The Hoya: The Guide: September 1, 2017

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Go Go Going Nowhere ILLUSTRATION BY: ALYSSA VOLIVAR/THE HOYA

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Go-Go Lives On: Sounds of ‘Chocolate City’ Noah HawkE AND Mac Dressman Hoya Staff Writers

Frenetic drum beats, cheering and chanting pour out onto U Street. The sounds emanate from the insides of theaters, clubs and performance halls, where masses of Washington, D.C. music fans sing and dance, abandoning themselves to the untamed spirit of the so-called “Chocolate City.” Although this scene is timeless, the type of music played today sounds quite different than it did a decade ago as the go-go music native to D.C. has become increasingly replaced by hiphop.

The District is the birthplace of go-go music, a blend of funk, hip-hop, blues and soul rooted in live performance and call-and-response between the artist and audience. While hip-hop rose to popularity across the rest of the country in the 1980s and ’90s, go-go remained the dominant force in the District. Today, even as D.C. continues to develop its own hip-hop presence, the influence of go-go runs deep.

Origins of Go-Go Many cities have their own unique sounds that drive musical progression; Nashville, for example, is the home of country music, and Atlanta is the birthplace of trap. In the District, go-go is the signature genre. In the ’80s and ’90s, local legends like Chuck Brown and the Soul Searchers, Black Heat and The Young Senators began creating their own distinctive upbeat sounds.

Chuck Brown and the Soul Searchers began by playing funk music for dancing audiences. Later, Brown had the idea to keep the beat going between songs to keep the crowd moving. These transition beats became very popular, and thus gogo music was born.

“The essence and energy of go-go music and the live performance is powerful.

Once the band hits a certain pocket or bounce ... you can watch the entire club and the band rock out together, just like

U STREET MUSIC HALL

Throughout the 1980s and ’90s, go-go music remained the dominant genre in the District. Incorporating elements of funk, hiphop, blues and soul, go-go music emphasized strong audience engagement and inspired a sense of unity among concertgoers. an [electronic dance music] concert,” Charles “Shorty Corleone” Garris of the go-go band Rare Essence said. Rare Essence achieved mainstream success in the ’90s and later played at one of the inaugural balls in 2009.

Natsu Onoda Power, an associate professor in Georgetown’s program in theater and performance studies, characterized the go-go scene as having “nonstop energy, call-and-response audience participation, a sense of community and unity, affirmation of identity as a D.C. resident — I scream ‘Northwest!’ when they call out ‘Where ya from?’”

This frequent audience engagement enhances the already energetic atmosphere and creates an almost peerless

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ambience. Today, one can still see traditional go-go music live from acts like Rare Essence, Bela Dona and Backyard Band right here in the capital city.

Go-go maintained a dominant position in the D.C. music scene from the ’60s to the 2000s. It initially arose as an outlet for black communities to let their voices be heard and ultimately became a unifying force against the dissolution of black culture in the Chocolate City during the drug epidemic of the ’80s.

Its influence in this time contributed heavily to the development of black culture in D.C. and remains an important building block of the city today.

“Go-go music and the community that was built among the African-American community was one that was centered around political outcry and voice,” said Myiah Smith (SFS ’20), a Georgetown student and daughter of David Smith, an ’80s go-go artist. “This was during a time where they were being ignored, they weren’t being acknowledged, the issues that they faced in their communities were turned a cold shoulder. And so gogo music was the push against that … it’s about strength and happiness and pride.”

Go-go music was so popular for years that it precluded the emergence of hiphop in the District. Over time, however, the genres began to intertwine and hiphop artists used go-go as a source of inspiration and a springboard for local and national attention.

Origins of D.C. Hip-Hop While the lively sounds of go-go reverberated through D.C., another phenomenon was taking the rest of the country by

storm: hip-hop. In the ’80s and ’90s, hiphop rapidly became more prominent, and urban regions with dense black populations such as New York City and Los Angeles developed their own hip-hop subcultures.

“

The essence and energy of go-go music and the live performance is powerful. Once the band hits a certain pocket or bounce ... you can watch the entire club and the band rock out.”

CHARLES “SHORTY CORLEONE” GARRIS Member, Rare Essence

Despite its rich black heritage, the District never came close to reaching the hip-hop prominence of other cities and was largely overshadowed. DJ Heat, a local radio DJ, explained the ’90s Washington hip-hop void in a 2015 interview with public radio station WAMU: “It was all about banging on go-go beats on your desk and in the lunch room … no one cared about hip-hop.”

Though go-go continued to dominate, the D.C. hip-hop community soon caught its first big break with the rise of its first

friday, september 1, 2017 District roots, Wale gained regional attention with his agile flow over cleverly sampled go-go on the 2006 single “Dig Dug (Shake It).”

“As far as today’s hip-hop, we have to give credit to Wale. He’s the ambassador of that sound, mixing go-go beats with rap and taking it mainstream,” Garris, better known by his stage name Shorty, said.

Wale’s celebrity continued to grow following the release of several well-received mixtapes as well as his $1.3 million deal with Interscope Records.

The recent explosion of D.C. hip-hop is not limited to Wale. The scene has grown immensely over the past 10 years, with artists drawing inspiration from a variety of regions and styles.

Unlike cities such as LA or Houston, the District does not have a distinctive regional sound. But this allows for local artists to experiment without being tied down to one particular style. Local rapper GoldLink, for example, infuses his songs with an electronic bounce. GoldLink is perhaps D.C.’s most promising rising star: His rolling, half-sung verses and hooks over innovative production have attracted the attention of music critics and fans.

What could explain the massive growth of D.C. hip-hop over the past decade?

The careers of rappers like Wale, GoldLink and Maryland native Logic may hold the answer. Before any major radio singles, each first amassed a significant internet following through mixtapes released online. These, in turn, attracted the attention of blogs, music reviewers and, finally, record labels. These rappers came to prominence through the support of their diverse online fan bases, rather than organically through the local hip-hop scene. By connecting D.C. rappers with audiences outside of D.C.’s loyal go-go community, the growth of the internet has allowed District hip-hop to truly flourish.

From Go-Go to GoldLink When it originated, go-go music was more closely associated with funk than hip-hop, but, over time, hip-hop has influenced the genre and blurred the boundaries between hip-hop and go-go.

Go-go pioneers like Shorty have even accepted the new sound. “[It] represents the same elements — one big party,” Shorty said.

However, as a result, go-go music has been pushed to the outskirts of D.C. Its influence remains prominent in the sounds of new artists in these area, as well as in hip-hop artists on a broader scale.

In District, the go-go community also serves as a platform for rappers to grow and gain a following while still being a rich source of history and inspiration with great stories to share with the world.

