F RI DAY, FEB R UA RY 1, 2019
Treasure Trove
ILLUSTRATION BY: EMILY SHAMBAUGH/THE HOYA
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FRIDAY, FEBRUARY 1, 2019
THE HOYA
Lauinger Library Offers More Than Meets the Eye SUNA CHA Hoya Staff Writer
The Joseph Mark Lauinger Memorial Library, universally known as Lau to Georgetown students, provides individual and group study spaces on every floor and stacks of books needed to crank out a 15-page research paper. All day and all night, Lau is bustling with student activity on every level. While most students are familiar with the unconventional additions to the library like the innovative Maker Hub, the vast history of its collections, like the Booth Family Center for Special Collections on the fifth floor and Woodstock Theological Library on the lower level, deserve similar attention. Lau offers students much more than just spaces to study and stress during finals.
BIBLIOGRAPHICAL BEGINNINGS
Georgetown’s libraries have a rich and storied history from before Lau was even constructed. The man who spearheaded the initiative for Georgetown’s first library to be built was the university’s third president, Fr. Louis Guillaume Valentin DuBourg, S.J., who established Georgetown’s first library in 1796. Over time, as more books were coming into the university, Georgetown needed a larger space to store them. After the south pavilion of Healy Hall was completed, University President Patrick F. Healy, S.J., chose the third and fourth floors for a new library. However, construction for the new library was never completed due to a lack of funding. In 1889, during Georgetown’s centennial celebrations, Washington, D.C. banker Elisha Francis Riggs decided to donate $10,000 to support the completion of the new library, according to Digital Georgetown. Through the construction process, Riggs covered all associated costs. In 1891, Riggs Library, named in honor of Riggs’ father, was opened. Once Riggs became the official library, all the books from DuBourg’s library were transferred to Riggs and the university’s archives were stored in Healy Hall. For almost 80 years, Riggs dutifully served as the campus’s main library. However, by the 1950s, the library’s collection had grown to around 220,000 volumes of books and journals. Riggs was deemed insufficient for the size of Georgetown’s collection, and construction for two new libraries began. The first new library was the Blommer Science Library, named after alumnus Henry J. Blommer (C ’26). The Blommer Library houses most of the university’s science collection, according to the university library website. The second library, completed in 1970, is the one most Georgetown students today are very familiar with: Lauinger Library. Named after an alumnus who lost his life in the Vietnam War, the library has since grown at an exponential rate. Its collection now includes millions of volumes and is constantly growing with additions to its electronic databases and archives. While the knowledge it holds from a plethora of academic fields is vast, there are many opportunities within the library for students to learn about Georgetown and its history.
FARIS BSEISO/THE HOYA
Throughout its history, Georgetown University has been home to a diverse array of historical items. From theological manuscripts, above, to period posters, Lauinger Library offers students the chance to see priceless archives.
SPECIAL COLLECTIONS
The Booth Family Center for Special Collections is a space on the fifth floor of Lau that stores archives, manuscripts and rare books, as well as an art collection. It opened as part of Lau upon the library’s founding in 1970 and was most recently renovated and reopened in 2015. The BFCSC features classrooms, reading rooms, a reception area and a collaborative workspace for students and faculty. The origin of the BFCSC can be traced back to the founding of Lau itself. When the university’s current library was opened in 1970, the BFCSC was opened within it on the fifth floor. The collection serves as a home for archives, artifacts and the remaining books from DuBourg’s library, according to Christen Runge, the assistant curator of the BFCSC’s art collection. The BFCSC often organizes exhibitions throughout the year. What makes these exhibitions unique in D.C. is that they only display items from the BFCSC’s collection; there are never any items borrowed from outside the university’s archives. This makes the displays more Hoya-centric, be it a series of old photos of Healy Hall or statistics of faculty-to-student ratios in 1819. In addition to providing periodic snapshots of the Hilltop, exhibitions can also be very informative regarding Georgetown’s history, such as one that covered the history of the university’s mascots. These objects are invaluable testimonies to the past and they help provide a window into Georgetown’s history, as university archivist Lynn Conway eloquently explained to The Hoya. “They document our history as a school, a campus, and a home away from home for students. And by revealing our past, they provide context for our present and inform our future,” Conway wrote.
