendrick Lamar’s “DAMN.,” released in April 2017. In a similar way to Lamar’s 2015 album “To Pimp a Butterfly,” “DAMN.” explores black culture, racial inequality and discrimination from a more introspective point of view.

Another interesting facet of “DAMN.” is that it incorporates samples from news programs. For example, both “BLOOD.” and “DNA.” feature clips from Fox News in which the commentators criticize “Alright,” one of the most popular tracks from “To Pimp a Butterfly,” for being a song about violence when it was actually intended to be one of hope. The song was also adopted as the unofficial anthem of the Black Lives Matter movement and has been chanted at protests.

Lamar also responds to the election of President Donald Trump on a few different tracks. In “LUST.,” He highlights the shock that swept the country following the election and the waves of protests in response.

But he predicts that as time goes on, these protests will diminish as people begin to accept the political situation: “Time passin’, things change / Revertin’ back to our daily programs, stuck in our ways; Lust,” he raps.

Complacency is one of the problems that Lamar finds in society; activity fades and passivity fills its place, resulting in no actual change.

The election of 2016 has become a prominent theme in recent music because of its divisive effects on American society. People — artists in particular — feel an even more urgent need to speak out and hold the president accountable.

“Trump’s administration has shown a light on many of these problems that have already existed. It is not creating these problems; it’s exacerbating them,” Molk said.

“People have been protesting them already, but now it feels like there is more of a platform, so more people pay attention when an album comes out that protests it and there’s this ripple effect. More people hear it, more people want to support it, so more people create art around it, go out and donate, go into the streets, go to trainings, and so on and so forth.”

In May 2017, Maryland-born rapper Logic released his third studio album, “Everybody.” Born to a black father and a white mother, many of Logic’s songs touch upon his biracial identity, as well as tackle issues of mental health and injustice.

A TRIBE CALLED QUEST, CHILDISH GAMBINO

Recent years have seen a rise in politically charged music in the United States, as artists seek to expand their voice and actively fight injustice. Rappers and rhythm and blues singers like Kendrick Lamar and Childish Gambino tackle serious issues like racial injustice with impassioned music.

friday, november 17, 2017 attention when an album comes out that protests it and there’s this ripple effect.

More people hear it, more people want to support it, so more people create art around it, go out and donate, go into the streets, go to trainings, and so on and so forth.”

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You can come out with an overt political album with maybe one of two hopes. You are looking to convince other people that your point of view is the right point.”

David Molk Professor, Music Department

In May 2017, Maryland-born rapper Logic released his third studio album, “Everybody.” Born to a black father and a white mother, many of Logic’s songs touch upon his biracial identity, as well as tackle issues of mental health and injustice.

One of the songs off of the album that has made waves is “1-800-273-8255,” featuring Alessia Cara and Khalid. The title of the

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song is the actual phone number of the National Suicide Prevention Lifeline. The lyrics depict someone calling the hotline wanting to commit suicide, but, after speaking to a representative, deciding to keep on living.

These lyrics are framed over powerful music and a rich string instrumentation.

Logic, Cara and Khalid performed the song at the 2017 MTV Video Music Awards and were joined on stage by suicide attempt survivors. Following the moving performance, the National Suicide Prevention Lifeline reported a 50 percent increase in calls.

The albums from the past year have brought an even more intense focus on important social and political issues. Whether it be through the release of albums or through other initiatives, artists have always been involved in the sociopolitical sphere.

For example, throughout 2017, Chance The Rapper has worked to raise money for Chicago Public Schools. Lady Gaga has joined forces with former Vice President Joe Biden in the “It’s On Us” campaign to fight against sexual assault on college campuses, and just Tuesday announced plans to team up to launch sexual trauma centers. Miley Cyrus has started a foundation, the Happy Hippie Foundation, dedicated to helping homeless youth.

Musicians have an incomparable platform that they can use to raise awareness of important issues and spark social and political movement. Some choose to do that and others do not, but those who do have witnessed that all it takes is a single note to spark meaningful change.

CLOCKWISE FROM TOP: YOUTUBE, LOGIC, KENDRICK LAMAR

Maryland-born rapper Logic released his third studio album, “Everybody,” in May 2017. One of the hit songs off the album, “1-800-273-8255,” discusses depression and encourages listeners to reconsider if they are having suicidal thoughts. Calls to the National Suicide Prevention Lifeline, the title of the song, increased by 50 percent following the song’s release.

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THE HOYA

the guide

friDAY, NOVEMBER 17, 2017

Political Voices Move the Film Industry Forward Kiera Geraghty Special to The Hoya

The United States is home to millions of people with distinct identities and rich stories to tell. Unfortunately, these stories are sometimes lost in translation; it can be difficult to understand the perspectives of people with such distinctly different backgrounds.

But film has the power to foster an understanding of a diverse range of perspectives. Film culture also helps us realize how much work is left in granting access to voices that remain underrepresented.