As Shorty puts it: “D.C. hip-hop acts get the best of both worlds being in a go-go city.”

However, the existence of pure go-go music has been, and continues to be, threatened by gentrification.

“One of the big issues as a Washingto-

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nian going to Georgetown that I see is sort of the death of Chocolate City. … Now go-go is predominantly in Maryland, on the outskirts of D.C.,” Smith said. “The solution would be communities making an effort to uplift other people’s cultures ... preserving local culture, making venues and outlets so that go-go professionals and go-go bands are able to perform and then even having fairs for D.C. music and D.C. cultures.”

In the District, go-go and hip-hop culture remain tightly intertwined. Ultimately, they build off one another, both contributing to the District’s rich musical culture.

The same themes of celebration, empowerment and solidarity in the face of social and political injustice are shared between them. Despite gentrification, go-go is still alive and well in the hearts and ears of those who appreciate its cultural significance.

Its legacy continues through bands like Rare Essence, who are still playing after more than 30 years. It lives on through passionate, loyal fan bases who remember the vibrant beats of the Chocolate City. With its themes of celebration and pride; empowerment and strength within the black community; and outcry against social and political injustice, go-go is more needed than ever.

RARE ESSENCE

WALE

Wale was the first major hip-hop star to emerge from the D.C. region and achieve mainstream success. Fusing go-go beats with rap, Wale’s innovations received critical acclaim and later earned him a $1.3 million deal with Interscope Records.

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friDAY, september 1 ,2017

SWEETGREEN

Sweetgreen turns 10 this year, and to celebrate founders Nathaniel Rue (MSB ’07), Johnathan Neman (MSB ’07) and Nicolas Jammet (MSB ’07) are opening a new storefront on Wisconsin Avenue. The new location is 1,700 square feet larger than the original store and promises all of the same fresh foods and signature salads.

Sweetgreen Turns 10, Opens New Location

Yewande Ilawole Hoya Staff Writer

In 2007, a trio of freshly minted Georgetown alumni were dissatisfied with the lack of affordable and healthy food on campus. From this problem, Sweetgreen was born. Jonathan Neman (MSB ’07), Nicolas Jammet (MSB ’07) and Nathaniel Ru (MSB ’07) led Sweetgreen with a set of core values that aim to enforce a “culture, spirit and dedication to doing what’s right.”

“Every decision, small or big, whether they are in the restaurant or in our corporate office, is made through these core values,” Ru said. “That is what you see in all our kitchens and every restaurant and it has provided a great foundation for growing the business.”

Over the past 10 years, Sweetgreen has crafted a culture that focuses on providing healthy food and affordable prices, garnering the attention and love of many customers. Sweetgreen has continuously dedicated its efforts to maintaining constant communication lines with the army of farmers that drives production, basing its menu rotations on harvest schedules. In creating its season-specific signature salads, Sweetgreen balances what consumers want with what farmers grow.

“We start six months to one year in advance before releasing the menu. One of our favorite things is going into the supply chain and working with farmers to see what they’re growing and see what makes sense in that market,” Ru said.

“We work in tandem with farmers to create a menu based on what they are growing and how we can bring that to life and tell that story. It is really a partnership with farmers, which has been a big tool for us to grow.”

Sweetgreen is committed to tailoring each store to the community it serves.

Every area has a different palate, and the company seeks to connect with each individually, differentiating itself from many other chain restaurants that have the same menu in all its stores.

Sweetgreen has evolved over the past several years from a small space on M Street to a large company with 72 locations and over 1,700 employees. To commemorate its growing success, Sweetgreen is opening a new store in Georgetown on Sept. 10. This location will be 1,700 square feet bigger than the original location on M Street.

To honor their 10-year collaboration, Sweetgreen will bring FRESHFARM Georgetown Farmstand to the Georgetown community. The stand will feature locally grown produce every Saturday

morning from 10 a.m. to 1 p.m. through Oct. 28.

Sweetgreen has shown its commitment to giving back to the communities it sources from and services.

“

Every decision, small or big, whether they are in the restaurant or in our corporate office, is made through these core values.”

NATHANIEL RU (MSB ’07) Co-Founder, Sweetgreen

“That entrepreneurship class was the place where they learned what it really took to start a business,” Ru said.

In giving advice to any aspiring entrepreneurs, Ru emphasized the importance of proactive problem-solving.

“Never waste a crisis. With every problem, small or big, there is some type of

opportunity — you just have to find it,” Ru said.

Like most businesses, Sweetgreen has also encountered its share of obstacles.

When Sweetgreen opened its Dupont store, the first few weeks were very slow.

However, Sweetgreen founders responded gracefully in the face of adversity. They decided to target both drivers and pedestrians by placing a large speaker outside the store and giving out free samples, rapidly boosting the number of customers. Eventually, Sweetgreen Dupont’s hospitality and block parties led to the annual Sweetlife Festival, an opportunity for the company to share delicious, healthy food and music with the D.C. community.

Sweetgreen has created its footprint by seeking to connect all aspects of a restaurant. From creating open farmer-chef lines of communication to ensuring friendly customer service, Sweetgreen founders have focused on establishing positive relations among all elements of their business. Ten years after its founding, Sweetgreen continues to expand, with a growing number of locations in several communities.

“Looking forward at the next 10 years, we hope that Sweetgreen will continue to connect people with real food,” Ru said.

The new Sweetgreen on Wisconsin will be open on Sunday, Sept. 10 at 1044 Wisconsin Avenue.

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Frame of reference

The Role of Art in Today’s Divisive Culture

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Bruce McKaig

ince its birth, the United States has valued certain demographics over others. The resulting systemic biases continue to color the fabric of our society.

In the United States, the deeply rooted belief that we are not all created equal affects politics, the legal system, educational opportunities, housing, access to healthcare facilities and even healthy drinking water.

However, I believe that the arts can play a leading role in reversing the current culture of divisiveness and inequality in the U.S. 1. The arts do more than inform.

The power of art to invoke cultural shifts and pursuant policy changes has been seen time and time again. In many cases, the art does not contain otherwise unknown information or facts. Farther than informing people, art has the capacity to compel people to act. Photographs in the 1960s of policemen hosing down and police dogs at-

tacking black people did not illustrate facts that were not already known. However, they illustrated the facts in a way that moved people and, eventually, national leaders to act on those feelings.

When asked what role the arts play in social change today, art and art history department professor Shana Klein replied, “Artists during this current regime play a role more important than ever. They are at the pulse of political exchange and can communicate political messages in a way that prose or literature cannot. Revolutions and regimes have always relied on visual images to express messages about the political condition of a society, and this time period will be no different. Images perform distinct cultural work from other sectors of the humanities and, depending on the artist, will seduce the viewer into naturalizing or revolting against the current administration.”