ALLISON HERR FOR THE HOYA
While current Hoyas have known only Lauinger Library as the main library on the Hilltop’s campus, two other buildings preceded Lau, which was completed in 1970.
FRIDAY, FEBRUARY 1, 2019 In the Paul F. Betz Reading Room, anyone can request materials for viewing and research from Mondays to Fridays 9 a.m. to 5 p.m. Faculty can also bring students to the Barbara Ellis Jones (CAS ’74) Inquiry Classroom for a handson and in-depth experience with the help of curators. The BFCSC’s curators are also always open to cooperating with students in their research and facilitate their work by helping them parse through the collection. Despite these available resources and the effort to inform the campus community about the BFCSC, students feel that their access is limited, according to Kitra Katz (COL ’20), a student employee for access services at Lau. “I have been to Special Collections, but only actually got to go when I was assigned a project for class. It’s only open during business hours during the week — when students are in class. I think it doesn’t get used by students because of this reason; it just isn’t accessible,” Katz wrote in an email to The Hoya. “And if we do find the time, we might not be able to find the item in advance we want to look at.” Even students who are aware of those resources like the reading room may still find using the resources difficult. Another frustration for Katz is that students must go with specific requests, and can’t browse through the collection. “And you can’t look at an item without explicitly requesting it. I’ve attempted to look through the Special Collections catalog, but I wish it was more user friendly,” Katz wrote.
THE HOYA “They have some amazing materials, but in practice undergrads can’t get our hands on them.” While students yearn for access to the collection’s captivating archives, there are also other areas of Lau that offer a peak at more religiously oriented history of the Hilltop.
WOODSTOCK THEOLOGICAL LIBRARY
To know the establishment of Woodstock is to know Georgetown’s Jesuit roots. During the late 18th century, the Jesuits were persecuted by the papacy, and many traveled to the United States to establish Jesuit provinces there. Notable among them was Fr. John Carroll, S.J., who founded Georgetown upon his arrival. In their travels, the Jesuits brought with them many manuscripts and old texts from Europe for Jesuit-in-training research. In 1869, the Woodstock library was founded at Woodstock College outside Baltimore. The library became a hub for theological texts and a compendium of religious knowledge. After a brief stint in New York from 1969 to 1974, Woodstock was moved to Georgetown in 1974 and has remained on the Hilltop since. Today, Woodstock is recognized one of the oldest Catholic theological libraries in the United States, containing 190,000 circulating volumes and 700 periodical titles. Today, Georgetown students, faculty and theological scholars can use the library’s resources for his-
torical and theological research. The library includes material from the 11th through 19th centuries. Books printed before 1500 are called inked novels. Woodstock holds 25 — a particularly high number, according to Fr. Leon Hooper, S.J. These manuscripts are made of a kind of sheepskin called vellum and have particular conditions required to maintain and preserve them. “[We need] humidity control and temperature control, and that isn’t one of our strong suits. We’re fairly good at keeping stuff cold,” Hooper said. Woodstock also houses texts from other religions in its collection, perfectly epitomizing the Jesuit value of interreligious understanding. For example, the theological library houses a transcript of the Quran written in Arabic, as well as a Torah scroll written by a young scribe in the 19th century. Since many of these books are rare and extremely old, it is a complicated process for students to use them. While access to the texts is not too difficult, students require special permission, as well as gloves, to be able to touch them. Hooper insists, however, Woodstock is always open to all and willing to assist anyone who may need help. “Everything here is open to use for study and these are special collection, so we do insist that people use the stuff here in our own facilities,” Hooper said. The Georgetown library website is also a
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great resource, according to Hooper, though not all materials are available electronically. As manuscripts and books become accessible online, the need for a library space becomes compromised and challenged. “It’s a funny sort of thing though because there are two ways of getting at it, you know, coming in and looking at the material, and we publicize that. Or you can scan it and put it up on web. Once it is on the web, people don’t need to come in,” Hooper said. Given that all Georgetown students must take two theology courses, professors could potentially integrate Woodstock as an experience outside the classroom. Woodstock has many fascinating artifacts, significant documents and a rich history. Students do not have to be theology majors or minors to stop by; anyone with interest in archives, collections, art, humanities or sciences can find something interesting there. Despite Lau largely being seen as a study space by students, it is also an incredible compendium of knowledge that chronicles the university’s history and more. Whether students want to learn more about the story of the Jesuits or understand more about the chronology of the university’s presidents, spaces like Woodstock and the BFCSC offer the chance for a comprehensive Hoya education.
