The Guide: April 29, 2022

Film “The Northman” is a Viking revenge epic that will leave you begging for more. B4

CONCERT The Story So Far, Joyce Manor, Mom Jeans and Microwave take NYC by storm. B6

RESTAURANT Jaleo brings authentic Spanish cuisine to the D.C. area with style. B7

April 29, 2022

StudentModels,LocalArtistsShineatDiamanté The student-run fashion show lit up McDonough Arena for an unforgettable night

Sanskriti Reddy and Emily Smith Hoya Staff Writers

ILLUSTRATION BY: ALLIE YI/THE HOYA

Diamanté Fashion Show Highlights Local Designers, Student Talent

MOTIVE CONCEPTS PHOTOGRAPHY

Featuring students from Georgetown University and Howard University, the stunning fashion show spotlighted D.C.-based designers and a variety of exciting performers.

Sanskriti Reddy and Emily Smith Hoya Staff Writers

On April 21, the Diamanté Fashion Show returned from a COVID-19 hiatus to host its first show in two years. Combining film, fashion, music and dance, the student-run event challenges the standard definition of a fashion show. Turning the drab McDonough Arena into a sleek runway, Diamanté amazed audience members with stunning models, dancers, a capella groups and even a rap performance.

Under the initial leadership of Kevin Martinez (COL ’20), Diamanté began in 2018 and now has four shows under its belt, according to stage manager Samuel Oni (MSB ’22).

Featuring students from Howard Univer-

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sity and Georgetown, the models dressed in pieces crafted by local D.C. designers, such as Obioma and Haus of Falenci’ago. Many of the designers also emphasized a commitment to equity and justice in their fashion work, such as Taofeek Studios, which has previously fundraised to support education infrastructure in Nigeria.

Diamanté was designed to fight against hate and bigotry in the United States and beyond, according to the event’s program.

“Historically we pay tribute to these communities: minority, feminist, LGBTQ+, immigrants, first gen and other campus communities,” the program reads. “The show was founded to counteract division and messages of hate and negative media both on campus and in the world that try to stop

Striding across the runway in style, each model presented a new outfit to the audience. As they walked, the models also routinely interacted with one another, creating a collaborative experience for both audience members and performers.

us as humans from finding ourselves, from climbing our own mountains and standing on our own peak.”

The night, and all that came before, was a grand celebration of different identities at Georgetown and in the community.

Celebrating Fashion Inclusivity

Diamanté’s message of tolerance and inclusion was on full display in its fashion, which was a big draw for its performers.

Models such as Ernest Ntangu (SFS ’24) said the experience was a way to connect with African fashion and other students.

“I did something similar to Diamanté in high school as a part of the African Student Association. But coming together to represent these different designers gave me an

THEHOYA.COM | FRIDAY, APRIL 29, 2022

avenue to get more involved in Washington, D.C., outside of the Georgetown community,” Ntangu said in an interview with The Hoya.

Diamanté featured around 60 models, 30 student dancers and 15 clubs from Howard and Georgetown. The clothing pieces were just as expansive, ranging from notable DMV brands to small businesses, according to Oni. For Ntangu, this focus on showcasing local brands was vital for the show.

“Especially being from D.C., it is important to show attention to designers around here.

Fashion shows are usually focused on big brands, but Diamanté shows the different cultures and people here,” Ntangu said.

During the show, Ntangu wore an Africaninspired top with denim jeans from Obioma.

In addition, Ntangu planned to wear an outfit from Don Juan, a streetwear designer.

“I really enjoyed the unique approach of the different cultures that Diamanté represented,” Ntangu said.

Oni said Diamanté created an incredible experience for both the audience and its participants, giving them a means of selfexpression and community building and bringing fashion and Black culture to the forefront at Georgetown.

“The diversity that we showcased in our pre-show photoshoots was meant to embody what we were going to showcase in the show. We showcased everyone in their fullest regard,” Oni said.