Authoritarian leaders know that the arts can be a threat to their control. When Adolf Hitler invaded Poland, one of his first actions was to suppress arts and education. In the 1950s, McCarthyism targeted Hollywood and authors as possible threats.

In “Hamlet,” Shakespeare writes, “... many wearing rapiers are afraid of goose-quills and dare scarce come thither,” more often cited today as “the pen is mightier than the sword.”

2. The arts anticipate and, in part, shape the future.

The biographical background of an artist can illuminate some of the past influences and historical developments that influenced the artist’s work. As valuable as this historical context is, it remains important to deliberate the ways in which artists are also visionaries who develop new ways to envision and, ultimately, build the future.

3. The arts start at home.

The industry of art is entrenched in the same historical biases that shape the general economy. In the arts, demographics such as gender, race and socioeconomic status are primary dynamics that define who plays and who pays. Elitism in the arts is rampant; equality in terms of access or income is rare. Recent efforts to diversify who makes or experiences the arts are a step in the right direction but still suffer from a conflation of diversity and equality. Diversifying the players on the art field does not necessarily guarantee equal access.

One of the most powerful and effective ways for the arts to play a leading role in social development is for the industry of art itself to embrace and adopt some of the visionary insights artists explore. Practic-

ing rather than preaching builds a more demonstrable path other industries can follow. In his book “Art and Physics,” author and surgeon Leonard Shlain asserts that when times call for a paradigm shift, artists will be at the forefront of overturning one set of truths for another.

“All art is subversive,” Pablo Piccasso said.

Subversive acts do not materialize out of a vacuum. They want to change the standing historical context.

Art, by its very nature, is about challenging the standing historical context.

I choose to qualify Picasso’s sweeping claim that all art is subversive. When considering the arts in their entirety, it is obvious that some works are less engaged or visionary than others. But 19th century French post-impressionist artist Paul Gauguin put it this way: “In art, there are only two types of people: revolutionaries and plagiarists.

There is no valid reason to insist that all art must be socially or politically engaged.

Nonetheless, artists can at least examine the role they play in their own industry and choose whether to be complicit or forwardthinking. A pen yields no power until it is used with power in mind.

Bruce McKaig is a professor in the department of art and art history. This is the final installment of FRAME OF REFEreNCE.

A.V. ID

Exploring DC Pride Through Music Videos

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Claire Nenninger

he Washington, D.C.-Maryland-Virginia area is overflowing with talented artists and musicians. Although I would like to see more D.C. artists achieve mainstream success, there are plenty who already have. Against all odds, a handful of artists have made significant strides in the music industry and are putting the DMV and what it has to offer on the map.

Whether discussing serious social and economic issues like D.C.’s income inequality and history of gentrification or incorporating go-go music or DMV slang into their songs, local artists have the potential to raise awareness that the District is made up of more than monuments.

A great way to analyze how D.C. artists represent their hometown is by looking at their music videos.

First up is an iconic D.C. success story, the rapper Wale. Wale was born and raised in the DMV and often comes back to his

hometown to perform or give speeches, such as when he came to Georgetown to talk about the politics of the music industry in 2016.

Wale is fantastic at making small references to the DMV in his music videos in small ways. From little visual tricks like focusing on the recognizable 202 area code when exchanging numbers with a girl to wearing a letterman with the equally wellknown D.C. flag on the back, Wale incorporates his hometown into his repertoire of music videos through subtle nods.

Although Wale’s videos typically do not have distinctly D.C.-based scenery, his subtle nods to the DMV are appreciated and reflect not only his District. pride, but also his interest in the political activism inherent to the area.

His best video, in my opinion, is “Bait,” which contains a number of D.C.-specific elements, including shots of Margaret Murray Washington School and Stadium Club.

Also, while Wale himself sports a New Orleans jersey, many members of his crew in the video have D.C. or DMV shirts on. There are also plenty of references to the DMV in the song’s lyrics. At one point, he raps, “Made it big with go-go/And I made it with that dope flow/This one right here for D.C./ This one right here for Polo,” referencing go-go music, a D.C.-based subgenre of funk

that he often fuses with hip-hop, as well as Polo, the lead singer of popular go-go band TCB. Singer-songwriter Amerie (COL ‘00) excels with respect to representing D.C.’s go-go, , particularly in the catchy single “1 Thing.”

“1 Thing” subtly incorporates trademark elements of D.C. go-go. The song is a crowd-pleasing hit, and the video is immediately captivating to viewers. However, the song’s instrumentals fully utilize go-go rhythms that may not be instantly recognizable to people outside the DMV area. Therefore, “1 Thing” surreptitiously brings go-go into the mainstream music industry.

Careful fact-checkers will point out that Amerie is not, in fact, a DMV native. However, she moved to the area as a child, and enrolled in Georgetown University as an undergraduate. It was during this time that she befriended a D.C. club promoter who then helped her meet a producer and launch her career. Her other songs have a wide variety of regional influences, but the District is certainly one of her foremost areas of inspiration.

Finally, rising rap star GoldLink is one of the best contemporary artists from the DMV. GoldLink has already achieved a strong regional fan base but continues to gain significant national and global atten-

tion as well.

Growing up in Maryland and Virginia, GoldLink incorporates references to the DMV and go-go music in a less direct way.

He does not focus as much on having actual go-go samples or D.C.-inspired visuals. Instead, he has been very public about wanting his audiences to understand that his music is deeply influenced by go-go because D.C.’s contemporary music has developed from go-go.

In addition, he frequently works with other DMV artists, including singers, like Mya and Kali Uchis; rappers, like Ciscero, Wale and Shy Glizzy; and visual artists, like Darius X. Moreno, a NYC-based D.C. native.

For example, GoldLink’s popular track “Meditation” uses artwork by Moreno, who also designed the album cover for GoldLink’s “At What Cost” and works to incorporate the spirit and energy of D.C. go-go culture into his art.

Through clever lyrical references, musical samples and stunning visuals, DMV artists have repeatedly reflected their hometown pride in their music videos. All those who watch and listen will find themselves learning about D.C. culture and history without even knowing it.

Claire Nenninger is a senior in the College.

This is the final installment of A.V. ID.

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the guide’s Top Fall TV Picks Kathryn Baker Hoya Staff Writer

Summer break has come and gone and Georgetown students are eager to see what classes, relationships and opportunities present themselves this semester. However, while the new school year may bring fresh challenges and academic woes, a wide variety of television shows airing this fall are bound to ensure enthusing entertainment for all Hoyas. From horror to comedy, this season’s shows are sure to be welcomed by students looking to escape the stresses of a new semester — spoilers ahead.

