The Hoya: The Guide: February 2, 2018 by The Hoya

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ILLUSTRATION BY: GRACE CHUNG AND EMILY SHAMBAUGH/THE HOYA

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Although the English department at Georgetown now celebrates a diversity of authors and literature, many students protested that the university was “killing Shakespeare” when the department switched from an intensive focus on traditional authors.

The Evolution of Georgetown’s Literary Curriculum Meghan decourcey Hoya Staff Writer

Beltway politics and palace intrigue tend to dominate Washington, D.C.’s headlines, often overshadowing the District’s thriving culture scene. Georgetown University’s own status as an epicenter of politics and international relations often results in a strong emphasis being placed on the school’s government and foreign policy programs, leaving its literary program overlooked. Still, the university’s English department is thriving: The English major is one of the most popular academic programs on campus and is consistently considered one of the best English programs in the country, coming in second place in USA Today’s 2017 ranking. Bolstering this large academic program is a lively network of clubs, groups and organizations dedicated to fostering the creative talents of writers and poets — both faculty and students — who consider Georgetown home. the drive for diversity Before 1995, Georgetown’s English curriculum focused on the past and was heavily skewed toward white, male authors. With pressure from both students and faculty, Georgetown’s English department revised its course requirements to give English majors greater freedom in

studying authors and topics that interested them personally, rather than restrict them to studying two of the three eminent English authors: Geoffrey Chaucer, John Milton and William Shakespeare. Among the drivers of the change was Henry Schwarz, a writer and professor in the English department since 1991. Along with students, Schwarz saw the need for a more diverse, well-rounded curriculum. “There was no historical requirement because everything was historical,” Schwarz said in an interview with The Hoya. “English was taught as the language of the past. It was not what was happening to us in the present.” Instead of focusing primarily on texts written by traditional male authors like Chaucer, Milton and Shakespeare, English students could finally study female, black, Latinx and LGBTQ authors as well as literature from around the world. “Social tendencies were pouring into the kinds of books that students wanted to read and the way that they wanted to see themselves represented as university students,” Schwarz said. While many applauded the move towards multiculturalism, a conservative petition signed by 150 students said Georgetown was “killing” Shakespeare, according to a 1995 The New York Times article. One opponent was Alexander Hertzberg, the editor of the conservative publication, The Georgetown Academy.

At a meeting with students and faculty members in November 1995, Hertzberg argued that the curriculum change would have detrimental long-term effects. “It’s OK to have a progressive literature department,” Mr. Hertzberg said, “but then people would have to graduate from Georgetown with a degree in progressive literature and deal with the consequences of that.”

their feet,” Schwarz said. “The Georgetown English department in the nation’s capital happened to be right in the middle of that for a brief period of time.” The curriculum change was supported by the English department’s faculty four to one, leading the change to be implementerd in 1996. Since then, the English curriculum has continued to evolve by giving students more flexibility in choosing their academic paths, enabling their creativity to truly take flight.

Writing a piece that really matters to you and to others may take longer than a semester, longer than a regular writing assignment.”

A creative Curriculum After realizing the English department lacked a creative outlet for students of all areas of study, poet and English professor David Gewanter helped create the creative writing minor in 2016. He now serves as the program’s director. Before its implementation, imaginative students could only take one creative writing course. “Writing a piece that really matters to you and to others may take longer than a semester, longer than a regular writing assignment,” Gewanter said. Capped at 20 students per year, the six-course minor is designed to be interdisciplinary, and moves from an introductory genre course through a series of genre workshops. Because it builds on the English department’s pre-existing courses, the minor is not available to English majors, but it offers students from all disciplines a chance to put their ideas

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DAVID GEWANTER Professor, English Department

Other opponents to the curriculum changes were Lynn Cheney, Vice President Dick Cheney’s wife, and Georgetown alumnus William Blatty (CAS ’50), author of “The Exorcist.” “Those two movements came to a head in the mid ‘90s: the young people wanting a change and the old people digging

friday, February 2, 2018 to paper and to revisit and improve their writing portfolios. Since its implementation, the minor has helped shape Georgetown’s reputation as not merely a high-profile political university but as an illustrious, artistic one. “It is a little bit of a one-company town with politics, but there is a very lively literary environment here. It is just slightly quieter and a little more thoughtful,” Gewanter said. “Now we have a chance with the creative writing minor for people to redevelop themselves and push forward and leave with a manuscript. Once that happens, the school will make gains as a literary place.” stories for social change Georgetown’s literary culture is not purely academic. Outside the classroom, students and staff can cultivate and enrich their writing, as well as learn how their words can drive change, at the Lannan Center for Poetics and Social Practice. Created in 2006 by the Lannan Foundation, a family foundation committed to issues of cultural freedom and diversity, the center’s main purpose is to explore the intersection of poetry and literature with human rights and social issues. Carolyn Forché, a politically engaged poet and human rights activist, currently serves as the Lannan Center’s director. Each academic year, the Lannan Fellows Program offers up to 20 Georgetown students the opportunity to critically study and discuss poetry from a variety of writers. “It is not just an enhancement of their education. It is something that becomes

the guide rather central to how they think about the world and about what matters and how they view public intellectuals, poets, writers, journalists and activists,” Forché said in an interview with The Hoya.