Hoya staff writer Faris Bseiso contributed reporting.
LEFT: ASHLEY CHEN/THE HOYA, RIGHT: FARIS BSEISO/THE HOYA
Hidden in the lower level of Lauinger Library, the Woodstock Theological Center contains some of the oldest religious texts from a variety of faiths. Serving as a research center for both Jesuits and Georgetown students, Woodstock provides access to texts about Christianity from its historical beginnings and beyond.
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FRIDAY, FEBRUARY 1, 2019
THE HOYA
MOVIE REVIEW
‘Serenity’ Disappoints Audiences but Actors Shine
Directed by: Steven Knight Starring: Matthew McConaughey, Anne Hathaway JAMES KIM
Hoya Staff Writer
Despite solid performances from Matthew McConaughey and Anne Hathaway, “Serenity” fails to meet its audience’s high expectations of a film with such bigname talent. “Serenity” offers its viewers implausible plot development, unnatural storyline twists and an easily predictable ending that creates an unsatisfying experience. Known as a director and screenwriter for the critically well-received “Locke” with Tom Hardy and the BBC’s “Peaky Blinders,” Steven Knight returns to U.S. theaters with his thriller “Serenity,” but without much to give. The movie starts by showing the life of Baker Dill, played by McConaughey, who is a fishing boat captain on the isolated Plymouth Island. His life becomes complicated when his ex-wife, Karen Zariakas, played by Hathaway, comes asking for Baker’s aid. She needs him to help her and her young teenage son, Patrick, played by Rafael Sayegh, escape from the domestic violence of her new husband. To get away, she asks
Baker to kill her husband, Frank Zariakas, played by Jason Clarke, on Baker’s boat. Both McConaughey and Hathaway, who previously starred together in the Oscar-winning film “Interstellar,” impress the audience with strong performances in “Serenity.” Viewers feel the charm and determination McConaughey exhibits as a captain through Baker. When Baker begins to realize that there is something strange taking place on Plymouth Island, though, McConaughey excellently portrays the conflicted and stunned emotions needed of Baker in that moment. As Baker’s ex-wife asking for his help, Hathaway exceptionally plays the role of a frightened woman desperately begging her ex-husband to save her and her son from the miserable abyss that they are dealing with. Hathaway was able to expertly craft her character through the small and low tone of her voice, her shaky and scared eyes and her facial expressions. Put together, McConaughey’s and Hathaway’s acting shows the entirety of their characters’ thoughts and emotions at ev-
ery moment. Aside from the individual performances by McConaughey and Hathaway, however, the film does not have a lot to offer. The overall plot of the film seemed inorganic in many aspects. For example, Karen suddenly deciding to find Baker and appear in front of him seemed too bizarre to be the natural beginning of the film’s central conflict. The addition of the fishing company representative Reid Miller, played by Jeremy Strong, seemed too out of line with the film, never proving enough to the audience that his existence was necessary to make the film progress smoothly. Moreover, Knight implements an important twist during the film to enrich the complex story of Baker’s journey. This twist, however, fails to actually develop or enhance the overall story of the film. It instead makes an already complicated and tedious plot even more confusing. When that twist comes in midway through the film, it significantly influences the whole structure and framework of the movie’s plot. Knight may have thought that incorporating such a plot-
line would dazzle his audiences, but it seemed to have just the opposite effect, making them tilt their heads in confusion even more. The poorly executed plot twist of “Serenity” also makes the ending so predictable that most viewers could likely foresee it long before the actual ending of the movie. Setting that twist midway through the film prepared the movie’s audience for only one specific conclusion. The inclusion of this twist then creates a rather significant negative effect on the audience’s expectations of the caliber of a film that boasts such a famous cast. Naturally, the ending greatly lowered any of the small instances of tension built up within the viewers by the weak plot, leaving an even weaker final impression on the audience. Overall, “Serenity” is a disappointing film with plenty of room for improvement. Though both McConaughey and Hathaway impress, the film’s unrealistic plot development, clunky twists and easily foreseeable ending will definitely leave its audience’s high expectations unfulfilled.
