The Hoya: The Guide: September 29, 2017

the guide F R I DAY, S E P T E M B E R 29, 2017

Against All Odds: Yarrow Mamout

PORTRAIT BY JAMES ALEXANDER SIMPSON, ILLUSTRATION BY MINA LEE AND VALERIE MA/THE HOYA

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A Story of Strength: The Life of Yarrow Mamout Cosima Schelfhout Hoya Staff Writer

On Jan. 7, 2012, historian James H. Johnson presented a case to the Old Georgetown Board, a three-person team appointed by the D.C. Commission of Fine Arts responsible for preserving Georgetown’s architectural history.

Johnson hoped to stop the construction of a set townhouses at 3324 Dent Place, NW, a location he described as “one-ofa-kind in the racial history of America.”

To convince the board of Dent Place’s significance, Johnson told the story of the property’s former owner, Yarrow Mamout — the financier of Georgetown.

In 1752, Mamout was taken from his home in Guinea to Maryland. He was 16, well-educated and could read and write Arabic. Mamout was a slave for 44 years, first in Takoma Park, Md., under

his owner Samuel Beall, and eventually in Georgetown, under Beall’s son. After decades of saving his money, Mamout bought his freedom at the age of 60.

In the following years, he worked odd jobs to establish himself and save money yet fell prey to several near-crushing swindles. Finally, in 1800, Mamout earned enough not only to purchase a property on Dent Place, but also to begin lending to others. He became a financier for Georgetown’s black and white merchants and eventually came to own stock in the Columbia Bank of Georgetown.

Mamout’s prominence in the neighborhood piqued the interest of two artists: Charles Wilson Peale — who is best known for his portraits of leaders of the American Revolution — painted Mamout in 1819, and James Alexander Simpson — who later became the first professor of drawing and painting at Georgetown —

painted the financier in 1822.

It was after seeing Simpson’s portrait of Mamout in the Georgetown branch of the D.C. Public Library that Johnson decided to explore Mamout’s story. In an interview with the Washingtonian, he said, “I couldn’t believe that no one had researched a black man who was the subject of two formal portraits in the early 19th century.”

In 2012, after eight years of research, Johnson published “From Slave Ship to Harvard: Yarrow Mamout and the History of an African American Family,” a biography that chronicles Mamout’s life and accomplishments.

The book’s publication, and Johnson’s attempts to preserve Dent Place, shed light on Mamout’s important yet often overlooked story.

Adam Rothman, a professor in Georgetown’s department of history specializ-

PHILADELPHIA MUSEUM OF ART

Yarrow Mamout was depicted in portraiture by two artists: Charles Willson Peale, whose rendition of Mamout is above and who was known for his American Revolution portraits, and James Alexander Simpson, who later became the first professor of drawing and painting at Georgetown.

ing in slavery and abolition, said Mamout’s story encourages a more nuanced reading of slavery in America.

“

[Mamout’s story] should not just make people want to look into archives. Stories like these should help people understand the conditions of African Americans today.”

MAURICE JACKSON Associate Professor, History and African-American Studies Department

“Mamout’s life shows the varieties of experiences of enslaved people,” Rothman wrote in an email to The Hoya. “Not only is he one of the best documented Africans to live in early Georgetown, but he was a practicing Muslim. That’s important because too many people are unaware of the long presence of Muslims in America.”

Maurice Jackson, an associate professor of history and African-American studies, also touched on how Mamout’s story plays into the greater historical narrative of race and identity in America.

“It’s significant because we can trace him back to Guinea, and we can be absolutely sure he was a devout Muslim,” Jackson said.

Jackson added, however, that what makes Mamout’s life most intriguing was his unmatched ability to persevere.

“He worked so hard to purchase his freedom, he had so many challenges — but nonetheless bought his freedom and that of his family,” Jackson said.

Jackson believes Mamout’s story has the power to do far more than enrich Georgetown’s history books and diversify slave narratives. He argues that studying stories like Mamout’s can give vital context to today’s most pressing issues and potentially encourage social action. “[Mamout’s story] should not just make people want to look into archives. Stories like these should help people understand the conditions of African-Americans today, should make us wonder why there are so few African American students at Georgetown, while so many African-American residents in D.C.,” Jackson said.

Jackson continue by saying that Mamout’s history and those like it “make us wonder why the president can single out AfricanAmericans. They should make us all stand up and be counted, make us stand for equality.”

Historians and advocates of Mamout’s story continue to hope that he gains greater appreciation and recognition.

Jerry McCoy, a special collections librarian at the Georgetown branch of the D.C. Public Library, oversaw Simpson’s portrait of .

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Mamout at the library for several years.

While he always considered the portrait the crown jewel of the collection, McCoy said, “The majority of visitors didn’t comprehend its importance. I was saddened when people would come in and give a two-second glance.”

After Johnson’s biography of Mamout was published in 2015 and a subsequent feature on Mamout was published by a journalist in the Washington Post that same year, the National Portrait Gallery approached McCoy about including the portrait in one of its annual rotations.

Now, Simpson’s portrait of Mamout hangs in the gallery’s “American Origins” section, alongside the portraits of several prominent white, male figures, including William Henry Harrison, the ninth president of the United States; Oliver Hazard Perry, an American naval commander; and Winfield Scott, a U.S. army general and candidate for the Whig Party in 1852.

Since the piece arrived at the gallery in 2016, curators have used the portrait in special programs exploring the history of America’s earliest Muslims.

While Mamout has become better known in recent years, Jackson argues that the neighborhood community, and the university in particular, need to do more to honor his legacy.