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“I like to bring young poets to this community because I believe our students need to see that there are poets that are only a few years older than themselves. They need to hear the voices of their

ANNE STONECIPHER/THE HOYA

The Lannan Center for Poetics and Social Practice is located in New North. The center explores the intersection of poetry and literature with human rights and social issues. Another important component of the program’s work is the Lannan Readings and Talks Series, a yearlong program that brings diverse, often-overlooked poets to campus to engage with students and comment on social issues. Last semester, the series welcomed Helon Habila, Jamaal May, and Solmaz Sharif, among others. The next talk, slated for Feb. 20 is set to feature Pulitzer Prize-winning poet Tyehimba Jess.

own generation in the broad sense of the term,” Forché said. Aligning with the English department’s increased efforts to broaden its curriculum, Forché also recruits authors of color to come share their stories and writings with Georgetown community. “I also bring a lot of poets of color. I try to bring many Native American poets. The poets who are not usually or often

included in institutional reading series at universities,” Forché said. “I have been interested in voices that were in the past excluded and that is where a lot of very interesting work is happening. The energy of the poetry community comes from that source.” The Lannan Center’s highlight of the year is its Lannan Spring Literary Symposium and Festival, a two- to three-day weekend symposium centered on a relevant topic of concern, such as immigration, race or America’s involvement in warfare. In 2017, the symposium, called “The Global Soul,” focused on themes of cosmopolitanism and transnational identity. Aminatta Forna, a world-renowned writer and current Lannan Foundation chair of poetics, directed the symposium. In the past, the literary community at Georgetown has been overshadowed, but it is on the rise. With opportunities in and out of the classroom, Georgetown is building a culture for writers to work freely and succeed. Washington’s political landscape increasingly influences the English department as it continues to evolve and expand. Forché believes literature, and Georgetown’s English classes, can be just as political a history or government courses. “Georgetown has an interesting and vibrant literary community. We have one of the most vibrant literary centers in the United States and it is hidden all over campus. There are writers all over this campus. Not only among the students, but among the faculty,” Forché said. “World literature is here too and some of its political. It kind of all works together on this campus.”

LEFT: ANNE STONECIPHER/THE HOYA; RIGHT: SHEEL PATEL FOR THE HOYA

The majority of the English department’s offices are housed in New North, located just behind Healy Hall. In 2016, the department added a creative writing minor, enabling students of all disciplines and majors to express their creativity and hone their writing capabilities. Progressing through six courses, the minor moves from an introductory genre course through a series of genre workshops.

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Q&A: Georgetown Artist Deconstructs Black Masculinity lisa burgoa Hoya Staff Writer

Last month, Francis Kpue (COL ’21) debuted his photo project FLOWERBOY, a series of portraits challenging conceptions of black masculinity. In an interview with The Hoya, Kpue — who uses the name Francis Kendoll in his artwork — discussed the inspiration behind his work, the consequences of toxic masculinity and the affirming power of #blackboyjoy. What is the backstory behind the creation of FLOWERBOY? I’ve always been intrigued and interested in doing this photo series. I started doing photography when I was 15 in high school, and I didn’t just want to do meaningless shoots. I wanted to base my project around the things that I struggle with and I know masculinity-slash-femininity was just one of those adversities that I faced. I thought it would be cool to show men, black men specifically, in a vulnerable light, because you never think of them as flower boys. You only ever think of flower girls. I remember reading an article about this lady who was planning a wedding and didn’t want to have flower boys because she thought it would weird out her guests. I didn’t think it was that serious — why not just let the boys embrace their femininity? I don’t think that would be weird at all. I thought — why not create a project to counter this kind of attitude toward masculinity, because it can be pretty toxic, in my opinion. The project lasted longer than I expected. It was in mind for so long, as far back as August. I knew for a long time I wanted to do a photo series surrounding toxic masculinity, but the “flower boy” part of it didn’t come until later.

Originally, it was just going to be regular portraits, but the “flower boy” part came in later, like September, November. I started seeing a whole bunch of #blackboyjoy photos on Instagram, and that started to inspire the “flower boy” aspect. I had the project in mind around toxic masculinity for so long, and that’s when I knew how I was going to do it.