Diamond Glover, a junior at Howard University and another model for Diamanté, appreciated that the inclusive pieces were the main focus of the show.

“I am excited because my clothes are going to be the showcasing moment, where I am not the main center of attention. It is really the piece,” Glover said.

Glover said the experience of modeling highlighted the importance of authenticity in self-expression.

“Coming to college and seeing that people are way more expressive of their styles means a lot to my inner child. Like, okay girl, you can rock that crazy outfit and be okay with it,” Glover said.

Diamanté pieced together a work of art — not only through the clothes, but in every detail of the performance, from the first step of the dancers to the band’s grand finale.

“It’s about the resurrection,” Oni said. “It’s about finding a way to be yourself again.

This was a space in which I got to meet other people and form relationships that I hope to keep after I leave here this year.”

Posing for the Camera

While Diamanté was a grand production, the little moments also stuck out for participants and viewers alike.

Oni said this year’s theme, “The Sun Sets to Rise Again,” was a tribute to the show’s halted production and revival after the pandemic.

“The motif of a sun is about bouncing back.

It’s about finding yourself and being that new person after COVID,” Oni said. “You’re always in a state of resurrection if you’re trying to grow as a person.”

Oni said Diamanté showcases its participants’ wide range of creative skills.

“Diamanté is a showcase of talent, individuality, ability and diversity. It’s about being yourself to the fullest extent. That’s why we have the name Diamanté, ‘diamond.’ We give the opportunity to showcase these participants’ talents to a larger audience — not everyone’s given that platform all the time, so we aim to be that platform,” Oni said.

Audience member Serena Barish (COL ’25) said the interactions between the models during the show created an experience for performers and spectators that stretched beyond just the clothing.

Models passed, circled and weaved through one another on the runway, drawing the crowd even further into Diamanté’s enchanting magic, Barish said.

This connection between students, both within and across schools, was apparent in the constant support they gave to each other throughout the show; while participants circled on and off stage, cheers of encouragement echoed throughout the arena.

“The moments when two people were walking and they had them stop and interact in some way was really cool because I think that otherwise, it’s a cool outfit but it doesn’t seem that personal,” Barish said.

“So I felt like all of the interaction that was showcased was really cool.”

For audience member Devan Shah (COL ’24), the variety of African clothing styles and range of designers stood out the most.

“I saw many different themes highlighted, from traditional African wear, to high fashion streetwear and skinwear. There was a great variety of designers, each showcasing unique and brilliant pieces,” Shah said in an interview with The Hoya.

By focusing on building a community among the show’s participants, Diamanté was able to avoid the sterile, stereotypical professional image often associated with fashion shows.

Laying Out the Runway

Rounding out Season 170 of Mask and BaBecause Diamanté did not have a show in 2021 due to the COVID-19 pandemic, fewer experienced organizers, models and performers were available to participate in this year’s show, according to Oni. Seeking to recruit extra talent, Diamanté sent out a casting call for models in early February, according to Diamanté’s Instagram.

Logan Castellanos (NHS ’25) answered the call. Castellanos said the audition process as a first-time model was not what she expected it to be.

“We had to walk in heels, which is something I’ve never done before. It’s a bit scary.

FRIDAY, APRIL 29, 2022 | THEHOYA.COM

MOTIVE CONCEPTS PHOTOGRAPHY

At this year’s Diamanté, many of the models strutted the runway for the first time.

However, having learned from the experience of past participants, newcomers were able to blend in on stage.

I didn’t know it was actually runway modeling. I thought it was just picture modeling, so that was kind of a surprise,” Castellanos said in an interview with The Hoya.

Conversely, Glover was able to carry her previous modeling experience to the show.

“I model at home in New Jersey. Aside from that, I have also modeled at Howard doing different fashion shows and homecoming events,” Glover said in an interview with The Hoya.

In addition, Glover noted her excitement with modeling at a different school than her own, especially as her previous mentors participated in Diamanté.