“This fits right in the with the narrative we know, Georgetown’s own archival work,” Jackson said. However, he added that, “In many ways, it’s much broader.”

In 1838, Maryland Jesuits sold 272 slaves to keep the financially troubled university from collapsing. Jackson said that as the university makes strides toward commemorating its own former slaves, it should also work to commemorate Mamout.

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[Mamout] was a practicing Muslim. ... That’s important because too many people are unaware of the long presence of Muslims in America.”

ADAM ROTHMAN Professor, History Department

But in the end, Johnson’s efforts to honor Mamout’s story proved fruitful. Construction plans on Mamout’s home on Dent Place were halted, and D.C. archaeologists led a sixmonth dig of Mamout’s former residence.

While the excavation did not result in the discovery of Mamout’s remains, as Johnson had hoped, it did uncover several thousand items that are currently being analyzed and dated.

As scholars and historians continue to sift through Mamout’s belongings, it will be difficult to forget his immense contributions to Georgetown and his path to becoming the financier of the neighborhood.

“Any story about an American who was able to overcome slavery and purchase his freedom is unique,” Jackson said. “Mainly, [Mamout’s] real power was in purchasing his own freedom and the ways in which he stayed connected to his history.”

MARINA TIAN/THE HOYA, LIBRARY OF CONGRESS

In 1800, Yarrow Mamout purchased a property on Dent Place with the money he had saved. More than two centuries later, in 2015, D.C. archaeologists led a dig of the property, which is pictured above, and uncovered many artifacts and items belonging to the financier.

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MAGNOLIA PICTURES

John Carroll Lynch is best-known for acting in critically acclaimed films like “Fargo” and “The Founder” but with “Lucky,” he makes his directorial debut. The film is about a 90-year-old atheist named Lucky, played by Harry Dean Stanton (pictured above), as he grapples with aging, loneliness and the imminence of death.

John Carroll Lynch Discusses ‘Lucky,’ Future Plans Alexandra Brunjes Hoya Staff Writer

Of the many Hollywood actors who have turned to directorial roles over the course of their careers, few have had as celebrated an acting career as John Carroll Lynch. Lynch, known best for his acting roles in the films “Fargo,” “Shutter Island” and “The Founder” and television show “American Horror Story,” will make his highly anticipated directorial debut with the premiere of “Lucky” on Oct. 6. The film, written by Logan Sparks and Drago Sumonia, stars Harry Dean Stanton in the eponymous role, David Lynch and Ed Begley Jr. The film follows the life of a 90-year-old atheist named Lucky as he grapples with aging and the frustrating imminence of death. The 88-minute film reflects on mortality and the importance of relationships as it follows Lucky’s lonely existence in a small desert town. Lynch sat down with The Hoya to discuss the relationship between Stanton and Lucky, the casting process, his hopes for the film

and his plans for the future.

Since Stanton passed away Sept. 15, his role in “Lucky” is truly memorializing and will likely make his name known to many in the generations too young to witness his incredible film career. “Lucky” is described as a tribute to Stanton’s life and is somewhat biographical, but I have read that Stanton did not think the character truly represented him.

What are your thoughts on the relationship between Stanton and the character of Lucky?

Harry was insistent that he only played Harry Dean Stanton — it was very important to him. So, the idea that he thought this role wasn’t representative of him is kind of a funny discord. There were a lot of things about the character that obviously weren’t about Harry, but it was based fully on what the writers felt was essentially him. In a way, if you wanted to really drill down on it, it would be that Lucky is what Logan and Drago thought of Harry, and that that’s who he was playing — he was playing their impression of him.

I know that the script was written with Stan-

ton in mind — was that was a primary draw for you? Do you think you would have been as compelled to direct “Lucky” if he weren’t playing the lead?

If Harry weren’t playing [Lucky], the movie never would have been done. That was a committed choice. If we, for example, hadn’t been able to raise the money before he died, I wouldn’t be interested in doing it, and Logan and Drago wouldn’t have been interested in doing it. It would’ve been weird to offer Lucky to just anybody. We could’ve done it, but it wouldn’t have felt right. We didn’t have to, gratefully, because he said yes — which was not always a fait accompli.

Lynch and Begley were also written into the film, but for the rest of the supporting characters, what was the casting process like?

Since this movie was, in your words, a “love letter” to Stanton, and the cast was fairly small, were you looking for actors who were eager to contribute to celebrating his life?

I do know that one of the primary draws was to work with Harry Dean Stanton — it was for me when I was going

to act in it. [John Carroll Lynch was in consideration for playing Barry Shabaka Henley’s role of Joe.] There was always that draw for actors, because he’s actorbait.

David’s wasn’t written for him, but Harry suggested David, and we all agreed; we thought it was a really good fit. Ed was on board to begin with. My heart breaks for Ed right now; him and Harry were so close. Ed talked to him every day for years and they saw each other a lot, so it must be really hard for him to lose his friend.

You almost acted in the film yourself — what made you decide not to?

I had plenty on my plate and there was no purpose in it. If we had needed money and my name had meant something, if it had been a part that was compelling enough for me that I absolutely had to do it, I probably would have. I loved Joe, I would’ve been happy to play Joe, but I didn’t need to play Joe. And I had Barry!