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Why not just let the boys embrace their feminity? I don’t think that would be weird at all.” FRANCIS KPUE Creator of FLOWERBOY

What does the recurring element of flowers signify in the portraits? When I thought of flowers, I thought it was the perfect metaphor for what we can blossom into as black men when we dive into our vulnerability. When you think of a flower, you think of something that’s fragile, something that’s easy to break, something that’s feminine, and those are all qualities that I wanted the black men in my photo series to embrace. I thought it aligned with the project I had, visually, metaphorically, bringing it all together.

Why did you feel it was important to address the issue of masculinity in the black community? I think toxic masculinity is something that affects all genders, all races and all ethnicities. That said, in my own experience, I’ve received the most criticism from black men themselves. I want to say that when I’m creating, I like to think of my own experiences, so I’m speaking from things that I’ve been through and experiences I’ve had. I remember walking into barbershops and feeling uncomfortable because it was a bunch of heteronormative, heterosexual black men. Toxic masculinity is something that is detrimental to personal development and personal growth, and I think it’s detrimental to youth who are trying to figure out themselves and who get restrictions on them where they’re not allowed to even put together this gender politics in their head. It stops people from doing things they love. That can be very detrimental to people trying to grow as a person, because how can you grow as a person if you’re afraid of certain experiences, if you constantly worry that you’re not masculine enough? How does your own identity and experience intersect with the themes you explore in FLOWERBOY? It’s so funny, because as I was doing this project, it was such a stepping stone for me fixing some of my problems. I’m not vulnerable at all, so it was ironic that I was doing this project capturing men being vulnerable while I struggled with it myself. I don’t talk about my feelings, and I still struggle with feeling like you come off as weak when you talk about your feelings. It’s all in my head. It’s part of the experience of coming out to my parents and not being totally accepted at

first. Coming out of that situation, I struggled with expressing myself, and expressing how I feel, and fearing rejection, holding everything in, masking everything to seem strong. This project was such a stepping stone for me, conquering things that I wanted to be and not being afraid of those qualities. All my projects are a representation of my life, and I think that it was a step in the right direction, and I can step back and be like, OK, the project works really well, and now I can work on myself, too. I’m helping others, but it’s helping myself as well. What are some other issues you want to explore in your work? Besides toxic masculinity, colorism in the black community is something that I have struggled with. I want to conquer that with my next photo series. I don’t know what I’m going to name it yet, but it’s in the works. I want to work with all different shades, and people with skin conditions, such as vitiligo and people who are albino. It’s going to be very cool, and I am definitely excited for that. You mentioned one of the major influences on your work was the #blackboyjoy tag on Instagram, which is a kind of celebration of black men on social media. What does this movement mean to you? Yeah, one of the things that definitely inspired me is the #blackboyjoy posts. To me, it means being so comfortable with yourself and your sexual identity and your sexual orientation that you’re not afraid to explore and dive into figuring out who you are. You can still be comfortable with who you are as a person and not be judgmental of others and not be judgmental of yourself. The movement is about being open to figuring out who you are and still being comfortable with who you are as a person and your race and your sexual orientation.

FRANCIS KENDOLL

Kpue’s work focuses on showing the feminine sides of his models. He uses flowers as a symbol for femininity, combining their bright colors with vibrant backdrops, making the photos pop. By pairing these artistic elements with dynamic portraits of men, he creates his works.

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COURTESY FRANCIS KENDOLL

Francis Kendoll, center, debuted his photo project FLOWERBOY last month, which celebrates vulnerability and femininity in black men. He chose flowers as a metaphor for the positive results that occur when men surmount toxic masculnity and explore their sensitive aspects.

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friDAY, Feburary 2, 2018

Testing Truisms

Is Laughter the Best Medicine?

Vera Mastrorilli

or many Georgetown students, stress is part of college life. Overwhelming amounts of school work, pressure to find a job or an internship and the need to join exclusive student organizations generate discussion of stress culture on campus. Hoyas who experience such stress are not alone. The National College Health Assessment from spring 2017 found that 88.4 percent of college students felt “overwhelmed” by work at some point within the past year. Furthermore, onethird of students reported that stress negatively affected their academic performance and 26.2 percent claimed that anxiety was similarly detrimental. Given the prevalence of stress among college students, what steps can be taken