UNIVERSAL PICTURES
The thriller “Serenity” depicts the drama between a fisherman and his ex-wife. Overall, the film disappoints, but the experienced lead actors, Matthew McConaughey, left, and Anne Hathaway, right, put on great performances with impressive chemistry. Still, the convoluted and weak plot leaves viewers feeling decidedly underwhelmed.
FRIDAY, FEBRUARY 1, 2019
THE HOYA
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ALBUM REVIEW
MAGGIE ROGERS/FACEBOOK
While Maggie Rogers showcases impressive vocals on her debut album, the overall work falls short because of overproduction and lacking lyrics that do not quite capture the charm of the single that first gave her viral fame, “Alaska.” The single’s feature on the album is a moment of reprieve from otherwise heavily doctored tracks.
Maggie Rogers Soars Too Close to Sun in Debut Album HEARD IT IN A PAST LIFE
Maggie Rogers SARAH CAMMAROTA Hoya Staff Writer
Maggie Rogers of Easton, Md., is ready to establish herself in the music industry with her new album, “Heard It in a Past Life.” The album marks the artist’s first full-length album after she shot to viral fame in 2016. Rogers’ indie-darling voice is at the forefront of the record but is dragged down by uninspired beats and overproduction. The 24-year-old rocketed to viral stardom around three years ago with “Alaska,” a song she purportedly wrote in 15 minutes and played to Grammy-winning artist and producer Pharrell Williams after recording it at a master class with him. After a string of singles, Rogers followed up on this accidental celebrity status with “Heard It in a Past Life,” released on the industry giant Capitol Records. The album’s first track, “Give A Little,” is a generally good display of Rogers’ soulful voice but lacks in its lyricism. Rogers sings, “But if you give a little, get a little / Maybe we could get to know each other,” which is easy to write off as an abstract call to action when listening to the bouncy
chorus. On closer inspection, however, the lyrics border on a comical trope of emptyheaded pop, which is uncharacteristic of Rogers’ usually compelling songwriting. Fortunately for Rogers, her sliding vocals often distort the otherwise subpar lyrics of songs like “Give a Little.” On other songs such as “Retrograde,” though, Rogers digs deeper into a personal narrative and the consequently substantive lyrics seem to suit her strong vocals much better. Rogers shows off an impressive range reminiscent of Florence Welch as she croons, “Standing, staring straight ahead / Listening when Stevie says, / Mm, ‘Come out of the darkness.’” The song that brought Rogers to her initial fame, “Alaska,” which appears on the album, is a whimsical track that lacks the overproduced beats found on most of the record. Reminiscent of indie-pop contemporarys like Sylvan Esso, the track marries the subtleties of synthetic pop with folksy vocals and lyrics invoking the great outdoors. “I was walking through icy streams / That took my breath away / Moving slowly through westward water / Over glacial plains,” Rogers sings, painting a picture of an Alaskan landscape.