One of the most iconic shows returning this fall is “American Horror Story,” created by Ryan Murphy. After six masterful seasons of ghosts, witches and vampires, its seventh season, “Cult,” is set to portray on the night of the 2016 election. Despite recent rumors, the show will not point fingers at any political figures, but it will instead focus on the eerie impact of an individual on a divided society. The show will air Sept. 5 and feature season regular Evan Peters and guest star Lena Dunham.

Comedy junkies can look forward to a plethora of sitcoms returning this fall, including the award-winning “Modern Family.”

Fans of Emmy-winning “The Big Bang Theory” can once again sing along to its catchy theme song. The quirky sitcom returns Sept. 25 for its 11th season, and fans are wondering what will follow last season’s exciting cliffhanger finale involving a marriage proposal and a decisive moment for Sheldon and Amy’s relationship. Set in Pasadena, Calif., the show follows a group of scientists as they pursue careers and romance. The show’s fame derives from its lightheartedness and relatability, with recurring themes such as the unbreakable bond of friendship and the wonder of scientific discovery.

Created by Chuck Lorre and Bill Prady, the show has launched the careers of actors Kaley Cuoco and Johnny Galecki.

However, it is undeniably Jim Parsons who steals the spotlight with his adorably awkward mannerisms and blunt way of speaking, which transform his character Sheldon Cooper into a pop culture icon.

In fact, Cooper is such a cherished character that a new spinoff series entitled “Young Sheldon” is set to premiere Sept.

25 as well. Jim Parsons will narrate the show, following 9-year-old genius Sheldon Cooper as he begins high school after having skipped four grades.

Several of The CW’s hit shows are back, and whether they be action, humor or mystery, there is something for everyone to enjoy. Superhero enthusiasts should

consider diving into the DC Comic universe through shows such as “The Flash” and “Arrow.” Entering its fourth season, “The Flash” follows Barry Allen in his quest to defeat “meta-humans” using his lightning-fast speed, while “Arrow” features a rich vigilante attempting to right society’s wrongs. “The Flash” airs Oct. 10 and “Arrow” on Oct. 12.

Also returning to the CW for a fourth season is the quirky romantic comedy “Jane the Virgin.” Many viewers are already speculating about what will become of Jane’s love life following season three’s surprising ending. One thing is for sure: Series creator Jennie Snyder Urman has vowed that this season will be about “recapturing the joy,” so fans can expect the show to maintain its bubbly themes.

Lovers of mystery dramas and thrillers can look forward to the returns of “Riverdale” and “Supernatural,” two more shows from The CW set to air in October. Entering its 13th season, “Supernatural” will premiere Oct. 12, while the newer teen drama “Riverdale” begins Oct. 11. From their trailers, both shows seem to be headed in exciting and different directions, so it will be interesting to see how these artistic changes are received by audiences.

After an extremely successful first season, the NBC drama “This Is Us” is set to launch its second season Sept. 26. With an emphasis on family, the show is sure to evoke nostalgia and remind viewers of what truly matters in life: relationships with loved ones. The show has captured the hearts of audiences everywhere, leading it to gain several Emmy nominations, although we have to wait until Sept. 17 to see if those nominations become wins.

Comedy junkies can look forward to a plethora of sitcoms returning this fall, including the award-winning “Modern Family.” Fans of the show admire the relatability of the adorable and sometimesawkward family dynamics and the hilariously charming antics of the star-studded cast, including Sofia Vergara, Jesse Tyler Ferguson and Sarah Hyland. Season nine premieres Sept. 27. Viewers are already intrigued by word that the first episode takes place in Lake Tahoe, compared to its usual Los Angeles locale.

Other comedies premiering in fall 2017 include the FOX comedy crime drama “Brooklyn Nine-Nine” and ABC’s “Blackish,” which stars Golden Globe winner Tracee Ellis Ross. Whereas the former relies on coworker relationships for comedy, “Black-ish” highlights a father striving to instill a sense of pride and cultural identity in his children. “Brooklyn Nine-Nine” is set to air Sept. 26, while “Black-ish” is not set to arrive on screen until Oct. 3.

After an eventful summer characterized by political disputes and natural disasters, audiences are hoping the fall television season will represent a return to normalcy. While many shows are expected to build on their success and deliver, others are sure to fall flat. Hoyas should prepare for a busy season of binging to discover what this fall’s hits have to offer.

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COURTESY LISA HELFERT

This fall, four Georgetown theater groups, Mask and Bauble Dramatic Society, Nomadic Theatre, Georgetown Improv Association and Black Theatre Ensemble, will present a selection of plays and comedic skits written and directed by students. One highlight is Mask and Bauble’s annual Donn B. Murphy One Acts Festival.

A Glimpse at Georgetown’s Fall Center Stage Meghan DeCourcey Hoya Staff Writer

With the beginning of every new school year comes a new season of performing arts.

The student theater groups at Georgetown University have prepared an outstanding season of drama and comedy. Here is what to expect this fall on campus from the Mask and Bauble Dramatic Society, Nomadic Theatre, Georgetown Improv Association and Black Theatre Ensemble.

Mask and Bauble, the nation’s oldest continuously running student theater organization, opens its 166th season with the theme “incredibly rare and dangerously new.” Written by Neil Simon, the first show, “Rumors” follows a dinner party gone awry. The initially cheerful 10-year wedding anniversary celebration of New York City’s deputy mayor transforms into a public scandal when the mayor accidentally shoots himself in the ear and his wife goes missing. As guests arrive and hear what has happened, different versions begin to circulate and rumors escalate.

Running Oct. 12 to 15 in Poulton Hall Stage III, Mask and Bauble’s adaptation of this highly amusing play will be directed by Ryan Seideman (COL ’19) and produced by Colton Wade (SFS ’18).

Another event to watch out for is Mask and Bauble’s Donn B. Murphy One Acts Festival.