Culture II

to improve our college experience? Perhaps the solution lies in a well-worn saying: “Laughter is the best medicine.” In fact, studies have shown positive correlations between happiness, health and longevity. Well-being, including positive feelings and positive demeanor, correlates with lower risk of death by any cause, according to a study from the University of Texas-Houston. Another study found that subjects who reported greater happiness in their 20s were more likely to live longer than their less-happy peers. Given this data, perhaps happiness does have medicinal effects. Some experts also claim that laughter reduces stress. In an article in Time magazine, Dr. Lee Berk, who has conducted research on laughter for nearly 30 years, explained that laughing causes the body to release chemicals such as dopamine that combat anxiety and block the release of hormones that induce stress. But can laughter, or happiness and socialization more broadly, positively affect stress levels, success or academic performance among college students? A study published in The Journal of Happiness and Well-Being found that college students’ stress levels are related to their personal relationships. Given

that low stress among college students corresponds with high emotional closeness with friends and relatives, the researchers concluded that high emotional closeness reduces stress, which in turn increases happiness. They also suggested techniques such as deep breathing and listening to music to help college students combat stress. Stress reduction may depend more on relationships and habits than on having a good sense of humor. Just as laughter may not be enough to reduce stress, it cannot cure a low GPA. While students who are cheerful often perceive their academic abilities positively and predict that they will be successful in college, they in fact tend to have lower GPAs and SAT scores than their peers who are not cheerful, according to a study from the University of Southern California. A study published in the Journal of Research in Personality came to a similar conclusion: The happiness that accompanies increased socialization and cheerfulness predicts a lower GPA. Perhaps students who are happier spend more time socializing and less time studying than those who are unhappy. So when we go to Lauinger Library, we had better hit the books instead of chatting with our

Hoya Staff Writer

Although its 24-song track list is intimidating, Migos’ latest album, “Culture II,” allows ample opportunity for the rap trio Migos to shine. Released exactly one year before “Culture II,” the group’s second album, “Culture,” propelled the rap group into superstardom with hits like “Bad and Boujee,” “Slippery” and “T-Shirt,” as the 2017 project debuted at No. 1 on the Billboard 200. The album proved the trio to be sustainable global superstars rather than just three talented rappers. “Culture II” in many ways mirrors characteristics of the original “Culture.” Changing little stylistically, the rap trio’s fidelity to its Atlanta trap roots is demonstrated by Migos’ focus on melody and catchy lines instead of revolutionary or revealing lyrics. Migos’ music is clearly created for the party scene and will appeal to both pop and hip-hop fans, destining the sequel album for similar success on the charts. The album opens intensely with a strong sixsong stretch from “Higher We Go (Intro)” to the high energy “Walk It Talk It” featuring Drake. “Narcos,” the project’s third track, finds the group in peak form with clever lines, precise

Counseling and Psychiatric Services is located behind Darnall Hall and open 9 a.m. to 5 p.m. Monday through Friday. Its business hours phone number is 202-687-6985. In an emergency, contact a clinician on call at 202-4447243.

Album review

Migos

Yewande Ilawole

friends about how much work we have to do. Although the cheerful disposition that laughter indicates does not boost academic performance, it does enable students to cope with stress more effectively. An experiment conducted by researchers in Austria found that students who have a positive demeanor recover from academic stress more completely than those who do not, even if they expressed negative feelings while they were experiencing the stress. Although laughter, taken to mean outward happiness or socialization, may improve our ability to recover from the stress of midterms or the pressure of club applications, it is not an answer to all of Georgetown’s challenges. To face the stress and academic rigor of college, we should also turn to our close friends and relatives, try out some stress management techniques and take advantage of Georgetown’s Counseling and Psychiatric Services.

 delivery and a sample from the Netflix show “Narcos.” The fourth track, “BBO,” shines lyrically with lines like “Straight out the jungle / This real rap no mumble / My skin black like mamba,” while the production from producers Buddah Bless, Quavo, DJ Durel and Kanye West adds punch. Though the project starts off strong, its extensive length makes listening to “Culture II” feel like a marathon. Many of the songs employ similar arrangements, even though the album has a wide variety of producers. While several tracks have major hit potential, the sheer length of the project makes it a chore from song twelve onward. Nevertheless, the length of the album succeeds in giving all members of the trio their moment in the spotlight. Notably, Migos member Takeoff was not present on the group’s certified 4x platinum single, “Bad and Boujee,” and has generally been relegated to short verses scattered throughout past projects, rarely taking a prominent role. But on “Culture II,” Takeoff is given a more significant part and particularly shines in “Narcos,” which highlights his distinct sound. The length also allows for numerous highprofile features, like Cardi B and Nicki Minaj

whose verses on “MotorSport” leave the listener craving more. When Cardi boldly exclaims “Let me wrap my weave up/ I’m the trap Selena / Dame mas gasolina!” the listener has to believe her. On the other hand, Post Malone’s feature on “Notice Me” falls flat. Alhough he is charged with delivering the chorus, his slow tempo and clear lack of passion in delivery results in a boring track.

Ultimately, “Culture II” could have benefitted from a pared-down track list to avoid fatiguing listeners who attempt to listen to the entire album in a single sitting. After the resounding success of “Culture,” fans worried the subsequent album would not live up to expectations. While “Culture II” is not better than its predecessor, it is a sufficient follow-up.

MIGOS

Atlanta rap trio Migos took the rap game by storm with its 2017 album,“Culture.” Released 364 days later, “Culture II” is an acceptable sequel marred by a lengthy track list.