Many of the songs on the album follow the same formulaic approach as “Give a Little,” capitalizing on Rogers’ effervescent vocals and a jangly, percussive backing track. While these songs may not be structurally complex, they are quite good for what they are: power-pop bops. The midalbum tracks “Burning” and “Light On” both use series of progressing power chords to build the song around foot-tapping backbeats and easily palatable choruses. The track “Fallingwater” gained attention after Rogers’ rendition of the song in a haunting and dynamic performance on “Saturday Night Live” in November 2018. The track is perhaps the most stunning feature of Rogers’ voice and writing skills on the album, as she displays incredible vocal acrobatics that are reminiscent of, unsurprisingly, “falling water.” The power behind Rogers’ voice in the emotionally rousing track is particularly poignant given the song’s focus on the perils and challenges of being thrown into the world of musical fame. Rogers has previously pushed back on her serendipitous rise to fame, asserting that the fairy tale narrative of Pharrell stumbling onto “Alaska” was too dainty. There is nothing dainty
about “Fallingwater,” and Rogers seems to reclaim her narrative on this track in an album that might otherwise seem slightly remote or removed. Ultimately, while Rogers is obviously a talented musician just at the beginning of what will most likely be a successful career, she is hamstrung by the fact that she was rushed into a record deal and producing a hasty first album. Many of the songs share the impersonal, feel-good sensibility of a Sara Bareilles song plucked off of Hillary Clinton’s 2016 presidential campaign playlist. Despite that, much of the album still has personal substance. The album explores Rogers’ whirlwind experience vaulting from college student to bona fide star, and in this way the album shines. It is evident, however, that much of the homespun whimsy of “Alaska” was stifled in favor of pop-star power ballads and dancey synth-pop. That said, Rogers’ voice still shines throughout “Heard It in a Past Life.” As she explores the newfangled phenomenon of fame through soaring vocals and introspective lyrics, Rogers’ readiness to soar is unfortunately offset by the fact that her wings were clipped in this debut album.
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FRIDAY, FEBRUARY 1, 2019
THE HOYA
NOVEL IDEAS
Examining the Strange Case of Studying Abroad Kathryn Baker On Saturday, I sent an email blast to my friends and family detailing my first week abroad, showcasing photos of the St. Andrews beachfront. As I expected, few people responded, but those who did sent heartfelt messages offering their prayers and sharing excitement for my semester in Scotland. My friend Christina, however, sent me the following text messages: “Ok since when do you say grub” and, after an admittedly snippy reply from me, “I’m trying to push you to be your genuine self.” Christina and I moved the conversation forward, but I remained fixated on that single word: genuine. Coincidentally, I had just finished reading Robert Louis Stevenson’s 1886 cult classic “The Strange Case of Dr. Jekyll and Mr. Hyde” — a novel centered on appearances and the concept
of the true self. In the novel, Gabriel Utterson, a well-known lawyer, attempts to uncover Dr. Henry Jekyll’s relationship to a detestable, suspicious man named Edward Hyde. In a letter addressed to Utterson, Jekyll reveals that he concocted a potion to separate his evil self from his upright self, meaning that Hyde is not a different man, but a manifestation of the worst components of Jekyll’s being. Simply, Jekyll and Hyde are one and the same. While most discussions of the novel focus on its depiction of the demon within and its greater theme of the battle between good and evil, I am more intrigued by Stevenson’s conception of separate selves and Jekyll’s willingness to isolate certain facets of his personality. For Jekyll, his separation of self was a solution to the bothersome duality of man, a chance for his personas to act freely without restraint. In some ways, I can relate to Jekyll’s desire to segment himself. I sometimes think my study abroad experience would be easier if I could easily turn parts of my personality on and off. As I sat in the lecture hall for my first orientation lecture surrounded by hundreds of exchange students who somehow seemed to already know each other, I wished I could shun my shyer, nervous self. I wanted to unleash the
bubbly self-assuredness I often reserve for my closest friends. When I went out for drinks with fellow Hoyas, I wished I could dial up my spontaneity and coolness while subduing my insecurity. In neither of these scenarios did I want to completely eradicate components of my personhood. I like who I am. But I can’t deny that in new environments, the thought of playing up different personality traits or deviating from my norm is enticing. For the first time in my life, I am living in a foreign country — where hardly anyone knows me — for five months, and I am presented with the opportunity to reinvent my identity. I can pack my Georgetown self away with my luggage and keep it hidden until my plane touches down in Washington, D.C., on June 1. When Jekyll first transformed into Hyde, he told Utterson he felt “younger, lighter, happier in body,” yet he also knew himself to “be more wicked, tenfold more wicked.” His words predicted his demise. While Jekyll’s segmentation made him happy for a short time, eventually his darker side took over and he was unable to find his true self again. Although an extreme example, Jekyll’s quest to create two equally genuine versions of himself reminds me of the perils of
compartmentalizing who I am. The prospect of reinventing my image for a semester and letting my alter ego live my life is tempting, but I can’t turn my back on the person I’ve spent 21 years crafting. Of course, I’d be lying if I said I’m not making some changes. At Georgetown, I’m a notorious overachiever, busying myself with work for the newspaper, classes, a part-time job and the Campus Ministry. While at St. Andrews, I’m decidedly pumping the brakes. I plan to return to my roots by performing in a community orchestra, improving my physical health through daily runs and deepening my faith by seeking Christian fellowship. Jekyll was a genius, but he was always disgusted with a part of himself. Although there will still be days when I want to lock my awkward quirks away in a box, I like who I am and I want to present that person to the people I meet abroad. Always being genuine isn’t easy, but if my friends and family continue to recognize and love the girl sending them email blasts each week, I’ll know I’m succeeding. Kathryn Baker is a junior in the College. NOVEL IDEAS appears in print every other Friday.