This student-written one acts festival serves to honor Murphy, who directed Mask and Bauble for 21 years, as well as to celebrate student creativity. This year’s DBMOAF competitionwinning play is “Roots” by Devika Ranjan (SFS ’17), which tells the story of an Indian woman who deals with exclusion and hostility in a new environment. While “Roots” is the focal point of the festival, other performances

include staged readings of “Diagnos-Mis” by Vanessa Chapoy (COL ’18) and “Evelyne” by Claire Derriennic (COL ’17), along with presentations by other cocurricular groups. Directed by Gabriel Berkowitz (MSB ’20) and produced by Christian Collier (COL ’19), DBMOAF takes place over the course of Nov. 14 to 18 at Poulton Hall Stage III. Since 1982, Nomadic Theatre has committed itself to its mission “to create theatre that is both technically ambitious and socially engaged.” Nomadic will kick off its fall season with a production of “Exit, Pursued by a Bear” by Lauren Gunderson. In this show, protagonist Nan is finally ready to escape from her abusive marriage to a man named Kyle, and she decides to do it in the most overthe-top way possible. With help from her friend and a stripper, Nan decides to make Kyle understand what he has done to her by re-enacting all of his misdeeds right in front of him. The team of three then leaves Kyle in a house covered with honey and raw meat with the hope that a bear will come along to finish the job. The pairing of twisted humor and anguish serves to explore how one can confront the past and move forward to the future. Nomadic’s adaptation of this exhilarating revenge comedy is directed by Bailey Premeaux (COL ’19) and produced by Cristin Crowley (MSB ’20). “Exit, Pursued by a Bear” runs Oct. 19 to 21 and Oct. 25 to 28 in the Village C Theater.

The Georgetown Improv Association enters its 23rd season with a mission: “to promote improv as an art form and to provide frequent and affordable performances to the Georgetown community and the greater public of the Washington area.” This talented group has alumni who can be found working for Saturday Night Live, The New

Yorker, Comedy Central and on Broadway.

Its current members are ready to present another season of humor to the Georgetown community. There will be three shows this fall, on Oct. 21, Nov. 10 and Dec. 2. All shows take place in Bulldog Alley, located in the Leavey Center on Georgetown’s campus. The shows usually sell out quickly, so it is best to buy those tickets early.

Another group to watch is the Black Theatre Ensemble. The group was established in 1979 with the goal of “producing dramatic works that celebrate and enrich the Black and minority cultural heritage, and expand

and challenge the discourse on the Underrepresented experience.” Highlights from last season include a coproduction with Mask and Bauble of “An American Daughter” by Wendy Wasserstein, a production of “Hookman” by Lauren Yee and coffeehouse events with of music and improvisation.

This is just a sneak peek of what is to come on Georgetown’s campus. Whether enjoying a brilliant array of student works, a dramatic revenge play or just a few hours of nonstop laughs, Georgetown students will find a diverse selection of plays to choose from this fall from its on-campus theater groups.

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summer reading

This week’S TOP FIVE

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DC Coffee Shops emissary Alexandra Brunjes

A good coffee shop needs two things: a delicious cup of joe and a warm, inviting ambience.

Emissary, located on P Street just to the west of Dupont Circle, has both in spades. Inside, a calm and chic interior welcomes guests to taste coffee roasts imported from countries around the world. Emissary is well-known for its delicious vegetarian bites and charcuterie, wonderful additions to the high-quality espresso.

EMISSARY

A refuge from the noise and crowds of the intersection of Wisconsin and M Street, Grace Street Coffee’s sleek and modern yet cozy design makes it a fashionable spot on the namesake’s address. Grace Street Coffee shares its space with the popular sandwich shop SUNdeVICH and smoothie and juice bar South Block and serves many varieties of high-quality tea and coffee.

GRACE STREET COFFEE

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blue bottle coffee

BLUE BOTTLE COFFEE

filter coffeehouse and espresso bar

Famous for its cappuccinos and cold brew drinks, this unassuming coffee shop impresses.

Filter Coffeehouse and Espresso Bar, which can be found just to the north of Dupont Circle, does not offer internet access to encourage its guests to sit down and have good conversations with one another. Featuring a comfortable ambience, this D.C. coffee shop is the perfect place for a nice talk and a good brew.

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Charming, Witty Stories of Post-Grad Life

A grace street coffee

Blue Bottle Coffee is an inviting coffee shop that recently opened just off M Street.

It has a warm, light and open ambience and prides itself on only serving the freshest products: Customers receive coffee roasted no more than 48 hours ago. Its artisanal coffees are complemented by comfortable, custom-made seating and furniture.

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At this cozy coffee shop near Dupont Circle, one can enjoy both a good cup of coffee and a nice book. This iconic D.C. bookstore shares its space with a bar and a coffee parlor, offering both the perfect caffeine fix as well as fun reads. This coffee bar is open until 1 a.m. for D.C. night owls but is also open at 7:30 a.m. for the city’s early birds.

FILTER COFFEEHOUSE AND ESPRESSO BAR

kramer books and afterwards cafe

KRAMER BOOKS

perfect pair of books to cap off the summer, publicist-turned-author Sloane Crosley’s two collections of autobiographical essays, “I Was Told There’d Be Cake” and “How Did You Get This Number,” are relatable, hilarious and charmingly witty.

A well-executed foray into the world of creative nonfiction, Crosley’s work recounts her life in amusing, bite-sized pieces as she shares stories with readers that will evoke both laughter and self-reflection.

“I Was Told There’d Be Cake,” published in 2008, was Crosley’s first book and a New York Times bestseller. Published just before she turned 30, the essays recount her post-college life and early adulthood, highlighting the often-comical struggles of a 20-year-old living in New York. When describing the veritable letdown of post-graduation life, Crosley writes, “We were disillusioned by day and deglamorized by night.” A testament to her sharp wit and seemingly effortless sense of humor, even the book’s chapter titles are hilarious — examples include “Bring-Your-Machete-to-Work Day,” “Bastard Out of Westchester,” “Smell This” and “You On a Stick.”

One of Crosley’s greatest strengths is her tendency to focus on situations in detail rather than explore only their broader implications. In fact, this is often the source of her comedy. Using her signature sense of humor, Crosley describes unremarkable situations such as moving apartments in New York, spending Christmases with her family and becoming friends with a man whom she only intended to have a one-night stand with. In describing these everyday aspects of her life, Crosley manages to pull readers in, make them laugh and have them reflect on the seemingly frustrating parts of growing up with amusement and appreciation.

Crosley’s second set of essays, “How Did You Get This Number,” was released in 2010 and reflects a more mature and developed — yet still characteristically witty — voice. She moves from the slightly more trivial stories of “I Was Told There’d Be Cake” to more subtle, serious pieces that recount her experiences later in life. In one of the book’s nine vignettes, “Show Me On the Doll,” she talks about traveling to Lisbon out of a desire to satiate her childhood dream of being able to “spin [a globe] and point and travel wherever my finger landed.”

Although Crosley manages to weave comedy throughout the story, “Show Me On the Doll” reflects more deeply upon the often-felt desire of adults to feel youthful and impulsive.