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EXHIBITION review

‘Arteria’ Tests Limits of Fragility and Strength Alia Kawar

Hoya Staff Writer

Czech artist Kateřina Vincourová’s three-dimensional work “Arteria,” currently on display at the American University Museum at the Katzen Arts Center, explores fragile, existentialist topics inspired by her personal life. Although the sculptures and mixed media work may come across as elegant and delicate, a closer look at the intertwining wooden installations, circular shelves hanging by a thread and miniature sculptures exposes the deeper intimacy and tension between the viewer and the space. Vincourová began her artistic journey as a young child, often drawing inspiration from nature or common household items. “It’s a question that just comes from my childhood. I was creative and used to play a lot with pens and paper. I also used to play in nature with flowers and with some beetles,” Vincourová said in an interview with The Hoya. When Vincourová was 18, she began studying at the Moscow State Academy Art Institute. Two years later, she started classes at the Academy of Fine Arts in Prague and graduated in 1994. Her work was included in several noteworthy inter-

national exhibitions, such as the “After the Wall” exhibition at the Moderna Museet in Stockholm in 1999. Vincourová’s early work in the 1990s focused on the political climate of her country, the Czech Republic, specifically on the nonchanging or stationary situation of Czech society in the 1990s. When she began exhibiting her art in 2011, she started to shift from a political to a more personal focus, and it is this emphasis on her private experiences and relationships that remains prominent in her art today. Discussing the inspiration behind “Arteria,” Vincourová explained how the exhibit embodies the qualities of a blood vessel. Like the interconnected and harmonic circulatory system, Vincourová’s pieces attempt to exhibit interactivity. “Although they are objects or sculptures, they all visually have some kind of line which are all interconnected to the next object or to the next piece,” Vincourová said. Yet blood vessels risk tearing. Because the exhibit is primarily made of household materials, Vincourová’s work displays a risky delicacy of its own: a chance the pieces could fall at any minute. The decision to use these unusual materials came from Vincourová’s personal experiences.

“I was on a maternity leave for three years and was continuously fastening my twin daughters’ pants and extending elastic waistbands every time they grew a bit,” Vincourová said. Through her experience as a stay-athome mom, the artist realized the power ordinary objects have to convey loss or the passage of time. “When I went back to my artistic work, I decided to use rubber and furniture to create bookshelves or libraries that symbolize family history,” Vincourová said. “I was interested in depicting these empty bookshelves that embody disappearing stories. We always feel that there is more content, but time goes by and the content disappears. I want to grasp this moment of disappearance.” Energy and tension — both between the viewer and the art and between the various art pieces themselves — best describe the atmosphere of “Arteria.” “It as if you are stretching this kind of elastic or rubber, and basically if you stretch it too much, it’s just going to break and fall apart, and this is the moment of tension both within the art piece and with the viewer,” Vincourová said. Fragility is important to the work, both literally, in the material used, and in the

metaphorical sense. Vincourová’s main priority for her work is to evoke the connection between the human body and its intimacy with its immediate environment. “Instead of focusing on femininity, I am most interested in the larger concept of intimacy and the openness to speak about it,” Vincourová said. “It is important to feel maternal and intimate with yourself, your partner and in any relationships in your life.” The intersection of minimalistic compositions with fabrics and household objects, in addition to themes of privacy, intimacy and relationships, within “Arteria” differentiates it from her earlier, politically focused art exhibitions. “Arteria” guides the viewer into Vincourová’s world, while developing the viewer’s own emotion and connection with the artwork. Although the exhibit explores themes of intimacy and private life, the abstractedness of the installations welcomes freedom of interpretation from the viewer, enabling one to find his or her own meaning in Vincourová’s work.

“Arteria” will be on view from Jan. 27 to March 11, 2018, at the American University Museum at the Katzen Arts Center. Museum hours are 11 a.m. to 4 p.m. Tuesday through Sunday.

AISHA MALHAS/THE HOYA

“Arteria” is a play on interactivity and fragility, inspired by the vast harmony and delicacy of the circulatory system. As the exhibit is composed primarily of elastic and rubber household materials, the scene is set with a tension and energy that exemplify the piece’s goals. The limits of everday objects are tested as they are hung from ceilings.

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theater review

FORD’S THEATRE

British playwright Timberlake Wertenbaker’s “Jefferson’s Garden,” now showing at Ford’s Theatre, explores the difficult realities of freedom in America. It speaks to the foundational problems embedded in the country’s tumultuous history, with issues such as race, religion, politics and gender occupying the forefront of the performance.