“I am super excited to be doing modeling events outside of Howard, and Georgetown definitely seemed fun. I have heard about the show in previous years, and a lot of the people that coached me modeling participated in Diamanté,” Glover said.

To help create an entertaining show, Glover said she polished her poses to reflect the professional runway setting of Diamanté.

“After being accepted onto the team, being critiqued was very beneficial because modeling comes in a lot of different styles. Coming to

learn different techniques was awesome for me because it broadened my horizons,” Glover said.

For Castellanos, learning from those like Glover helped to make newcomers like her become runway-ready by the time of the show.

“We have a lot of girls from Howard here who are actual models, and they were able to give us a lot of tips and show us how to do the steps exactly. I didn’t know that there was actual technicality behind it before I got here, so it was very nice to get step-by-step instructions from them,” Castellanos said.

Coming from Howard to join Diamanté, Glover said the show allowed her to learn in an environment outside of her university.

“It’s definitely fun to model outside of Howard’s campus. It’s added a lot to my own technique, being able to share and critique in a way that’s beneficial for all of us. It’s fun, I loved it,” Glover said.

Ultimately, Barish says that the creators of Diamanté should be proud of their work because their time and effort shone through.

“I think it was really cool to see students who you know and you just pass by every day completely transform into such a glamorous and classy experience,” Barish said.

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@THENORTHMAN / TWITTER

‘The Northman,’ Robert Eggers’ newest film, is an intense Viking epic that is sure to excite. With savage action and acting, it leaves a bloody mark on all who watch.

FILM

‘The Northman’ Ascends to Valhalla Directed by: Robert Eggers Starring: Alexander Skarsgård, Anya Taylor-Joy, Nicole Kidman

 James Pocchia

Guide Reviews Desk

Film fans weary of stale action movie cliches, fear not: “The Northman” has arrived to carry out its pledge of vengeance — and offer moviegoers a thrilling cinematic experience.

Replete with guttural Viking chants, hypnotic cult-like imagery, and nude volcano-side swordfights, “The Northman” takes audiences on an immersive ride through the Scandinavia of 914 A.D. Mesmerizing performances, jaw-dropping cinematography and the screenwriters’ courage to apply a morally nebulous perspective to a revenge-driven narrative all solidify the movie as a certified masterpiece.

Director Robert Eggers’s third feature-length film, “The Northman” follows the journey of a young prince named Amleth (Alexander Skarsgård), who watches in horror as his uncle (Claes Bang) violently murders Amleth’s beloved father, a war-battered northern king (Ethan Hawke).

The young prince flees his home and spends years plundering villages as a ruthless Viking, until a seeress reminds him of his duty to avenge his father and rescue his queenly mother (Nicole

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Kidman) from his uncle’s clutches.

“The Northman” avoids tedious exposition in its introduction, as Amleth’s growth from hopeful young prince to brutal Viking marauder is stripped down to only its most essential narrative beats. The script uses this fast-paced opening to grab the audience’s attention, and then applies more deliberate pacing to showcase Amleth’s quest for revenge.

That quest might not have been at all engaging without Alexander Skarsgård’s enticing performance, as he brings Amleth’s character to life.

Skarsgård dives headfirst into his character, literally howling with the ferocity of a wolf and sauntering with the brutish intensity of a bear.

Yet Skarsgård’s performance is much more than snarls and muscle-rippling stunts — his occasional tear-filled gazes and quiet, anxietyinfused whispers indicate that beneath Amleth’s battle-hardened surface lies the heart of a broken boy yearning to be loved.

This complex characterization of Amleth is what makes “The Northman” special. Unlike most revenge thrillers, this film’s protagonist is not always heroic — on the contrary, many might describe several of Amleth’s actions, like burning

civilian villages, as morally reprehensible.

But those seemingly bloodthirsty acts are offset by Amleth’s vulnerability and unyielding loyalty to his late father. The film trusts its audience members to decide for themselves whether Amleth is deserving of praise or chastisement by the story’s conclusion.