SYSTEMIC PROBLEMS IN HOLLYWOOD According to Caitlin Benson-Allot, associate professor in the film and media studies program at Georgetown University, the film industry has historically been exclusive in deciding which films enter the mainstream.

“A lot of studies have been done of the film industry and television industry that systematically show that the decks are still stacked against women filmmakers and filmmakers of color and queer filmmakers, and in a different way, filmmakers of working-class backgrounds,” she said. “Access to the industry is still being policed by systems of privilege.”

As we examine the political motivations behind Hollywood films, it is also important to acknowledge internal problems within the film industry.

“There’s the external politics to which Hollywood involves itself and then there’s the politics of Hollywood itself,” said Bernard Cook, associate dean and director of the film and media studies program.

Those with the means to finance films ultimately get to decide who gets represented in the film industry, said Benson-Allot.

“Usually you see that a filmmaker who’s coming from outside the mainstream, from outside

the studio system, has one big breakout, and then they get picked up for a multipicture deal with one of the studio,” Benson-Allot said. “That kind of support, that kind of future-looking promise of financial backing is rarely extended to filmmakers of color the way that it is to white filmmakers.”

One needs only to look to the career of the filmmaker Spike Lee to see how systems of privilege have impacted those trying to sustain a voice without the traditional support of the industry behind them. According to Benson-Allot, despite his films like “Malcolm X,” “Do the Right Thing” and “She’s Gotta Have It” having impressive cultural impact, Lee has still had to resort to crowdsourcing campaigns to fund his films. In 2013, the filmmaker launched a Kickstarter to raise funds for a cinematic project, “Da Sweet Blood of Jesus,” a horror thriller released in 2014.

CONFRONTING RACE RELATIONS THROUGH FILM Making a powerful statement about race in society this year was Jordan Peele’s horror film, “Get Out.” The film tells the story of a white family who captures and enslaves young black men, and focuses on the experiences of a black man dating the daughter of the family.

“Horror movies have a really long history of reflecting on contemporaneous political and social concerns. It’s one of the hallmarks of the genre.” Benson-Allot said. “One of the things that ‘Get Out’ did so well was that it demonstrated Jordan Peele’s knowledge and command of the genre, but then used the genre to do something that was not unprecedented, but really new and spectacular.”

“Get Out” takes on the horrors hiding in the suburbs – which is a recurring thread in the horror genre – but Peele’s film conveys a very different message than those of his peers.

“What’s really important for me is that ‘It Fol-

lows’ and ‘Nightmare On Elm Street’ are made by white filmmakers for white audiences, for suburban audiences,” Benson-Allot said. “What Peele is hitting you with is, ‘Yes, in fact, there really is danger in the suburbs for African American men.”

In the wake of tragedies like the deaths of Trayvon Martin and several other young black men in the United States in the past decade, Peele’s depiction of the dangers of being black in the white suburbs is particularly resonant. “[Peele] showed so much careful attention to creating this fictional world and immersing you in it. But I think it also gives you this sense of being this character or being a person, a minority in this unsafe culture,” Benson-Allot said. “This society was not set up to sustain them.

You can really say that’s true of mainstream American culture still to this day.”

Not only do fiction films have the power to speak to the political climate of a nation, but documentaries do as well.

Cook cites a documentary released in August called “Whose Streets?” that depicts the events in Ferguson, Mo., after the killing of Michael Brown.

“What documentary can do, and I think must do, is challenge dominant, mass-produced perspectives. ‘Whose Streets?’ conveys the perspectives of members of the Ferguson community as they were trying to respond to the killing.” Cook said. “‘Whose Streets?’ argues that black lives matter by centering black perspectives and experiences, especially experiences of oppression in America.”

CHALLENGING INDUSTRY NORMS Despite the critical and commercial success of movies like “Get Out,” Holly-

wood still has a lot of work to do in order to open up its resources to more voices, Benson-Allot said.

“When you think about the early 90s and the work of the Hughes brothers and John Singleton, and it really looked like between 1991 and 1993 that Hollywood was changing and it was going to incorporate more voices, more African American filmmakers into its circle,” BensonAllot said. “But that turned out to be a cycle that was quickly shut down.”

Over the years, films have often taken multifaceted approaches to serious social and political issues.

“Films have multiple contexts,” Cook, who has researched Vietnam War films, said. “We’re talking about a cycle of films that were made in the ‘80s through the ‘90s, so at that point, sure, they’re about Vietnam, but they’re just as much about the Reagan presidency, political battles in the country and other issues.”

But there is some hope for potential changes in the film industry.

“One of those changes is opening up [the film industry’s] resources to people that will be critical of its past,” BensonAllott said.

Audiences, too, can play a role in moving the industry forward. The films audiences choose to watch on streaming services can even shape their perceptions of different communities and narratives in the United States.

“Now that we have all of these streaming services, there is the capacity to find the voices that you want to hear instead of just accepting the voices that are screaming the loudest,” Benson-Allot said. “If you want Hollywood to change, all you have to do is spend your money elsewhere.”