AFTER HOURS
Bringing the Heat and Alligator to DC Ye Bin Won The moment you enter Thip Khao, you are greeted with the overpowering smell of sugar, soy sauce, Thai basil, fish sauce and lime. My face immediately splits into a grin — if my childhood in Singapore could be condensed into a fragrant blend, it would be something like this. Struggling to contain my excitement — I am trying to write some objective commentary on the restaurant’s food, after all — I am led to a cozy little nook by the window. Before studying the menu, I have a quick glance around Thip Khao. A clean, spacious restaurant complete with a bar, Thip Khao looks like any contemporary American restaurant. Upon closer inspection, however, the bamboo baskets of rice on every table — whose Laotian name the restaurant’s title pays homage to — and a small memorial of the founder’s mother suggest a different story. Born in Laos, chef Seng Luangrath became a young war refugee when she fled the
unrest in Laos during the Vietnam War. After entering a refugee camp in Thailand, Luangrath learned to cook as a means to sustain her family and camp neighbors. Cooking was a way for Luangrath to maintain ties with her Laotian heritage, memories and tastes, despite difficult times and bouts of homesickness. Chef Bobby Pradachith, Luangrath’s son and Thip Khao co-founder, was both confused and admiring of the fact that Luangrath’s appreciation for cooking followed her to the United States. Although Pradachith struggled to balance his Laotian heritage with that of his American identity, he decided to support his mother and her ambitions when she decided to open Thip Khao in 2014. A pioneer in bringing Lao cuisine to the forefront of the Washington, D.C.-MarylandVirginia culinary scene by creating first Lao restaurant in Washington, D.C., both the award-winning Thip Khao and its founders have found much success in educating the public on Lao cuisine, culture and the family’s inspiring history. After combing through the menu, I finally settle on tam muk houng — an unripe papaya salad with fermented shellfish, chili, tomato, eggplant lime, puffed rice and padaek, a type of thick Laotian fish sauce — to start. Next, I enjoy laab e’kae — meat salad made of minced alligator, green apple,
banana blossom, lemongrass, galangal, rau ram and cilantro tossed with lime juice and fish sauce — and piing, which is grilled chicken thigh. To wash it all down, I drink Thai iced tea. While I order the tea out of habit, I don’t realize how necessary it will be until the entrees arrive. The appetizer, a small assembly of cucumber and pungent chili sauce, does little to faze my Korean tongue, so when the mains arrive I dig in with little hesitation, expecting the mellow, gradual spiciness that most Asian-American restaurants present. Ouch. The heat becomes stingingly real with my second bite of the laab. Within minutes, I’m reaching for my tea and gulping it down, praying that the milk in it might help with the burning. While the laab e’kae is absolutely delicious — the alligator tastes almost like chicken — the galangal and lemongrass add a delicious crunch, and the lime juice blends the diverse flavors of the dish — I find my face becoming warm from the spice. However, I keep reaching for the addicting laab, while my left hand remains clutching the Thai milk tea for comfort. By the time the chicken piing arrives, I have blown my nose three times, coughed into my napkin more times than I could count and asked for another refill on my Thai tea. Hurriedly biting into the piing, the
sweet sauce and the tender chicken thigh meat melts away on my tongue and brings much-needed relief from the relentless spice attack. I soon chew away at the rest of my food, reaching a comfortable medium by alternating between the three dishes. As I look around Thip Khao before I leave, I can’t help but feel giddy at how packed the restaurant is at only 6 p.m. As someone who calls Southeast Asia home, it excites me that so many people in D.C. flock to Thip Khao and are willing to try foods outside of their regular repertoire. Thip Khao is changing the status quo — and doing it with remarkable success. This restaurant is not only a story of cultural rediscovery and pride, like so many immigrant-run restaurants, but also a pioneer in representing a cuisine that The Washington Post referred to as “rare here as a hero on ‘House of Cards.’” It is my humble hope that through increased representation of underrepresented Asian cuisines such as Hmong, Indonesian, Western-Chinese, Bengali and more, we can find greater appreciation for the diversity and potential that is the D.C. culinary community. Ye Bin Won is a freshman in the School of Foreign Service. AFTER HOURS appears in print every other Friday.