Skarsgård’s animalistic acting is further complemented by Nicole Kidman’s and Anya TaylorJoy’s thunderous performances.

Kidman uses a forceful tone and proud authority to transform her royal character from a damsel-in-distress into a powerful, cunning leader. Taylor-Joy, who plays Amleth’s love interest, matches Kidman’s commanding presence with wily smirks and sensual movements, completing the film’s layered representation of female rebellion against a culture dominated by brutish men.

The film’s towering performances are matched by its breathtaking imagery. The cinematographer balances sweeping shots of icy mountains and burning villages with claustrophobic, hallucinatory moments to create a uniquely visceral feast for the eyes.

This visual juxtaposition mirrors the film’s nar-

rative duality: fantastical, allegory-rich scenes depicting royal family trees and Valkyries riding into the heavens stand in stark contrast to Amleth’s grounded, straightforward mission to avenge his father. Eggers weaves together these contrasting elements to form a seamless narrative, exploring how Amleth is bound to his quest by supernatural forces beyond his comprehension.

The style of “The Northman” will not satisfy every viewer. The thick Norse accents and low, gravelly whispers of certain characters occasionally distort their dialogue, and the gory disembowelments and beheadings are likely to shock even the least squeamish viewers. Because it is so committed to accurately representing its setting, the film often feels designed to repel.

But for those willing to crawl through that repulsive layer, “The Northman” provides immersive thrills. Eggers offers his audience a window into the conflicted heart of a blade-wielding Viking prince who stands alongside Inigo Montoya, Django, and Maximus as one of cinema’s most captivating revenge-driven protagonists.

Go forth and watch this film on the biggest screen possible, lest you be slain by the Night Blade at the Gates of Hell.

THEHOYA.COM | FRIDAY, APRIL 29, 2022

FILM WITHOUT FLUFF

Nicholas Cage Returns for a Lighthearted Meta-Comedy Elena Martinez Columist

Nicolas Cage is a Hollywood icon, thanks to his eccentric personality and trademark melodramatic acting approach. In the past decade, he has been the butt of many jokes and the face of various social media memes. Tom Gormican’s 2022 film, “The Unbearable Weight of Massive Talent,” proves Cage is in on the joke and capitalizes on his penchant for eccentric roles, commitment to method acting and over-the-top characterizations that transform many a drama into unintended comedy.

The film follows Cage, who plays himself, divorced and drowning in debt, similar to his real-life circumstances just a decade ago. He is offered $1 million to appear at the birthday party of Spanish billionaire and Cage megafan Javi Gutierrez, played by Pedro Pascal. Upon arriving in

Mallorca, Cage is accosted by Central Intelligence Agency agents Vivan (Tiffany Haddish) and Martin (Ike Barinholtz) who inform him that Javi is the head of a Spanish weapons cartel that is wanted for the kidnapping of a prominent Catalonian politician’s daughter.

Cage, now tasked with balancing his newfound friendship with Javi, fulfilling his duties as a newly-established spy and surviving an identity crisis, navigates his precarious situation with signature extravagance as the film’s action builds in an outrageous manner that supersedes the previous scene’s ridiculousness.

Though the film amounts to a self-critique of Cage’s acting career and extensive filmography, it is not the vanity project meant to make Cage reappear as a serious actor that trailers and promo superficially presented itself to be. Much of the comedy revolves around ridiculing Cage, including the appearance of a younger, more successful version of the actor who pesters the now burnt-out star with impulsive, selfindulgent behavior.

NEW RELEASES

Director and writer Tom Gormican originally wrote the script and approached Cage, who turned it down multiple times before finally accepting the part. The film approaches Cage’s successes and failures from an outside perspective that allows for the humor to land effectively, since the audience is aware of Cage’s public perception and the jokes about him.