Another essay, “Lost in Space,” is thoughtful and self-reflective, describing the tempo-

ral and spatial learning difficulties that have frustrated Crosley since childhood. When she was growing up, for example, she found it impossible to distinguish left from right, was baffled by analog clocks and could not shade the correct bubbles on standardized tests, forcing her to devise unorthodox study methods. Crosley has since realized that she had a “functionality cap” and has had to either come to terms with some of her shortcomings or learn how to avoid them. For instance, when invited to her sister’s barbeque, Crosley comically decides to leave the country for the weekend rather than face the trouble of navigating the bus system. “How Did You Get This Number” recounts Crosley’s other more mature experiences — her time spent as a bridesmaid for a wedding in Alaska and her trips to Paris, for example — as well as charming stories in which she reminisces about her childhood.

Although “I Was Told There’d Be Cake” and “How Did You Get This Number” share Crosley’s distinctive voice and her ability to spin the ordinary into the hilarious, they have discernible differences in tone and weight. “I Was Told There’d Be Cake” is lighter, brighter and more laugh-out-loud funny. Although it is slightly shorter than “How Did You Get This Number,” it has almost twice as many essays, containing shorter, more sharply written pieces. “How Did You Get This Number,” on the other hand, reflects greater maturity and experience. Crosley finds comedy in more grown-up situations, and she seems to have passed the age of late-night parties and the thrilling uncertainty of early post-college life.

In her second collection, Crosley also seems more eager to reach resolution. The conclusions of her essays end more slowly than they do in “I Was Told There’d Be Cake,” and they instead seem to strive for a sense of closure, that broadens the reader’s perspective. Crosley’s growth between the two books is wonderful to witness.

“I Was Told There’d Be Cake” and “How Did You Get This Number” are sharply witty and thoroughly relatable, making them perfect summer reads. By hearing from Crosley’s experiences, readers can reflect on their own lives and hopefully learn that oftentimes, the challenges of growing up can make for the most memorable — and the funniest — of stories.

Alexandra Brunjes is a sophomore in the College. This is the final installment of SUMMER READING.

friday, September 1, 2017

the guide

THE HOYA

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Best Eatery Openings of Summer Kung Fu Tea

BLUE BOTTLE COFFEE

Looking to expand its presence in the Washington, D.C.-Maryland-Virginia area — with nearby locations in Maryland and Virginia — Kung Fu Tea opened its first location in D.C. on Wisconsin Avenue. The bubble tea franchise offers freshly-brewed tea — made from handpicked Taiwanese tea leaves — with freshly made tapioca bubbles, among other beverages. One of the best features of this bubble tea sensation is its location. Upstairs from the charming and casual Korean bistro Zannchi, bubble tea lovers can delight in rice bowls and later indulge in a honey lemonade, a matcha red bean slush or a classic Kung Fu milk tea for dessert. With its large selection of fruit- and milk-based teas, frozen drinks, ice creams and yogurts, Kung Fu Tea does not settle for year-round best-sellers, but offers several seasonal specialties, like pumpkin and taro flavored teas. Customers can handcraft their drinks to meet specific levels of sweetness and coldness and choose from a wide variety of toppings, such as red and mung beans, fig and aloe jellies and puddings. Customers can satisfy both their sweet tooth and healthy side with gluten-free, vegan and non-dairy options as well. In addition to a customized ordering experience, Kung Fu Tea has a distinctive decor filled with a fun combination of modern American decorations and traditional Taiwanese ornaments, dark wooden floors and a quaint fireplace.

It is undoubtedly a fun, relaxed destination to enjoy a sweet treat.

Blue Bottle Coffee Blue Bottle Coffee opened its doors on Potomac Street on July 9. Only a 20-minute walk away from campus, this cozy and artisanal cafe features an appealing open storefront, a standing bar and cases filled with premade snacks and drinks for onthe-go customers. Freelance musician James Freeman created Blue Bottle Coffee as a response to his dissatisfaction with mass-produced coffee and large commercial chains. Though Freeman has focused on creating a relaxed environment for customers to enjoy a good cup of joe, his main goal remains to produce high-quality, balanced coffee. Georgetown students can now enjoy coffee at what Freeman calls “peak flavor,” thanks to a fine supply of responsibly sourced beans and fresh roasting. One of the main tenets held by Freeman is to never compromise the roast’s quality, and Blue Bottle guarantees that all coffee sold has been roasted in the past 48 hours. Blue Bottle Coffee does not offer Wi-Fi, with the hopes of helping customers disconnect from phones and laptops and engage in conversation and relaxation instead. The flavor-focused, socially responsible cafe promises both delicious drinks and treats, as well as a comfortable space for Georgetown students.

KUNG FU TEA

INSOMNIA COOKIEs Insomnia Cookies is set to spread the sugar craze across the D.C. area with the upcoming opening of a Georgetown location this fall. What began as a campus delivery service — fueled by University of Pennsylvania alum Seth Berkowitz’s wish to fulfill his late-night cravings for cookies — has expanded into an ever-growing baking sensation that will now be available for hungry Hoyas seeking a late-night snack. The popular shop, which sells and delivers warm, freshly baked cookies until 4 a.m., opened its first D.C. store last November in Adams Morgan and is now planning for two more locations in the District — one along the H Street Corridor and another on O Street in Georgetown.

Just a 15-minute walk away from campus, Insomnia Cookie’s storefront will be located across the street from D.C.-based takeout restaurant Wingo’s. Insomnia Cookies delivers until 3 a.m., which will be convenient for Georgetown students cramming the night before an exam. Customers can either get their baked goods by making a quick run to the store, or purchasing them online. Featuring a wide array of cookies, students can indulge in classics such as chocolate chunk, oatmeal raisin and snickerdoodle, or try new signature flavors such as chocolate peanut butter, s’mores, and triple chocolate chunk. As you enjoy a batch of freshly baked, mouth-watering cookies, keep in mind Insomnia Cookies allows for the option of having them served a la mode or paired with a glass of cold milk.

WAWA INC.

Wawa The convenience store and gas station chain Wawa Inc. announced its new location in Georgetown, projected to open in 2018. With more than 750 stores on the East Coast, the company hopes to expand to D.C., with plans to open up to 10 stores in the District. Wawa’s second D.C. location — with an opening in Dupont coming this December — will be located at the intersection of Prospect Street and Wisconsin Avenue, a short walk away from campus. A distinctive mixture of quality and convenience, Wawa is set to open a restaurant-style location with an architectural design tailored to historic Georgetown buildings, offering a sumptuous shopping and dining experience. Wawa’s signature dishes include its popular hoagies and its Philly cheesesteaks; it will introduce new menu items as well, including custom-made salads and nitro cold brew.

INSOMNIA COOKIES

B10

the guide

THE HOYA

Album review

Movie review

Painted Ruins

Ingrid Goes West Starring: Aubrey Plaza and Elizabeth Olson Directed by: Matt Spicer  William leo

Hoya Staff Writer

We live in an age dominated by the internet, yet despite the increasing focus on aesthetics and the power of social media to show off cultural capital, few films have explored the effects and dangers of these trends. First-time filmmaker Matt Spicer’s “Ingrid Goes West,” starring Aubrey Plaza and Elizabeth Olson, engages our image- and internet-obsessed culture with offbeat humor and a topical critique of contemporary attitudes to social media.