BLUMHOUSE PRODUCTIONS, MAGNOLIA PICTURES

Film has the power to foster an understanding of a diverse range of perspectives. Director Jordan Peele’s horror film “Get Out” gained national attention for its raw portrayal of the difficulty of being black in America. The documentary “Whose Streets?” depicts the events in Ferguson, Mo., following the killing of Michael Brown and reflected the city, and nation’s response.

the guide

friday, november 17, 2017

THE HOYA

2017’s Top Political Television Episodes

Eleanor Tolf

NETFLIX

‘Master of None’ — ‘Thanksgiving’ “Thanksgiving,” an episode from Netflix’s critically acclaimed second season of “Master of None,” was written by starring actress Lena Waithe and was based on the story of coming out to her own mom, played in the show by seasoned actress Angela Bassett.

Directed by Melina Matsoukas, whose past work includes Beyonce’s “Lemonade” visual album and HBO’s “Insecure,” this episode was regarded by many critics and viewers as one of the most realistic depictions of coming out on television. The episode follows the evolving sexuality of a black woman, a perspective often forgotten even in LGBTQ representation.

Waithe focuses on how queerness is handled differently in the black community. Her character discusses the common need to appear perfect that prevents older black generations from wanting to discuss sexuality, let alone to

be openly gay.

“Thanksgiving” follows one family with three generations of women at their holiday dinners throughout the years. The family dynamic remains the same while Waithe’s character, Denise’s relationship with her sexuality progresses. Young Denise, confused and closeted, grows up into a young adult, coming out to her mom and eventually bringing her girlfriend home.

The episode shows that coming out is not the end of the journey in gaining acceptance from one’s family. Critics recognized the poignancy of this episode. Aziz Ansari, the creator and star of “Master of None,” and Waithe won the Emmy Award for Outstanding Writing for a Comedy Series this year. In her acceptance speech, Waithe reassured those who have been in her place or worse: “the things that make us different, those are our superpowers.”

Although the Hulu original show, “The Handmaid’s Tale,” is based on Margaret Atwood’s 1985 novel of the same name, its themes still ring true in 2017. The story is set in a future in which fertility rates have dropped rapidly, and the solution features a system of “Handmaids.” The Handmaids, women who are still fertile, are forced into conditions similar to slavery, in which their only purpose is to birth the children of wealthy, powerful males.

The release of the series in April sparked numerous conversations about the once far-fetched nature of the plot, but now, critics have drawn parallels between the dystopian society depicted in the show and U.S. society under the presidency of Donald Trump. The unsettling misogyny presented throughout the show mirrors real-world events, as more and more tales of sexual harassment against politicians and celebrities surface.

Hoya Staff Writer

NBC

‘Saturday Night Live’ — ‘Season 42, Episode 20’ With every new decision by President Donald Trump or his staff, “Saturday Night Live” has gathered more fuel for its comedic skits. From Alec Baldwin’s Trump to Kate McKinnon’s a realistic, hilarious performance as former Secretary of State Hillary Clinton, the cast has used exaggerated impersonations to poke fun at politicians from both sides of the aisle.

The most unforgettable impersonation, however, is not of either of the 2016 presidential candidates.

Melissa McCarthy’s role as Sean Spicer has brought mass media attention to the often less-than-glamorous position of White House press secretary. Adorned in prosthetic ears and a receding hairline,

McCarthy embodied the chaotic nature of the first months of press conferences under the Trump administration. McCarthy focused in on some of Spicer’s quirks, like his tendency to chew extraordinary amounts of gum, and used props, like leaf blowers and fire extinguishers, to display an anger at reporters that seemed to be bubbling underneath Spicer’s surface in real-life at every conference.

Although her sketch may not have led to Spicer’s resignation, it certainly did not help with his public image. Spicer later told Jimmy Kimmel that the skit “cost [him] a lot of money in therapy,” before conceding that it was “pretty funny.”

HULU

‘The Handmaid’s Tale’ — ‘A Woman’s Place’

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NETFLIX

‘13 Reasons Why’ — ‘Tape 1, Side A’ As the second-most viewed Netflix season in its first 30 days on the streaming service, “13 Reasons Why” found surprising popularity given its dark subject matter. The show, based on a novel of the same name by Jay Asher, centers on a high school student named Clay Jensen, whose friend, Hannah Baker, has committed suicide. Hannah left behind 13 cassette tapes, each detailing a reason why she killed herself.

Many applauded the shows sensitive but gripping depiction of young adult emotions, grief and mental illness. Others criticized the show for glorifying the suicide brought on by Hannah’s depression and dragging out the tapes longer than was realistic. Nevertheless, the themes of “13 Reasons Why” feel salient now more than ever as suicide resulting from bullying remains a serious issue, particularly given the ubiquity of the internet.

ILLUSTRATION BY: VALERIE MA AND ANGELA DELA CRUZ/THE HOYA