However, while Cage offers an all-out comedic performance based on his signature “nouveau shamanism” acting method, a bizarre approach to acting influenced by ancient tribal shaman tradition, Pascal approaches one of his few comedic roles with seasoned nuance. Displaying a near-childlike fascination and enthusiasm for his Hollywood hero, Pascal’s Javi delivers some of the best lines of the film, carrying the unbearable weight of being both the film’s apparent antagonist and its source of comic relief. The chemistry between Pascal and Cage would make the unfamiliar viewer believe both have been lifelong friends and partners.

Though Cage insists that this parodied version

By Nikhil Nelson

PUSHA T FEAT. KANYE WEST AND KID CUDI

MEGAN THEE STALLION

‘PLAN B’

‘ROCK N ROLL’

Megan Thee Stallion is back, perhaps with the new anthem for #hotgirlsummer. “Plan B” embodies what Megan is known for: confident vocals, empowering lyrics and a danceable nineties beat.

Rumored to be the second single from Megan’s upcoming second full-length album, “Plan B” is a hopeful indicator of the music she has in store.

Pusha T’s new album, “It’s Almost Dry,” includes a star-studded list of featured artists. “Rock N Roll,” featuring Kanye West and Kid Cudi, highlights each artist’s core skill: Pusha T’s lyrical flow, West’s sampling techniques and Cudi’s somber singing. However, according to a recent tweet by Kid Cudi, this track may be the last collaboration between Cudi and West due to recent falling-out. @PUSHA_T/TWITTER

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VINCE STAPLES ‘ROSE STREET’

FRIDAY, APRIL 29, 2022 | THEHOYA.COM

@THEESTALLION/TWITTER

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JASON ALDEAN ‘AIN’T ENOUGH COWBOY’

Vince Staples’ song “ROSE STREET,” from his fifth studio album “RAMONA PARK BROKE MY HEART,” offers an unexpected twist on the typical love song, as Staples professes that his love for a woman will never surpass his other relationships. Staples’ vocals and the pounding bass cause passion and anger to course through the song, setting a bold tone throughout the album.

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of him is far from real life, this satirization of his career slump and resurgence is unexpectedly genuine. Self-parody is a difficult approach to navigate when many actors insufficiently acknowledge their ego out of self-preservation, especially from the current Hollywood A-list scene that is seemingly allergic to self-awareness.

Yet Cage’s struggles to reconnect with his teenage daughter, his renewed love for his career and his overcoming of self-destructive behavior closely resembles crises to which many viewers will be able to relate.

The authenticity of this film is offered in an accessible way that draws viewers closer rather than burdening them with a superficial attempt to appear heartfelt. The organic character interactions and self-references are iconic enough to be recognized by all generations. While the plot is at times too simple, it offers a satisfying resolution that cements the film as one of the stronger comedies in recent memory. “The Unbearable Weight of Massive Talent” may just be the magnum opus to crown Cage’s career resurgence.

Clocking in at 30 tracks, Jason Aldean’s 10th studio album, “MACON, GEORGIA,” was written as a dedication to his home state and its people. The album, which was released April 22, shifts Aldean away from his traditional country style toward pop influence, especially in “Ain’t Enough Cowboy,” which includes techno beats and robotic autotune. @VINCESTAPLES/TWITTER

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@JASON_ALDEAN/TWITTER

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@THESTORYSOFARCA/TWITTER

Four bands, one stage. During a pop-rock night to remember, The Story So Far, Joyce Manor, Mom Jeans., and Microwave brought an unstoppable energy to Terminal 5.

CONCERT

The Story So Far, Joyce Manor, Mom Jeans, Microwave Stun in Terminal 5  Valerie Mallon Hoya Staff Writer

As a kind word of advice, do not arrive at a punk show with a headache or weak arms. It is going to get loud, rowdy and irresistibly intoxicating.

Microwave, Mom Jeans. and Joyce Manor all lit up Manhattan’s infamous Terminal 5 venue on April 22. The pop-punk trio of bands opened for The Story So Far, with the four united on their nationwide spring tour.