Plaza plays Ingrid, a young woman from Pennsylvania who is obsessed with media, especially Instagram. After the death of her mother, Ingrid assaults a woman and spends time in a mental hospital. Shortly after her release, Ingrid discovers Taylor Sloane, played by Olson, a chic Instagram star with carefully manicured photos and a seemingly perfect life. Spurred by a newfound obsession with Taylor, Ingrid uses her inheritance to move west to California to find and befriend the star. After moving to Taylor’s neighborhood and renting a room from a friend named Dan, played by O’Shea Jackson Jr., Ingrid begins to stalk Taylor and emulate everything she does.

The film becomes increasingly dark and disquieting as Ingrid resorts to manipulation and crime to get what she wants.

Plaza avoids many of the stereotypes associated with topical dramas. Not only does the movie eschew a salvation narrative or superficial sentimentality, but it also candidly tells a compelling story with flawed, unlikeable characters.

For all the movie’s strengths, there are also failures. Ingrid’s character, beyond her obsession with social media, is never thoroughly developed, and her motives remain murky. Family trauma and loneliness are mentioned but never explored in full. In a world filled with legions of Instagram fans, it may seem unnecessary to ex-

friDAY, September 1, 2017

plain the motivations of a social media junkie, but without an explanation of her drives, the character of Ingrid ultimately falls flat.

However, this undeveloped character may also speak to the strengths of the movie. “Ingrid Goes West” can be thought of as a modern-day morality play in conversation with 21st century issues. The characters within the play are not fully fleshed out, nor does the dialogue of the play hold any allusions to realism or naturalism.

Instead, the characters act as allegories for figures in daily life who all participate in the grand interplay of ethical acts.

By approaching “Ingrid Goes West” as an allegory, the five main characters take on roles that many can relate to. Ingrid is the technologyobsessed young person whose interests online lead to obsession, delusion and despair. Dan is the well-intentioned modern person whose obsession with popular culture and pleasure leads him astray. Taylor becomes an example of the superficial glamour which we each practice daily, while Ezra, played by Wyatt Russell, represents the millennial everyman whose simple desires are thwarted by the obsessions of others.

Nonetheless, the critique of social media and obsession with image can seem trite. It is hardly an unpopular opinion to say that you do not like social media. However, by taking obsession with social media to the extreme, the movie is able to address the severity of the issue. Nothing in the film, even at its most disturbing moments, is unrealistic — although few among us have experienced the level of violence and pain which social media inspires as the characters in the film.

A well-made and well-acted film, with topical problems that affect young people here on campus and all across the world, “Ingrid Goes West” both disquiets and humors. Comedic yet dark, it reminds us of the dangers of our everyday online habits and the profound danger of equating aesthetic pleasure with substantial happiness.

INGRIDGOESWESTFILM.COM

Grizzly Bear

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Marina tian Hoya Staff Writer

Everybody loves indie music. And why wouldn’t they? Once reserved for independently produced music, the term is now used freely to describe any variety of sonically interesting music. It sounds different yet remains pleasant to the ear — pop music for the thoughtful person.

In today’s digital age, where you can find any underground artist with a couple of clicks and listens, indie music has a sort of social currency; it gives the discoverer an air of discernment, a badge of good taste.

Of course, there are the naysayers who long for the more obscure indie scene of the early days and decry the insipid posers of indie fandoms today. “Indie rock is dead,” they say. Of all the bands that came out of the indie boom of the early 2000s, few were quite as adulated as Grizzly Bear, dubbed “indie rock royalty” by publications like Vulture and StereoGum. From its ubiquitous hit single “Two Weeks,” to their score for 2010 indie drama “Blue Valentine,” to videos of Jay-Z and Beyonce jamming out at a show in 2009, the Brooklyn-based quartet enjoyed a popularity that most artists would die for. Still, after 2012’s album “Shields,” the band took an unofficial five-year hiatus.

Grizzly Bear could not have chosen a better time to return to the fray with fifth studio album “Painted Ruins,” released Aug. 18. With the chill ambience of debut “Yellow House” and percussive explosiveness of 2009’s “Veckatimest,” Grizzly Bear proves that it learns and grows. In today’s musical landscape, where most tunes on the charts rely on the hard work of four chords and three notes at most, it is refreshing to hear a band so meticulously focused on crafting contrapuntal melodies and intriguing lyrics.

Take, for example, the lush, sprawling crescendo of “Wasted Acres.” The lyrical juxtaposition of a pastoral lifestyle with electronic and acoustic instrumentals feels almost symphonic.

Generally, “Painted Ruins” exhibits beautiful musicianship, a true testament to the technical skill of the band members. In particular, percussionist Christopher Bear’s dynamic rhythms propels much of the album. On the restless “Neighbors” and confessional “Four Cypresses,” the percussion gives the tracks a forward momentum without distracting from the layered guitars and vocals.

Instrumentalist and album producer Chris Taylor is no slouch, either. The first single released from the album, “Three Rings,” builds synth arpeggios to one of the most satisfying moments of the album. With gorgeous harmonies and backing vocals reminiscent of indie peer and sometimes-collaborator Fleet Foxes, “Three Rings” maintains an air of drama while still being delicate.

“Painted Ruins” is not an album you can listen to in passing and fall in love with. It ambles along, and the distracted listener may find that the tracks blur together. To succeed, the album requires your undivided attention. It compels the listener to find new moments of poignancy

rca Records

and catharsis with each replay.

After all, at its heart, “Painted Ruins” is a break-up album. In the last five years, the band has fractured geographically, with members living in New York and Los Angeles. Though Droste and covocalist Daniel Rossen have preternaturally melancholic voices, the theme throughout the album is a sense of impending, unavoidable calamity.

In today’s political climate, it is not hard for listeners to extrapolate the themes of the album to the greater world, although band members have said on numerous occasions that this was not the intention. Even so, when Rossen sings on the lilting, waltz-like “Glass Hillside” — “Our fears that make us cruel/object of all desire...Pitiful mass crossing the ocean/All desire” — it is easy to see how fans link the track’s tense, paranoid energy to current events.

In past works, Grizzly Bear has oft ruminated on the fading of relationships despite attempts at healing. In “Painted Ruins,” the dynamic changes subtly from helplessness to acceptance. The fretful anxiety and exasperation of the album is balanced by an insouciance and persistence. It’s this devil-may-care attitude in the face of inevitable despair that defines “Painted Ruins.”