FRIDAY, FEBRUARY 1, 2019
THE HOYA
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ART REVIEW
GU Hosts Lecture on Crossroads of Arts, Activism KIERA GERAGHTY Hoya Staff Writer
Surrounded by the work of Glenn Ligon, a prominent artist addressing social justice issues, Jennifer DeVere Brody explored the intersection between activism and racial justice through art in a lecture called “Free Form: Art, Activism and Racial Justice” at Georgetown’s Maria & Alberto de la Cruz Art Gallery on Monday. Hosted by the departments of AfricanAmerican studies and performing arts, as well as in collaboration with the Institute for Racial Justice, the talk is the first lecture in the series “Racial Justice: Art(s) and Activism” that demonstrates how these fields have led to social change with two future lecture dates already publicized. Art, activism and racial justice are not disparate ideas but rather ones that connect to achieve substantive goals in society, according to Brody, who currently serves as a professor of theater and performance studies at Stanford University. “It’s not merely knowledge for the sake
of knowing, let alone art for art’s sake, but rather a step of knowledge in the service of justice,” Brody said. The lecture series addresses University President John J. DeGioia’s charge to the Institute for Racial Justice, a research and outreach organization, to address these interlocking subjects further, according to Brody. Brody described the goals of the 2016 charge, which includes supporting the African-American studies program, examining racial justice issues in the United States and providing sufficient resources to do so. “These are noble and necessary actions that have resulted already in tangible change within the university community,” Brody said. Brody’s lecture comprised three parts: artwork on sugar and its connection to slavery, the republication of one of James Baldwin’s artistic collaborations “Little Man, Little Man,” and the work of an activist group of LGBTQ people of color called People’s Kitchen Collective. Brody has published two books that address the topic of her lecture: “Impos-
sible Purities: Blackness, Femininity, and Victorian Culture” and “Punctuation: Art, Politics, and Play.” The amount of examples of activist art can be overwhelming even just considering the last 50 years, according to Brody. “My talk aligns itself with the profound hope at the heart of the charge; it is meant to sound a call to action, to contemporary redress, to respond to precarious citizens past and present, and to witness if not rectify racial justice,” Brody said. The arts are central to this goal of racial justice through activism, which makes a call to change traditional university structures so crucial for Brody. “Universities typically institutionalize a hierarchical division of labor between scholars and researchers or artists and practitioners,” Brody said. “The segregation of faculty and students as well as disciplines make art and those who perform it, think about and study art into a kind of false dichotomy that represses what is actually a critical intellectual component of any artistic work and the imaginative creative dimension of schol-
arship.” While Brody is the first speaker of this lecture series, artists will be following her lead. Brody believes that their inclusion is necessary to increase the level of the charge, rectifying the othering that has occurred. “This matters because part of the charge of the task force is to change the face of the university,” Brody said. “Such a shift I argue must not only be quantitative, but also, and perhaps most importantly, qualitative. We must not change the color but also the content of academic culture.” Brody called on the audience to understand the pertinence of racial justice, a goal of which she believes art is a vital facet. “I want to close now with the Rev. Dr. Martin Luther King Jr., who would have been 90 had he lived this year, who understood that the struggle for racial justice was not for negro rights alone,” Brody said. “The vision for peace and power, for achieving racial justice is global in both senses of the term, as well as urgent and possible.”