This unusual group collaboration meant that even before the show could start, the soldout, 3,000-capacity venue was crammed from head to toe, signaling an exciting prelude of events to come.

Beginning the show with a short but sweet setlist, Microwave electrified the audience from their first chord of the fan-favorite “Light-

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erless” all the way to their newest single, “Circling the Drain.” The ear-splitting, crashing riffs of each tune had the crowd agape with awe, and Microwave’s thunderous stage presence left the audience exactly the way they started: desperate for more.

Similarly, Mom Jeans. performed like they had something to prove and with a discography half the age of their counterparts of the night, perhaps they did. Nearly every melody of Mom Jeans.’ performance was laced with drummer Austin Carango’s lyrics of depressed longing, from love to friends to existentialism.

Despite the tone of these songs, the audience used every opportunity to cathartically moshpit with smiles across their faces.

From a three-part “Happy Birthday” singalong to the band’s bassist, Sam Kless, to a shameless reveal of lead singer Eric Butler’s tramp-stamp inspired by new song “White

Trash Millionaire,” and the constant egging by the band to get the crowd even more riotous, Mom Jeans. never hesitated to push their boundaries of what a concert could include.

Kicking off with their hair-raising 2014 hit “Catalina Fight Song,” Joyce Manor’s intensely devout fans within the crowd could not hold back their excitement, dancing and screaming to every lyric. Between the band’s quick song shifts and a notorious knack for one-minute songs, Joyce Manor electrifyingly never left the audience with much room to recover — or breathe between songs.

Additionally, the rather soft demeanors of Joyce Manor’s band members slowly dissipated throughout the show, eventually erupting into an energetic, rowdy and extroverted stupor that lived through every note and beat.

However, it became audibly clear who the headliner was when lead singer Parker Can-

non and members of The Story So Far walked across the stage for the night’s final act.

The most popular song from their 2013 EP, “Clairvoyant,” started the show off on a different note from the rock that came before. The song’s slow, acoustic instrumentals and crooning melodies altered the ambiance of the room to be more calm.

Nonetheless, the band carried the rest of the night with pop-punk hits like “Empty Space” and “Nerve” while the audience crowd-surfed multiple, sweaty twenty-somethings across their heads. Crowd surfing was at an all-time high at that time of the night, with passionate fans embracing every word Cannon sang to them.

Yet, The Story So Far seemed to be more reliant on flashy strobe lights and high-tech instrumentals to offset energy derived from the crowd. Likely, this is due to the band calming down their stage presence after a violent reputation followed them on previous tours when the band physically kicked a fan off stage in Toronto.

However, each bands’ small-town beginnings brought a sense of comfort to the chaotic crowd. Joyce Manor’s guitarist was seen casually conversing with a few fans around the merchandise line, and Mom Jeans.’ bassist Sam Kless stood on the outskirts of the stage to support the headliners of the night and relish in the noise.

Amidst the rowdiness of performers, angsty headbangers and mosh-pitters, the four bands and the audience matched each other’s energy to put on a show that felt straight out of a fever dream. Though my body might have felt weak and on fire, I embraced every second.

THEHOYA.COM | FRIDAY, APRIL 29, 2022

COURTESY KELSEY CADAHILA

Jaleo, the first restaurant by famous chef José Andrés, offers a delicious selection of meals. Try the Spanish tapas, salmon cones or cod fritters for a wonderful culinary experience!

RESTAURANT

José Andrés Brings Authentic Spanish Cuisine to DC’s Penn Quarter  Kelsey Cadahia Special to The Hoya

José Andrés, chef, restaurateur and worldfamous founder of nonprofit World Central Kitchen, had to have his start somewhere — 480 7th St NW, Washington, D.C. is home to his first restaurant, Jaleo. With unconventional dishes that burst with flavor and texture, this restaurant offers a fresh culinary experience and reveals a new side to classic Spanish tapas.