I also thought of the depth and the density of the town. When you’re casting,

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THIS WEEK’S TOP FIVE

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Fall Fashion Trends GOTHIC WINTER FLORALS

Florals are typically seen as a summer style, but this year, designers are leaving behind pastel posies for gothic gardenias and dark romantic roses. This fall, designers like Elie Saab and Marc Jacobs are combining floral prints with winter hues to produce garments that are hauntingly innocent. To wear this trend, pair an elegant printed blouse with dark pants to create an outfit that echoes this trend’s bewitching qualities.

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John Carroll Lynch, above, hopes to continue both acting and directing in the future.

He considers “Lucky” to be a “love letter” to Harry Dean Stanton, the star of the film. you’re thinking about a world you’re creating. I wanted the material to have a sense of the world that I look at every day, where there are people from all over the world. Barry was able to do it, and he’s a wonderful actor.

“

Right now, my time is limited. So that joy that he finds, I want to find every day. I don’t want to miss it. I don’t want to waste a second of this time.”

JOHN CARROLL LYNCH Director, “Lucky”

Now that you’ve had a go at directing, what does the future look like for you? Do you plan to continue directing, switch back to acting or do both?

I don’t foresee a circumstance where I wouldn’t want to act — I love it too much. That being said, I definitely want to continue directing. I don’t know exactly how, but something will come about, and hopefully this movie will help that happen.

One of the best things about making this movie was that Harry gave such a

great performance. It’s great to see the outpouring of love and respect that people have for him. I always knew that people in the acting community loved him, but it’s so amazing how many lives he touched that have never even thought about storytelling. The reaction to film is a really a moving tribute to how many people he’s touched in so many generations.

“Lucky” has been characterized a tribute to Harry as well as a reflection on life, death and aging. Is there a key message that you think the film is sending, or something that you hope the audience walks away with?

The movie is about the consideration of mortality, and the stakes are higher now because Harry has died. Lucky is close to the edge of mortality because of the age he is. And the fact that he doesn’t believe that anything happens next means he has to come to terms with the truth of the limited time that he has.

But my time is limited. Right now, my time is limited. So that joy that he finds, I want to find every day. I don’t want to miss it. I don’t want to waste a second of this time. You and I sitting here across the table from each other should be as vivid and powerful with joy as anything that ever happens to me. If not, I’m doing it wrong. The movie’s much more about living than it is about dying. Much more.

This interview has been edited for brevity and clarity. For the full version, visit thehoya.com.

Red rocked the runways at both New York and Milan Fashion Weeks last spring, making a bold statement in collections from Victoria Beckham and Givenchy, to name a few. Jil Sander used various hues of red to take her menswear-inspired looks to new heights. Red can be an intimidating color to wear, but it can also be easily incorporated into day-to-day wear in small ways, such as with red statement heels.

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RED ALL OVER

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RETRO PLAIDS

Bright plaids flooded the runway in a variety of shades this spring; Jenny Packham and Coach used the print in daring dresses, while Coach and Chloé stuck to outfits with traditional plaid and fur combinations. Step out in a simple plaid top and jeans for a casual ensemble, or don a pair of plaid pants for a more sophisticated look.

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Head-to-toe denim has made a comeback, but this season, designers are taking the beloved trend to new heights. Dior gave the Texas tuxedo a French flare by combining dark-wash denim with berets and fitted jackets. Off the runway, top-to-bottom denim can be a lot to for the eye to absorb. Add a belt to separate tops and bottoms, or pair a denim dress with playful tights.

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Sparkly silvers stole the show this spring. Although all the looks were successful, it was Alexander McQueen who took top prize with his dramatic, silver lace gown complete with decadent fringe cuffs. To pull off this trend for work or a night out, remember that a little goes a long way. Make the color pop by pairing it with dark tones like black, purple or charcoal gray.

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movie review

20TH CENTURY FOX

“Kingsman: The Golden Circle” picks up where the first film left off by telling the story of secret agent Eggsy Unwin. The “Kingsman” franchise often parodies the Bond franchise with over-the-top villains and elaborate action sequences. Ultimately, it is the franchise’s dramatic flare and superb special effects that contribute to the success of the second “Kingsman” film.

Kingsman: The Golden Circle Starring: Taron Egerton, Mark Strong Directed by: Matthew Vaughn

ben macher

Hoya Staff Writer

Comical, corny and chaotic, the second installment of the “Kingsman” franchise, “Kingsman: The Golden Circle,” uses the momentum from the first film to deliver a high-octane and extremely entertaining visual experience. Director Matthew Vaughn’s “Kingsman: The Secret Service” was a surprise hit with audiences following its release in 2015.

The film combines parodies of classic elements of James Bond films with a charming, modern underdog story line, creating a captivating, if at times kitschy, film. Fortunately, “Kingsman: The Golden Circle” does not lose any of the original film’s charm, presenting audiences with another top-notch spy thriller — a genre that has dominated the 2017 film calendar.

Picking up where the first film left off, Eggsy Unwin, played by Taron Egerton, is now an established agent working for England’s secret intelligence organization, Kingsman. But when Kingman’s headquarters are destroyed and almost all of their agents killed, lone surviving agents Unwin and Merlin, played by Mark Strong, must figure out a way to save the world from Poppy Adams, a power-crazed drug lord played by Julianne Moore. For-

tunately, the Kingsman receives some assistance from its American cousins, the Statesman spy organization.

The partnership between Kingsman and Statesman makes for an interesting addition to the franchise. Channing Tatum, Jeff Bridges, Halle Berry and Pedro Pascal all play American secret agents bearing the names of different alcoholic beverages as pseudonyms: Tequila, Champagne, Ginger and Whiskey, respectively.