The Founding Fathers Come to Life at Ford’s Theatre Maddy Forbess Hoya Staff Writer

Ford’s Theatre’s historical significance as the place Abraham Lincoln was assassinated lends significance to the performance of “Jefferson’s Garden,” a show that explores the tensions between the ideals of the Founding Fathers and the difficult realities of freedom in America. British playwright Timberlake Wertenbaker’s scenes illustrate important historical markers, making her organic theater production equal parts informative and entertaining. Just as history books draw on specific moments in history to open a door to live interpretation, so does “Jefferson’s Garden.” The show, directed by Nataki Garrett, is set during the American Revolutionary War. In the two-and-a-half hour production, the war is used to explore the boundaries between politics and freedom. The two main characters of “Jefferson’s Garden” are Christian, played by Christopher Dinolfo, a Quaker pacifist who leaves his family to support the American Revolution, and Susannah, played by Felicia Curry, an enslaved woman in Vir-

ginia who joins the redcoats to gain her personal freedom. Thomas Jefferson’s role, played by Michael Halling, is that of a man torn between his lofty ideals and the necessity of compromise for the sake of the country. Wertenbaker wrote a diversity of voices into “Jefferson’s Garden,” and throughout the production, actors Christopher Bloch, Michael Kevin Darnall, Kimberly Gilbert, Halling, Thomas Keegan, Kathryn Tkel and Maggie Wilder occupy a variety of roles. The chorus brings the audience into the performance with its interjections and subtle comments about the present day. Captivating young and old audience members alike, Wertenbaker uses the chorus to shed light on certain scenes and quotations in her production. Chorus members call on the audience to be deeply introspective, blind to color and open-minded. Wertenbaker’s play offers a contemporary perspective on American history. It confronts the tensions between our Founding Fathers’ ideals and the realities of freedom of a slave-holding America. The sociopolitical context of 18th-century America creates an ethical dilemma

for Jefferson, patriots and politicians involved in the drafting of the Constitution. “Jefferson’s Garden” speaks to the foundational problems embedded in our country’s tumultuous history, with issues like race, religion, politics and gender occupying the forefront of the performance.

FORD’S THEATRE

James Madison, Patrick Henry and Sally and James Hemmings are a few others forced to address difficult compromises made at the nation’s founding. Jefferson must deal with his slave-owning role

in Virginia. Susannah, enslaved, must choose between love and her freedom. Wertenbaker uses her artistic medium as a platform for dealing with issues still prevalent today. The consequences of America’s history resound in the 21st century. “Jefferson’s Garden” is must-see historical fiction. In the current political climate, studying American history is necessary to understand where the corruption of freedom originated. Wertenbaker said in an interview with Ford’s Theatre, “It seemed to me that the American revolutionaries fought for freedom and spoke of hope, but there was a deep contradiction at the heart of the rhetoric.” She acknowledged the patriotism of their actions but did not shy away from exposing the revolutionaries for their skewed perception of equality. “The fault lines [of corruption] were laid,” Wertenbaker said. “These are the fault lines we suffer from today.”

“Jefferson’s Garden” has performances every day Jan. 19 to Feb. 8, 2018 at Ford’s Theatre. Tickets are on sale for $22-$64 and are available at www.fords.org.

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concert review

BROCKHAMPTON at The Fillmore Silver Spring mac dressman Hoya Staff Writer

Texas-based rap group BROCKHAMPTON brought precise lyrical mastery to its performance at The Fillmore Silver Spring on Jan. 28, with unbridled energy that electrified the crowd. The group, which broke into the mainstream in 2017 with its “SATURATION” album trilogy, has a penchant for interweaving silky hooks and vulnerable moments between hard-hitting beats and manic rhymes. The group’s appearance at the Fillmore Silver Spring was the ninth stop on the 2018 “Love Your Parents” tour. Although the stage setup was barebones — the platform was adorned with little more than a traffic light on the left and a pedestrian crossing sign on the right — BROCKHAMPTON captivated the audience with an impressive stage presence as band members bounced to the beat, nailing every word of their complex verses with bravado in their bright orange prison jumpsuits. The young crowd rewarded the group’s efforts with enthusiastic cheers, arms raised as they shouted back some of BROCKHAMPTON’s most memorable

lines, such as “Keep a gold chain on my neck / Fly as a jet, boy, better treat me with respect” during the performance of the song “GOLD.” Preferring to let its music speak for itself, BROCKHAMPTON said little to the audience. The most memorable interaction was when a band member roused the audience to yell “F—k Pitchfork,” referring to a prominent online music magazine that gave BROCKHAMPTON’s latest releases lukewarm reviews. Regardless of the group’s critical reception, audience members from the Maryland and Washington, D.C. areas clearly adore the self-proclaimed “boy band” that sold out the 2,000-person capacity Fillmore. Crowds filled almost the entire ground floor and lined the second-floor balconies, but there was still enough space in the back for any claustrophobic audience members. Further into the fray, the crowd was lively but not wild, creating a pleasant experience for fans of all energy levels. BROCKHAMPTON began its set with the infectiously energetic “BOOGIE,” and the group members brought the venue to life as the crowd roared, obeying the band’s commands to “Jump! Jump!” with fervor. Although lead singer Kevin Abstract