Although this Spanish restaurant was Andres’s first initiative as a young chef, it is arguably one of his most successful restaurant models, having been enjoyed by numerous tourists and Washingtonians since it opened in 1993. It now has extensions in Maryland and Las Vegas, allowing people from all over the United States to enjoy authentic Spanish cuisine.

As a native of Spain who spent her childhood in Madrid, I had high expectations as I stepped through the restaurant’s tall glass doors.

Soon after being handed the menus, General Manager Javier Pérez made an appear-

ance at our table, introducing himself and making me feel at home with our shared memories of Spain.

After looking through the comprehensive menu, I decided to order “José’s Way,” one of the chef’s tasting menus that served over 10 samples of tasty culinary Spanish tapas. The first dish brought to my table was reconstructed liquid olives, a dish I had never seen in Spain.

The waitress described this culinary innovation as olive juice that had gone through a modern spherification process to resemble a real olive. José Andrés had learned this technique when he worked with Chef Ferran Adrià as a 21-year-old at the famous restaurant El Bulli in Spain. Just as the waitress described, the olive melted in my mouth with its savory flavor.

The next few dishes included salmon tartare cones and goat cheese cones with tomato marmalade. I had never heard of these dishes before, and while the salmon tartare was somewhat underwhelming, the marmalade and goat cheese cone transported me back to the vibrant flavors that I had grown up with.

FRIDAY, APRIL 29, 2022 | THEHOYA.COM

The later seafood dishes were the highlight of the night, with a broad selection of famous tapas that impressed both myself and my American friend. Crab salad with relish and salsa rosa, oysters with mustard garlic sauce and cod fritters with honey aioli all blew away my expectations for a Spanish restaurant in the United States.

Each dish was exquisitely seasoned and cooked to the perfect temperature, a technique that Andrés is famous for. My favorite tapa was the classic buñuelos de bacalao, otherwise known as cod fritters: crispy on the outside, filled with a flavorful cod center and drizzled with a sweet yet salty honey aioli drizzle, these will surely not disappoint.

The meat dishes on the tasting menu included croquetas de pollo, pork shoulder, jamón serrano over tomato bread and olive oil and lamb served with rosemary, mashed potatoes and sauteed button mushrooms in a garlic and white wine sauce that all tasted amazing.

Each of these was elegantly plated and most importantly, packed with authentic Spanish flavor. I appreciated that the wait-

ress took time to carefully describe each dish, allowing me to fully understand and savor what I was putting in my mouth.

The night ended with flan, a well-known Spanish custard with Catalan cream, as well as olive oil ice cream with grapefruit. Flan is not easy to master, even for Spanish natives, so I was delighted when I bit into a perfectly buoyant yet not overly sweet dessert.

I had never tried olive oil ice cream before, but its savory flavor ended up being a hit. We enjoyed these desserts alongside warm cappuccinos, which allowed me to fully relive the Spanish tradition of finishing a meal with coffee.

The bustling, lively ambiance of Jaleo paired with the fantastic service and delicious dishes make it a one-of-a-kind dining experience. My only complaint is that I would have liked to see more classic Spanish tapas in the tasting menu rather than so many new and experimental dishes, even though most of them were equally as tasty. Despite the expensive prices, I would definitely return to this restaurant for special occasions and recommend it to friends and family alike.

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DC’S HIDDEN HISTORY

Examining Georgetown’s Past at Mount Zion Cemetery When it comes to United States history, not all sites are created equal. White Americans have a tendency to focus on the most flattering aspects of our history while pushing aside the things that remind us of our country’s often problematic past. Mount Zion Cemetery in historic Georgetown is a reminder of what the waterfront area used to be — a haven for Black communities in Washington, D.C. Mount Zion Cemetery, located at 2501 Mill Road NW, sits just east of the opulent Dumbarton House. Dating back to 1808, Mount Zion initially served as a burial ground for white Methodist parishioners and their enslaved people. It was bought in 1814 by a Black congregation, becoming Mount Zion United Methodist Church, the oldest known Black church in the District.