Each new agent brings an important element to the movie, from Tequila and Champagne’s humor to Ginger and Whiskey’s professionalism. The only downside to the addition of the new Statesman team is that the audience does not get to see enough of it. Besides Pascal’s role, those of Tatum, Berry and Bridges seem compressed, which should not have been the case in a 141-minute script.

The outrageousness of “Kingsman: The Golden Circle” does occasionally work against itself. For example, one of the villain’s explanations for endangering the world comes across as very contrived and seems to be a lastminute addition to the script.

But this is a common detraction in the “Kingsman” series. Just like its successor, “Kingsman: The Secret Service” suffers from having an over-the-top villain who seems willing to do anything to make the world

 conform to a selfish, out-of-touch view.

At the same time, since the “Kingsman” franchise is in many ways a cheeky parody of the Bond franchise, Vaughn references the archetypal corny Bond villain with his own modern-day villains.

Although Vaughn deserves a pass for this reason, the film would have benefited from greater focus on the character development of its villains.

The film combines parodies of classic elements of James Bond films with a charming, modern underdog story line, creating a captivating, if at times kitschy, film.

Most of the film’s success ought to be given to its special effects team. Vaughn expertly uses his team to create a spectacular visual experience that is entertaining from start to finish. The movie begins with a car chase scene that rivals

anything created by the “Fast and Furious” series.

With the camera panning in and out of aerial shots of central London and views within the car of Unwin fending off a villain, the opening sequence is extremely energetic and engaging. But the energy does not stop there as the Kingsmen and Statesmen go through a plethora of exhilarating gun fights and action sequences. To top it off, each sequence involves some new, albeit overblown, high-tech gadget reminiscent of classic Bond films.

There is no doubt that the film’s action sequences are over-the-top, bordering on being overkill. The film might be criticized for the excessiveness of its visual effects.

But, ultimately, overkill is what works for the “Kingsman” franchise. Audiences that did not enjoy the first installment will surely despise the second. But Vaughn does not seem to care. Instead of creating a movie that follows the mainstream superhero-spy narrative, Vaughn doubles down on the gratuity and disorder that defined the first installment, which, in spite of its few setbacks, garnered something of a cult following. Fortunately for this following, “Kingsman: The Golden Circle” is another chaotic yet fascinating masterpiece that parodies the Bond franchise to perfection.

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movie review

BOLD FILMS

“Stronger” follows the story of Jeff Bauman, played by Jake Gyllenhaal, as he grapples with both the loss of his legs and his newly ordained hero status as a result of the Boston Marathon bombing. Directed by David Gordon Green, the film tells a powerful story of strenth and reneweal in the face of terrible loss and tragedy.

Stronger

Starring: Jake Gyllenhaal, Tatiana Maslany Directed by: David Gordon Green meghan decourcey Hoya Staff Writer

On April 15, 2013, the city of Boston changed forever. What began as a day of celebration, with all eyes on the Boston Marathon, quickly turned into anguish, as two homemade bombs detonated near the finish line.

In the aftermath of the tragedy, symbols of strength emerged. One of the most iconic images from the day features a man, Jeff Bauman, being taken away in a wheelchair by another man, Carlos Arredondo, in a cowboy hat. Bauman lost both of his legs in the bombing, and it is his story that is told in “Stronger,” a film based on his memoir of the same name.

Bauman, played in the film by Jake Gyllenhaal, is a sports-loving Bostonian with his heart set on winning back his on-again, off-again girlfriend, Erin Hurley, played by Tatiana Maslany.

Hurley is running the Boston Marathon, and Bauman promises to be there for her at the finish line. However, tragedy strikes, and Bauman is rushed to the hospital. He wakes up with Hurley and his family by his side, only to find that his legs are gone. Rather than highlighting the response to the tragedy by the city of Boston as a whole, “Stronger” focuses on Bauman’s personal story of recovery.

On Sept. 18, Gyllenhaal and Bauman joined

Alex Horton of The Washington Post onstage at the Regal Gallery Place cinema for an advance screening and a discussion about the making of the film. Gyllenhaal has spent the past two years following Bauman’s daily routine to capture his spirit and perfect his Boston accent, resulting in a close bond between the two.

“I would have to say playing him and being his friend has changed my life,” Gyllenhaal said. “Making this movie is definitely the proudest I have ever been of a film in a lot of ways, in the process of making it, but also it’s been a real honor.”

The friendship between the actor and the memoirist is clearly reflected in Gyllenhaal’s authentic portrayal of Bauman. Bauman has his flaws, such as his rocky relationship with Hurley and his drinking problem, but these imperfections make him all the more relatable.

Gyllenhaal conveys this troubled character, while maintaining a sense of humor throughout. For example, when Bauman first wakes up and is told that his legs are gone, he jokingly references Lieutenant Dan, a character in the film “Forrest Gump.” Humor is what makes his situation easier to bear.

In the film, one of Bauman’s major struggles is his sudden prominence as the face of the city’s newly adopted mantra, “Boston Strong.”

 When he leaves the hospital, he arrives home to signs, cards and flowers from people all over the world, along with invitations to be the honorary fan banner captain at a Boston Bruins game and to throw the opening pitch at Fenway Park for the Red Sox. With regard to the experience depicted in the movie, Bauman said his transformation from regular guy to hero was overwhelming, especially since it was something he never asked for.

“Sometimes it’s annoying, but then sometimes it’s like, ‘Oh man, it’s pretty sweet that everyone is together in your community,’” Bauman said. “I like both aspects; it’s just depending on my mood in that particular moment.