lost his voice and was unable to perform, fellow member Ameer Vann performed Abstract’s parts admirably, bringing energy to the absent member’s hook on “SWAMP.” BROCKHAMPTON had clear chemistry onstage, and the collaborative nature of the group’s songs made for an engaging spectacle as the focus and microphone jumped from one member to another. BROCKHAMPTON’s songs often employ pitch-shifted vocals, which cannot be recreated live. For these sections, it was clear that the back tracks were played as loud or louder than the voices of the performers. As such, it was difficult to determine the extent to which the performance was genuinely live and how much was simply digital recordings of BROCKHAMPTON played at high volume. However, the ambiguity did not diminish the concert experience, as all members delivered their verses with precision and enthusiasm; the resulting clarity was a welcome break from rap concerts where the artists’ out-of-breath, shouted vocals make the music difficult to enjoy. The show was relatively short because of its lack of openers, but fans still received a satisfying sampling of BROCKHAMPTON’s material, with songs from

all three SATURATION albums including tracks “ZIPPER,” “QUEER” and “BOYS.” The highest-energy songs were placed near the middle of the concert, before the melodic “BLEACH” transitioned into performances of the group’s more stripped-back tracks. During “TEAM,” the singer Bearface took center stage, pouring his heart out before contributing a passionate electric guitar solo as a glistening disco ball descended from the ceiling. BROCKHAMPTON then switched abruptly from this sentimental tone into its final song of the night, “HEAT.” It preceded the aggressive track by asking the crowd, “Who’s angry in here? Sing along if your job sucks, if you hate you school, if you’re pissed off … ” It was a strange note to end on, as the audience left the venue filled with rage after shouting along with the rancorous lyrics of “HEAT.” The rap group brought the same attention to detail to its live show as it does to its records, performing a mix of hardhitting bangers and emotionally resonant ballads with panache. Although it lacked elaborate theatrics, BROCKHAMPTON had plenty of charisma, carrying the show on the merits of the group’s dynamic sound and stage presence.

BROCKHAMPTON; MAC DRESSMAN FOR THE HOYA

BROCKHAMPTON fired up the youthful audience Sunday at The Fillmore Silver Spring with a mix of rancorous and sentimental tracks, performed in bright orange jumpsuits. Riding off the success of the SATURATION album trilogy, the group brings its distinct style and passionate live performances on the road with its “Love Your Parents” tour, which runs until March 8.

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the guide

THE HOYA

FRIDAY, FEBRUARY 2, 2018

What to Do in DC

MUSIC

NEW RELEASES

WILLIAM LEO

Hoya Staff Writer

NOAH LEVESQUE Hoya Staff Writer

CHERRY TREE MASSACRE

The East Coast’s largest and longest-running a capella concert series is coming to Gaston Hall this week. The Georgetown Chimes will be joined by a variety of other a capella groups from Georgetown and other college campuses, as well as some professional groups. Tickets are $12 and the event will start at 7:30 p.m. Feb. 2, 3, 10 and 24.

JPEGMAFIA

KHRUANGBIN

KHRUANGBIN ‘MARIA TAMBIÉN’

JPEGMAFIA ‘BABY I’M BLEEDING’

On “Maria También,” Texas-based Thai funk group Khruangbin has created a complex, otherworldly sound that is equally appropriate for the dance club and the living room. One of the shortest tracks on the group’s new album, the song features quick but gentle guitar riffs that fit perfectly into the funky, free-flowing bass line.

JPEGMAFIA’s work would not be possible without the digital technology implied in his name. The song’s nonlinear and highly distorted introduction gives way to a complex bass line and confident bars that track the Los Angeles-based rapper’s experiences as both a U.S. Air Force veteran and an ambitious artist.

THE GEORGETOWN CHIMES

WOMEN’S VOICES THEATER

Good art is always in conversation with culture and politics, and this month you have the opportunity to be a part of that conversation by attending a showing of the Women’s Voices Theater Festival. This festival celebrates plays written, directed and acted by women. Theaters all around the District will be hosting shows until the festival concludes on Feb. 15.

WOMEN’S VOICES THEATER FESTIVAL

WASHINGTON AUTO SHOW

This Saturday, the Washington Auto Show will be showing off some of the hottest rides and newest models. As one of the United States’ largest auto shows, this event is just right for car lovers. The show will take place at the Walter E. Washington Convention Center, and runs from Jan. 26 to Feb. 4.

4 BECK

BECK ‘I’M WAITING FOR THE MAN’ Following in a long line of artists, including John Cale and David Bowie, that have covered the song, Beck has made the Velvet Underground’s original heroin-deal anthem his own. The instrumental is predictably poppy and upbeat, and the vocals are heavily altered, adding a newage instability that does the song’s subject matter justice.