The cemetery served the District’s growing

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WHAT TO DO IN DC

WASHINGTON NATIONALS

1500 S Captiol St SE

Baseball is back, and the Washington Nationals are playing in Navy Yard all week.

Tickets will be up to 30% off on select dates against division rivals, the Miami Marlins, and the weather will be beautiful. While you are there, stop by the team store and check out the team’s newly released City Connect cherry blossom jerseys.

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Lisa Fager, executive director of the Mount Zion / Female Union Band Historic Park Foundation, and Patrick Tisdale, volunteer and volunteer activity coordinator, have sought to restore the grounds of this historic burial site and reintroduce this slice of Georgetown’s history through public events.

“When you touch the stones of the people who were laid to rest there, you begin to connect with what their lives were about and the many great things they did,” Tisdale told The Hoya.

The story of Mount Zion and Black Georgetown reflects what many D.C. residents still witness today. The District has been experiencing a housing crisis, fueled by an influx of white residents into historically Black neighborhoods due to gentrification.

U Street, once nicknamed “Black Broadway” has been gentrifying rapidly, with apartments in the area now going for upwards of $2,500 a month for a one-bedroom apartment.

Anacostia in Ward 8, once home to Frederick Douglas, has also experienced gentrification with new apartment complexes popping up in the neighborhood

By Nikhil Nelson

daily. Due to this increase in gentrification, Prince George’s County in Maryland has seen a massive influx of displaced Black D.C. residents, who have been left behind in the city’s quest to develop and progress.

Having grown up in D.C., I’ve observed these changes myself, and I feel that the city is at an inflection point in its history.

Addressing issues of inequality in D.C. will require effort on all fronts, and activism in this arena is growing stronger by the day.

Community organizers like Ronald Moten, who goes by @ronaldmoten on Instagram, and Justin “Yaddiya” Johnson, who goes by @yaddiya, are raising awareness around ownership and equity in D.C., critical topics that need to be discussed.

As students attending a university in the Georgetown neighborhood, it is essential that we do not ignore our second home’s history. Visiting Mount Zion Cemetery, only a couple of blocks from campus, is a great place to start.

Nikhil Nelson is a first-year in the MSB. D.C.’s Hidden History appears online and in print every other week.

THIS ISSUE’S QUIZ

UNION MARKET

1309 5th St NE

Thanks to the warm weather, spring is the perfect time to stop by Washington, D.C.’s premier mess hall. With an ever-rotating lineup of food stalls, there is something for everyone, including authentic Southern barbecue, Laoban dumplings and local seafood.

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Columnist

UNIONMARKETDC/FACEBOOK

Nikhil Nelson

Black population but remained segregated from white burial grounds such as the nearby Oak Hill Cemetery.

Mount Zion is not the only vestige of Georgetown’s Black community. Black churches such as First Baptist Church at 2624 Dumbarton St. NW and Jerusalem Baptist Church at 2600 P St. NW, also served as pillars of the Black community, along with Monticello House at 3300 M St. NW, a meeting spot for Black social clubs. Blackowned businesses like The Blue Mouse Theater also made Georgetown a hub for Black economic triumph in the District.

While Mount Zion Cemetery remains in Georgetown to this day, much of the Black community that resided in the neighborhood has not. Georgetown, which at one point was 50% Black, experienced gentrification beginning in the mid-20th century. In a development not uncommon for D.C., postWorld War II discriminatory laws such as the Old Georgetown Act of 1950 made it difficult for Black residents to remain in the area.

Today, Georgetown is nearly 75% white and as such feels separated from the Black culture integral to the rest of the city.

‘THE REVOLUTIONISTS’ 1333 H St NE

Be transported to the streets of 1793 Paris at Atlas Performing Arts Center’s play “The Revolutionists” by Lauren Gunderson, based on the infamous Reign of Terror. The story follows four separate lives through the tumultuous French Revolution, including the journey of deposed Queen Marie Antoinette.

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THEHOYA.COM | FRIDAY, APRIL 29, 2022