Definitely having the community and everyone behind you takes you out of that isolation and makes you feel comfortable.”

The film captures these sentiments in a realistic and compelling manner by concentrating on the perspective of the man who was forced to become a symbol of resilience for an entire city. The legacy of the bombing is felt throughout the film, but by focusing on Bauman’s story, it fades into the background. “Stronger” is not a film about tragedy; it is a film about strength and renewal.

In terms of Bauman’s physical and mental struggles, the film does not hesitate to

show his agony. In an instant, he loses both of his legs and has to learn how to adjust to his new life. There are some who might shy away from these scenes of trauma, but it was important for those making the film to include them.

“What was essential for me and for the filmmakers in this movie was to understand the pain or to show the pain,” Gyllenhaal said.

“Stories of inspiration sometimes gloss over the idea of pain and the struggle that takes you to the inspiration, to the moment where you find some sense of joy. You cannot experience that joy without the other. We knew it was impossible to get anywhere close to what Jeff experienced, but I damn well was going to try to communicate that.”

The title of the film is fitting and suggests a question: What is it that makes one stronger?

In this film, Bauman is made stronger by those who surround him. Without a support system, he has no chance of healing.

“Everyone thinks it’s a story about me, but it really isn’t,” Bauman said. “It’s about the heroes, my heroes, the caregivers, Carlos, the first responders, the police that were there risking their lives, too. Definitely the hospital staff, my surgeon, the people that saved my life are my heroes, and I was just so proud and honored that they are in the film.”

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Movie review

20TH CENTURY FOX

“Viceroy’s House” attemps to tell the story of the complicated and violent period of history during which India struggled for independence from the British. The film succeeds in portraying the intimate, human side of the conflict, which is often forgotten despite its far-reaching consequences, and has a stunning score and scenery.

Viceroy’s House

Starring: Hugh Bonneville, Gillian Anderson Directed by: Gurinder Chadha

José villalobos Hoya Staff Writer

“Viceroy’s House” — like any film that tries to retell a major historical event — is faced with the daunting challenge of doing justice to people’s stories. The film follows the final viceroy of India, Lord Mountbatten, played by Hugh Bonneville, as he works on overseeing the transition from British control to independence.

Strong performances, mesmerizing visuals and great direction are all evidence of a concerted effort on director Gurinder Chadha’s part to honor the struggles and emotions of the people whose stories are told in the film. The attempt at an honest, reflective recounting is heightened during the conclusion of the film, when it is revealed that Chadha is the granddaughter of a Sikh woman who fled Pakistan soon after independence, and wished to honor the victims of this tragedy with an authentic depiction of the transition to Indian independence.

The film’s ambition to share the stories of so many is beyond its capabilities, however. A rushed script and underdeveloped subplots of romance and treason are a few examples of how the film spreads itself too thinly in a vain attempt to achieve more than it can.

The reality is that no feature film

could do justice to a tragedy the size of India’s struggle for independence — to the immense suffering and loss of life.

While Chadha’s work is to be admired, she creates some of her own limitations by working mostly within the confines of Viceroy’s house. With the exception of a few scenes, mostly made up of black and white newsreel footage, most of the movie is filmed inside this estate. This creates a distinct separation between the lives inside Viceroy’s house and the rest of India, keeping the conflict alienated from the film.

Despite these concerns, there is far more to like than to complain about in this film. In an interview with The Guardian, Chadha explained her decision to center the movie around the Viceroy’s house itself: “I was able to bring under one roof the Mountbattens, the key Indian leaders — Nehru, Jinnah and Gandhi — and the 500 ordinary Indians — Hindu, Sikh and Muslim — who served the Mountbattens as domestic staff.”

While Chadha does not depict the struggles of the general populace with consistency, the conflicts that start brewing within Lord Mountbatten’s estate allow her to present the larger state of affairs: a growing animosity between Muslim, Hindu and Sikh groups, the decreasing

 capability of an already weakened British administration to maintain order and the hurt of those who lose their friends, their homes and even their lives.

The romance between Jeet, a Hindu prison guard-turned-valet played by Manish Dayal, and Aalia, the daughter of one of Jeet’s prisoners played by Huma Qureshi, while somewhat dull, embodies the relations being torn apart by religious tensions and rivalry.

By switching between narratives of the ruling elite and the serving working class, Chadha is able to add some charm and comedy to the story, while exploring the different relations that exist within the massive household. There is clear tension in the relationships that some of the servants hold with each another and with their British patrons. These grow more complex as instability grows, respect for the British decreases and the Viceroy and his wife gain the confidence of the locals.

The heavy lifting is not done only by the director, however, as the stars of the film provide their own support for its development. Bonneville puts on a commendable performance, in an all-too-familiar role that he had nearly perfected for Downton Abbey.

Indian actors Denzil Smith and Om Puri both offer successful performanc-

es as well, with the former effectively portraying a mysterious and conflicted leader of the Muslim League and the latter effortlessly charming the audience as Aalia’s blind father, a former activist who was robbed of his sight and a large part of his spirit by the punitive measures of the British.

Added to the strength of the performances is the beauty and splendor of certain sequences. The display of the Viceroy’s military dress — with medals, swords, decorations and refurbishments, all while his elegant pocket watch ticks — reflects the work of excellent costume crews. Similarly, the joining of hands by Jeet and Aalia, with their fingers twisting and running along each other, placed against a stunning landscape that zooms in and out of focus, showcases the film’s breathtaking cinematography.