FAMOUS DEX

FAMOUS DEX AND YOUNGBOY NEVER BROKE AGAIN, ‘IN THE BANK’ Continuing to build hype for his upcoming album “Dex Meet Dexter,” Famous Dex featured Louisiana rapper YoungBoy Never Broke Again to create a song with complex, layered production and his signature rapid-fire flow. YoungBoy molds himself perfectly to the beat with lyrics about his ostentatious wealth and success in the music industry.

In a fascinating, newly opened exhibit, the Phillips Collection will be displaying several paintings by Paul Klee that show his vast influence on American painting. It will feature other notable examples of Abstract Expressionism and Color Field painting. The exhibit costs $10 for students and $12 for adults., and will be showing from Feb. 3 to May 6.

This month, in honor of George Washington’s birthday, Tudor Place is offering tours for only $1. This historic estate features some of the finest gardens and most interesting architecture in the DMV, so this is a great opportunity to explore the Georgetown landmark.

THE WASHINGTON AUTO SHOW

PHILLIPS COLLECTION

PAUL KLEE

TUDOR HOUSE

the guide

friday, february 2, 2018

THE HOYA

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theater review

MITCHELL TAYLOR FOR THE HOYA

The deep, almost mystical colors of Lana Del Rey’s set reflect the nostalgic nature of her music, which draws inspiration from mid-20th-century Americana. Establishing an intimate rapport with the crowd, Del Rey encouraged the audience to stay hopeful during tough times. The performance took place three days before her appearance at the Grammy Awards.

Lana Del Rey

Capital One Arena mitchell taylor Hoya Staff Writer

Three days before appearing on the red carpet at Madison Square Garden for the 60th annual Grammy Awards, Lana Del Rey enthralled a clamoring audience at a packed Capital One Arena on Jan. 25. The singer-songwriter complemented soaring vocals with vacation-themed visuals as she treated loyal Washington, D.C. fans to the 10th performance of her 2018 L.A. to the Moon Tour. Del Rey, known for weaving mid-20thcentury Americana nostalgia into her cinematic style of music, performed on a stage full of palm trees, lounge chairs and cliff-like rocks that mimicked the black-and-white backdrops of beaches and waterfalls projected throughout the concert. Del Rey coordinated her stage movements and dancing with the paradisal scenery. At one point in the show, Del Rey and her singer-dancers laid on

their backs at the front of the stage as Del Rey performed. The trio’s images were projected onto the backdrop of a beach as they pretended to roll with the ebb and f low of the tide and the music. The 32-year-old singer opened her show with Henry Mancini’s “Experiment in Terror” from 1962, before transitioning to “13 Beaches” from her Grammynominated work for Best Pop Vocal Album from 2017, “Lust for Life.” Del Rey also integrated her instrumental ability into the concert. During her solo acoustic performance of “Yayo,” the artist displayed her wide vocal range while plucking chords on a Flying V guitar. Throughout the show, Del Rey provided the audience with glimpses of her infatuation with 1950s and 1960s Americana by performing pieces such as Simon and Garfunkel’s “Scarborough Fair” and Marilyn Monroe’s “Happy Birthday, Mr. President.” In the past,

Lana has discussed how her love of the era seeps into her work as an artist, and these inf luences were on full display last Thursday night. Del Rey also tackled current social issues throughout the show. Before “God Bless America — and All the Beautiful Women in It,” as well as “When the World Was at War We Kept Dancing,” she described music and dance as loving alternatives to dark times; the songs themselves echoed the uplifting sentiments. “If we hold on to hope, we’ll have a happy ending,” she sang. “When the world was at war before, we just kept dancing.” Del Rey admitted she felt nervous being political while performing in D.C., but the audience embraced her message warmly with cheers and applause. Of course, Del Rey’s most popular hits such as “Born to Die,” “Video Games” and “Summertime Sadness” were also well-received by the packed Capital One Arena audience, whose members were allowed

some input on the setlist. In her penultimate song, Del Rey asked fans what they wanted to hear before ultimately singing “Old Money.” The show was capped with “Off to the Races,” the 23rd piece of the night before Del Rey left the stage as fans cheered for even more. Overall, Del Rey mesmerized her audience by creating an intimacy with fans through conversation between songs and personal interaction with patrons on the f loor. From early in the performance, she established a rapport with the crowd that allowed her music to resonate even more deeply with fans. Some performers struggle with creating intimacy live, but Del Rey transferred her talent on the record to a compelling performance. Her connection with the audience in the massive Capital One Arena was impressive, as she was able to immerse concertgoers in her idyllic visuals and nostalgic waves of sound.

Illustration BY: mina lee/THE HOYA