In interviews with NPR and Interview Magazine, the band has expressed its insecurity about the current landscape of music culture, calling it “overwhelming and confusing.” After a hiatus at a time most would have called the band’s peak, was there still a place for Grizzly Bear?

As the album’s namesake demonstrates, Grizzly Bear intends to transform decay and rubble with a patina of color — to beautify what is left after disaster. Like Rossen sings on “Four Cypresses:” “It’s chaos but it works.”

Never lazy, never sloppy, especially in the face of instability, Grizzly Bear runs head-on into a bleak, uncertain future with determination and hope. Ultimately, what Droste, Rossen, Taylor and Bear accomplish on “Painted Ruins” is a feat that truly proves why they deserve the title of “indie rock royalty.” They don’t care if indie rock is dead or alive. They’ll keep crafting grand, orchestral works of art anyway.

the guide

friday, September 1, 2017

Life Without Sound

Album review

Cloud Nothings William Leo

Hoya Staff Writer

Music, like all forms of art, has an ability to affect us at our most basic emotional level. It has a feeling, an almost tactile sensation, which can allow us to experience the world in new and interesting ways. In its new album, “Life Without Sound,” Cloud Nothings conveys the melancholic emotions trademark of indie rock but does not ultimately rely on genre tropes.

Since its beginning in the 1990s, indie music has come a long way. From roots in classic rock and folk music, indie rock has cultivated large communities of fans through a wide variety of styles and subgenres. Cloud Nothings takes its inspiration from noise rock and the post-hardcore and post-punk music of the 1980s and ’90s.

Heavy use of strumming and vocals occupy an important place in “Life Without Sound,” deriving from these influential forms of rock.

Cloud Nothings borrows from this heritage, gesturing back to Nirvana and Sonic Youth with a heavy emphasis on guitar and obscured vocals.

Lead singer Dylan Baldi is unafraid to use loud, growling vocals reminiscent of his punk music roots, which gives the album a grittier quality.

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Generally, the album’s contrast between lighter and heavier songs provides pleasant diversity. It works especially to the advantage of the lighter pop-style tunes of the album, like “Modern Act,” which bubbles with palpable energy and uses a fast beat to great effect.

Although the vocals and the lyrics have been Cloud Nothings’ strong suit historically, in this album, they fall flat. The loud guitar and powerful beat obscures the meaning and power of the lyrics. It ignores the potential for smart, well-written lyrics, and, ultimately, the chance to engage with the imagination and emotion of listeners. This detracts from the energy of the beat and dampens the potential of the songs.

This does not hold universally through the album. “Modern Act,” for example, discusses the themes of melancholy and anomie with powerful, poetic lyrics as Baldi sings,“When you feel like an ocean/Coming out of a creek/Filling rivers to wait for you/Wherever you are /When you’re out and around /And all you ever see/Are people looking away/It’s nothing new to me.”

The shortcomings of “Life Without Sound” stem from the very techniques that make other parts successful. “Things Are Right With You” and “Internal World,” for example, are tradi-

tional indie-rock songs, yet are unoriginal and do not warrant a second listen.

Although filled with upbeat tracks, the album touches on somber themes. A sense of being lost pervades the music. However, the fastpaced guitar arrangement distracts from the substance of the lyrics. The effect of this contrast is a feeling that matches the pace of modern life: There are problems, but the song moves too quickly to digest them. “Modern Act” and “Strange Year” confront these themes directly, though their lyrical complexity is hard to grasp through an overpowering beat and the guitar.

Indie rock as a whole, and Cloud Nothings in particular, has a problem with homogeneity.

Individual songs can succeed with traditional indie rock techniques and instrumentation, but they tend to blur together or sound like one another. With the popularization of electronic instruments and a renewed emphasis on vocals, some types of indie music have recently begun to head in a new direction. Borrowing from rap, rhythm and blues and other genres, these strands of indie rock have the potential to create something new and beautiful.

Instead of reforming their artistic vision to incorporate these new trends, Cloud Nothings

CARPARK RECORDS

is stuck in the past, continuing to release repetitive music. This is not to discredit the quality of good, old-fashioned indie rock of the’80s and ’90s. Nonetheless, it is clear that indie music a needs fresh blood and new ideas. Unfortunately, “Life Without Sound” by Cloud Nothings is more of an homage to the past than an understanding of the future.

MUSIC

New Releases

ATLANTIC RECORDS

CAPITOL RECORDS NASHVILLE

ISLAND RECORDS

PRIVATECLUB

Lil uzi vert ‘sauce it up’

luke bryan ‘light it up’

the killers ‘wonderful wonderful’

madeinTYO ‘too quick’

After months of delays, hip-hop star Lil Uzi Vert has finally dropped his debut studio album, “Luv is Rage 2.” “Sauce It Up” is the highlight of the album, as Uzi reflects on his rise to stardom and the confidence that he has gained as a result.

He raps, “I’m gon’ keep flexing/If you don’t like me then I’m sorry.” While the song contains its fair share of boasts and bold comments, Uzi is at his most sympathetic when detailing his heartbreak after falling out with his girlfriend. While Uzi was tip-toeing around stardom before, he has now truly taken ownership of his celebrity.

The country singer, currently on tour through October, delves into the throes of heartbreak on his new single, “Light It Up.” This song describes him as he waits anxiously for a text or call from an ex. “I wake up, I check it/I shower and I check it/I feel the buzz in my truck and I almost wreck it,” he sings while embroiled in a situation familiar to many. Bryan softly vocalizes his feelings over a slow, sorrowful tune and, as per usual, manages to make a sad song catchy.

One of the biggest rock bands of the past decade, The Killers, returns after a five-year hiatus with three singles off of their upcoming album titled “Wonderful Wonderful.” The eponymous track, just released, is driven by distorted percussion and carried by slashing guitar riffs. Their front man, Brandon Flowers, has said that modern rock bands are not up to par and that The Killers will look to remedy that with their return on Sept.

22.

The Atlanta rapper, two years into his career, just released his fourth project, “True’s World.”

Famous for his chart-topping track “Uber Everywhere,” the artist is coming into his own with sharp flows over minimalist production, showing glimpses of potential stardom. He epitomizes his newfound life of luxury on “Too Quick,” rapping “Gucci duffel, bust yo’ bubble ugh you ain’t hot/Saint Laurent winter jacket, had it for the drop/Told Distorted if she want it, cop that BM drop.” The message is clear: What Tokyo wants, Tokyo gets.

CHRISTIAN PAZ anna kovacevich

lauren seibel

JOHN CURRAN

karla leyja

meena raman

stephanie yuan

william zhu

ella wan

spencer cook

joanne lai