If there are any remaining doubts about the aesthetics and delivery of the film, its beautiful musical score, which experiments with traditional Indian sounds in a “heavily Westernized” framework, provides rich, emotional tracks at exactly the right times.

A brave take on a major tragedy, “Viceroy’s House” only fails in its inability to provide closure to those who were affected by the history it portrays — but there may not be anything that really can.

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CHRONICLES FROM COPENHAGEN

Germany’s Election Season Through American Eyes

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Grant Olson

hancellor Angela Merkel’s calm yet determined gaze followed me everywhere in Hamburg, Germany, last weekend. With the parliamentary elections having taken place Sept. 24, seemingly every available sign post and billboard is occupied by the face of a German politician pleading for votes.

I accompanied my European politics class on our first study tour to Hamburg, where we met with German think tanks and discussed Danish-German trade policy with Denmark’s Trade Council, among other activities.

Throughout our meetings and adventures in the city of Hamburg, we were able to experience German election season during its peak time. The German parliamentary elections lacked the fireworks and drama of America’s 2016 election, leading to a more issues-driven election season without frivolous distractions and debates, and this theme is reflected in campaign posters across Germany.

In her posters, Merkel — affectionately called

“Mutti,” or mom, by her German supporters — is shown confidently staring at the camera with a small, warm smile on her face. I could not help but contrast the way Merkel’s posters highlighted her experience and motherliness with the negative portrayal of Hillary Clinton in the 2016 election, despite Clinton possessing many of these same qualities as Merkel.

Merkel’s followers perceive her maturity as a strength during these tumultuous and frightening times. In contrast, the media brutally attacked Clinton as a member of “the swamp” due to her years of government service, turning what would have been a positive attribute into an almost disqualifying negative. Donald Trump slammed her physical experience and age — recall his inveighing against her lack of “stamina” — as his supporters and the right-wing media followed his lead and continued to pummel her throughout the election season.

My core course’s visit to the German leftist think tank Friedrich-Ebert-Stiftung confirmed my thoughts on the German parliamentary elections and political environment. The German election’s main focus has been migration, due to Merkel’s acceptance of an influx of more than a million Syrian war refugees. Yet the debate has remained largely civil and professional. In their only debate before the elections Sunday, Merkel and her main

opponent, Martin Schulz, found large areas of agreement instead of acrimony.

In contrast to the American system of government, where the two major political parties are consistently at odds with each other, Germany is ruled by consensus. Much of this has to do with the German parliamentary system, in which the political parties must bond together to form a working government as outright majorites are rare.

This consensus-driven system has a trickle-down effect on German political campaigns, cultivating an issues-oriented political environment that is ultimately more beneficial for the German people.

The Germans I talked to throughout my travels were extremely proud of their parliamentary system and the focus on accord in their government, in contrast to the brutal, partisan American campaign style.

Yet the importance of these elections cannot be understated: Despite the fact that the Alternative für Deutschland Party just became the first far-right party to enter the German parliament in over 70 years, Merkel won her fourth term as chancellor of Germany. Her victory ensures that her steady hand will continue to be the face of Europe for the foreseeable future.

However, the success of AfD Party augurs trouble for Merkel and Germany ahead. Germany has long been a pillar of democracy and centrist governance in the postwar years, and Germans take their commitment against nationalism and fascism very seriously. Yet now the country must deal with the ramifications of AfD’s new role in parliament.

Most likely, Merkel will be able to assemble a government working together with the Greens and FDP to prevent AfD from becoming the main opposition party, but danger still lies ahead for Merkel and Germany.

My travels throughout Germany during the parliamentary election season were eye-opening and demonstrated to me the utter absurdity of America’s elections and political system. From the differences in the portrayals of Merkel and Clinton to the natures of the campaigns themselves, the contrast between cultures revealed greater truths about Europe and America. I hope to bring back some of the thoughts and ideas from Europe’s political system to Georgetown when my semester abroad concludes.

Grant Olson is a junior in the College.

CHRONICLES FROM COPENHAGEN appears online every other Tuesday.

POR OTRO LADO

When the Earth Moved

A

Grace Laria

t first I did not feel it. But the rocking motion, similar to that of a boat on choppy water, immediately silenced our classroom. My professor’s face grew pale as she pointed to the door: “Earthquake. Everyone move. Now.” As we rushed from the room, the earth tipped under my feet, as if taking on a life of its own. The combination of earthquake-resistant architecture and a surge of adrenaline enabled me to keep my balance and composure, and my classmates and I safely reached a secure area, from which we could see the jumble of furniture and broken glass through the windows of the library at the university we attend in Mexico City.

On Sept. 19, 2017, a magnitude 7.1 earthquake struck south of the city of Puebla in Central Mexico, leaving more than 300 dead and causing massive devastation in Puebla, Morelos and Mexico City. This earthquake came just a week and a half after the mag-

nitude 8.1 temblor farther southeast Sept.

7 that killed nearly 100 people, and was followed soon after by a magnitude 6.1 aftershock in Oaxaca on Sept. 23.

The Puebla earthquake occurred only hours after Mexico City’s annual emergency simulation in memory of the 1985 quake that, on the same day 32 years ago, resulted in more than 10,000 deaths and widespread damage heavily concentrated in Mexico City, an area highly vulnerable to seismic activity, as it rests on an ancient lake bed of loose sediment.

As a Marylander, I am a foreigner to what my professor referred to as a cultura de sismo, or earthquake culture, which still makes chilangos, natives of the city, jump at the sound of a car alarm, thinking it to be the blare of the city’s earthquake detector signaling another disaster. The past two earthquakes have retraumatized many Mexicans. The Sept. 19 quake in particular reopened old wounds in the collective memory of a country that remembers toppled buildings and loved ones lost 32 years ago to the day.

The psychological impact of the earthquake not only takes its toll on Mexico through the loss of life and livelihood, but also through the constant fear that the earth will move again.

My host family told me they know of a woman who, upon feeling the first throes of the earthquake, burst from her home only to hit her head and die from the impact. Can you imag-

ine that kind of fear?

While earthquakes are largely unpreventable natural phenomena, Mexico’s vulnerability to seismic activity is not entirely blameless.

Although the government mandated the implementation of new building codes following the 1985 earthquake, a 2016 study showed that 71 percent of buildings constructed in Mexico City after 2004 failed to meet city standards.

Inspections of older buildings reveal that they similarly fail to ensure residents’ safety, as demonstrated by the collapse of the Enrique Rebsamen School on Sept. 19, which killed 21 children, despite having been deemed secure in the aftermath of the Sept. 7 earthquake.

The 7.1 magnitude earthquake caused significant damage to the residential neighborhoods of Roma and Condesa in Mexico City, prompting many chilangos to set up aid centers in the heart of these wealthier neighborhoods, while poorer areas such as Xochimilco and Morelos remain desperately in need of basic supplies and services. In this way, the earthquake has highlighted another side of the poverty and inequality already rife in Mexico.

Suspicious of politicians, relief organizations directly distribute aid rather than going through the government, fearing local leaders will favor their private interests. Some have accused the government of withholding resources, confiscating supplies from private citizens headed to Morelos and putting government

tags on water and food to promote its public image during the crisis.

While volunteering at my university and in affected neighborhoods such as Cuajimalpa, it is the people of Mexico City, not government representatives, whom I have seen working tirelessly to rebuild their homes.

Human chains form wordlessly to pass food and medicine to eagerly waiting hands in shelters; cyclists whiz down dark streets with stuffed animals strapped to their impossibly large backpacks; and dusty volunteers continue to grunt under the weight of concrete and metal. Yet few politicians have stepped in to effectively offer assistance.

Unlike the majority of Mexicans, I will be able to leave behind destruction in December before reconstruction efforts will even be close to complete, returning home to a country where news of the tragedy has already faded from public dialogue.

So many of us at Georgetown are connected to vast professional, activist or financial networks. We have the responsibility to use that privilege not only to aid disaster relief in affected regions such as Mexico and Puerto Rico, but also to support other Hoyas affected by these catastrophes.

Grace Laria is a junior in the School of Foreign Service. POR OTRO LADO appears online every Tuesday.

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the guide

THE HOYA

friDAY, September 29, 2017

KEVIN GATES

Honest and emotional, “By Any Means 2” is the latest mixtape from rapper Kevin Gates that blends mainstream appeal with powerful lyrics. Relased from behind the walls of prison, Gates tackles deeply personal themes, like his conversion to Islam, struggles with drug abuse and recent incarceration, with catchy hooks and flows.

By Any Means 2

Album review

Kevin Gates Noah Hawke Hoya Staff Writer

There are few musicians who can claim to have put out a full-length mixtape from prison — and even fewer who can say that it is among their finest works. But Baton Rouge, La. rapper Kevin Gates’ latest mixtape, “By Any Means 2” has proven to loyal fans and new listeners alike that the longtime hip-hop artist is not letting his time in prison stop him from producing authentic, powerful music.

Since his career began in 2007, Gates has been one of the most prolific artists in the hip-hop industry. Over the past decade, he has released 15 mixtapes, countless singles and a full-length studio album — all in addition to creating his own record label, Bread Winners’ Association, in 2010.

Gates’ recent run-ins with the law have threatened to put a stop to that legacy, though, as he is currently serving a 30-month sentence for a previous felony gun charge. Despite this, the rapper has not let this prevent him from bringing new music to the masses.

In July, Kevin Gates’ wife and business partner, Dreka Gates, announced that she was putting together previously created tracks to make her husband’s newest release, “By Any Means 2,” with full

 executive control over the mixtape.

Although Kevin Gates is best known for hard-hitting songs like “I Don’t Get Tired” and “2 Phones,” these tracks do not showcase the full extent of his talent.

Gates’ greatest skill is his ability to blend all the ambient effects of trap music with capable lyricism and emotional clarity, a trait that many modern trap artists are lacking.

Unadulterated honesty is central to Gates’ music, with references to his criminal past and his struggles with mental health and depression occupying an important place in his lyrics. He layers deeply confessional lyrics over well-developed Southern-style beats, making his songs both meaningful and catchy.

“By Any Means 2” stays true to Gates’ signature sounds and attitudes, with the first words of the mixtape, “I’m a hell of a n---a, I’m still in charge / I can get you from here or behind the bars,” setting an assertive tone and reminding listeners of his dominant position in the industry.

The tape also incorporates catchy hooks, creating a more commercial sound than previous projects.

With only one feature on the mixtape, from Philadelphia singer PnB Rock on “Beautiful Scars,” Gates has the space to express his whole range of talent, driving songs from start to finish with effortless

flows and control.

The central theme of the tape is Gates’ rise to success, despite the wishes of those around him to see him fail. He expresses profound sadness over losing close friends and reflects on his lack of trust in new people in his life.

The sorrow is best represented by his hook on “Imagine That,” as he raps, “I came up from nothing, just imagine that / Now I got my own, just imagine that / Tried to take it from me, I went and got it back / I lost day ones, just imagine that.”

He smoothly and adeptly delivers sorrowful bars discussing the disloyalty of the people closest to him, whether it be his uncle, past girlfriends or even producer DJ Khaled.

On “GOMD,” Gates raps about how these difficult relationships have caused him to turn to drug abuse. He raps, “Pouring syrup in the drink, depression hurt me every way,” and expresses regret over his drug use on other tracks on the tape, rapping, “What we sippin’ on, we never said it give you wings” on “Imagine That.”

Unlike many artists who glorify their drug use, Gates discusses his past mistakes with a more realistic perspective.

Gates converted to Islam during a prior prison stay in an attempt to find peace, completing his Hajj, or pilgrimage to Mecca, in 2016. His newfound reli-

gion and struggles with spirituality play prominent roles in this mixtape.

On “What If,” he sings, “What if God is one of us / just a thug like one of us,” and talks about how he places calls to God every night but never receives a response.

Gates raps about his depression and wonders why God will not grant him reprieve from heartbreak and the haters who constantly try to hold him back from success.

Overall, “By Any Means 2” is a successful project, although not Gates’ strongest work to date. As his wife, Dreka Gates, put it, every song is “fire,” but the tape sounds as though it was made for commercial purposes, departing somewhat from his signature hard-hitting trap sound.

As one of the most talented rappers in the music industry today, Kevin Gates entertains listeners with powerful lyrics and cadence, as well as endears himself with open displays of emotion and vulnerability. He does not hold back from divulging tales of crime from his youth, expressing grief over both his past mistakes and wrongs that have been done to him. Despite his anger toward those who attempt to steal his spotlight, Gates has found his own brand of success through his sheer talent. His 2018 release from prison is sure to bring more of the same powerful music.

the guide

friday, September 29, 2017

THE HOYA

B11

feature

DC Fashion Week Spotlights Innovative Designs Kathryn Baker Hoya Staff Writer

D.C. Fashion Week, a biannual showcase of both American and international designers, returned last week for its 27th season. Designers presented their innovative looks from Sept. 21 to 24, and each night featured a different theme and new display of creative genius. On Thursday, Sept. 21, designers displayed environmentally friendly and fashion-forward looks. One goal of the night was to provide a platform for high-achieving students to network and potentially collaborate with both consignment and retail companies.

Friday’s show showcased the breathtaking couture designs of DCFW’s executive designer and recipient of the Best Indie Menswear Award, Ean Williams. His collection combined chic womenswear with innovative menswear pieces.

The Metropolitan Emerging Designers and Indie Artists Showcase took place on Saturday, Sept. 23 and included a wide array of ready-towear garments, ranging from swimwear to cocktail attire to business casual ensembles. The showcase took measures to be inclusive by featuring menswear and plus-sized collections.

The glamourous weekend concluded Sept. 24 with the 27th International Couture Collections fashion show, highlighting designs from experimental designers

who often turn unusual fabrics into works of art. Designers from Nigeria, Ethiopia, Thailand and England, just to name a few, put their most avant-garde, formal designs on display. Celebrated eyewear designer Stevie Boi opened the show, setting the tone for a spectacular night.

DERRICK ARTHUR CUDJOE/THE HOYA

DERRICK ARTHUR CUDJOE/THE HOYA

RACHEL LINTON/THE HOYA

MUSIC

New Releases

the deep dark woods

shannon lay

rich the kid ft. kendrick lamar

young thug & carnage

The Deep Dark woods ‘fallen leaves’

shannon lay ‘home’

rich the kid ‘new freezer’

young thug & carnage ‘10,000 slimes’

With its classic, folk-inspired sound, The Deep Dark Woods’ new single “Fallen Leaves” is beautifully melancholy and sweet. The song takes advantage of lead singer and guitarist Ryan Boldt’s vocal skills to make a rhythm that is catchy, yet also steeps the melody in pensive sorrow. The Saskatoon band’s single has a sound reminiscent of Father John Misty, with its mellifluous pairing of instrumentals and poetic lyrics. “Fallen Leaves” shows that The Deep Dark Woods, a mostly unknown band, has

“Home” is a song pervaded by overpowering pathos. Shannon Lay’s voice takes center stage in the song, rising hauntingly above the instrumentation to sing about her desire for a better life. The single is very simple in terms of its arrangement, featuring only Lay’s voice, a guitar and a violin, which breaks in as the song crescendos. Though sparse, the choice of instrument speaks to the power and emotional versatility of simplicity. Lay’s understated music is a testament to how much can be done with so little.

Rich the Kid features Kendrick Lamar on a hot single off of his upcoming album, rumored to be titled “New Freezer” based on the lead track.

After the artists teased the collaboration in January, their fans have been awaiting the release with high hopes. The Atlanta MC raps about his luxury cars and jewelry, while Lamar simplifies his traditional lyricism to fit the mood, focusing on enjoying the track’s fun, extravagant feel.

Lamar’s surprise appearance will surely have listeners waiting to see what more Rich the Kid has in store when his debut album drops.

“10,000 Slimes” is the third track on Young Thug & Carnage’s collaborative extended play, “Young Martha.” Throughout the track, Young Thug displays a variety of eccentric flows over Carnage’s smooth production. Young Thug is currently embroiled in legal troubles and was arrested in Georgia for drug possession this past week. However, this setback is not likely to hinder his ability to release new music, as Carnage says Young Thug has over a thousand unreleased songs waiting to be heard. Fans can only hope he drops those tracks soon.

Illustration by mina lee and valerie Ma/the hoya