LEFT: MARIA & ALBERTO DE LA CRUZ ART GALLERY, RIGHT: KIERA GERAGHTY/THE HOYA
Jennifer DeVere Brody, a professor of theater and performance studies at Stanford University, was the inaugural speaker in a series in which she communicated how art has been used as a tool of activism to achieve racial justice. Brody stressed the importance of the talk within the context of Georgetown’s charge from 2016 to further address racial justice.
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FRIDAY, FEBRUARY 1, 2019
THE HOYA
What to Do in DC
MUSIC
NEW RELEASES
MADDIE FINN Hoya Staff Writer
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TIMOTHY MCNULTY Hoya Staff Writer
BLACK OUT: SILHOUETTES THEN AND NOW AT THE NATIONAL PORTRAIT GALLERY
After the end of the government shutdown, the Smithsonian museums are open again. Catch the National Portrait Gallery’s exhibit on silhouettes before it closes March 10. Silhouettes were an incredibly popular form of portraiture throughout history but are uncommon in traditional museums. Explore this historic art form and how contemporary artists update it to make modern and exciting social commentary. The exhibit is on view until March 10 for free.
JLO AND BAD BUNNY
SUFJAN STEVENS
VAMPIRE WEEKEND
J. COLE
VAMPIRE WEEKEND ‘HARMONY HALL’
J.COLE ‘MIDDLE CHILD’
In expectation of its upcoming album “Father of the Bride,” Vampire Weekend plans to drop two new songs each month until the album’s release this spring. “Harmony Hall” maintains the group’s traditional percussion while departing from the preppy aesthetic it has curated over its past releases.
“MIDDLE CHILD,” a new hip-hop song by American rapper J. Cole, analyzes how much he has accomplished and looks at the new generations trying to achieve success in rap now. With a trumpet-filled backing track, J. Cole gives a warning: “Money in your palm don’t make you real.”
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FLICKERING TREASURES AT THE NATIONAL BUILDING MUSEUM
If you have fond memories of going to movies, check out Flickering Treasures at the National Building Museum. Featuring pictures by Amy Davis and retrospectives by residents about Baltimore’s old and forgotten movie theaters, this exhibit is sure to induce nostalgia. The exhibit is open until Oct. 14 with student admission of $7 to the museum.
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TROYE SIVAN
FLORENCE + THE MACHINE ‘MODERATION’
LAUV & TROYE SIVAN ‘I’M SO TIRED’
Florence + The Machine’s newest single, “Moderation,” once again features Florence belting out triumphant, defiant vocals nearly effortlessly. With her voice layered on itself, she portrays herself more as a force of nature than just a singer.
Lauv & Troye Sivan are fed up with romance on “i’m so tired.” With a chorus that ends with “Just wanna go home,” the two singers use a traditional pop song framework and production only to sing of disappointment and loss rather than joy and love.
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NATIONAL BUILDING MUSEUM
COOKING IN THE ARCHIVES AT THE FOLGER SHAKESPEARE LIBRARY
If you have ever wondered what Shakespeare snacked on as he stayed up late to work on “Romeo and Juliet,” Marissa Nicosia has studied recipes from his era as well as other times in history and adapted them to fit a modern kitchen. Listen to her explain her methods and research at the Folger Theater. The event is Friday, Feb. 1, at 6 p.m. for free, although reservations are requested.
FLORENCE + THE MACHINE
SMITHSONIAN
FOLGER SHAKESPEARE LIBRARY
2019 REGIONAL JURIED EXHIBITION AT HILL CENTER
To see impressive works by up-and-coming artists, visit the Hill Center at the Old Naval Hospital for this year’s competition. A diverse group of 100 works were selected from a group of 600 entries to compete for the top prize. Visitors hoping to see them can view all the pieces until March 2 at the historic building near Eastern Market.
HILL CENTER
FRIDAY, FEBRUARY 1, 2019
CONCERT REVIEW
THE HOYA
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PERFORMANCE REVIEW
Pond Mesmerizes With Theatrical Dreamscape
HBO
Comedian Pete Holmes set a high bar with his previous HBO special, “Faces and Sounds.” While the new special lacks some of the insatiable humor and charm of the last one, “Dirty Clean” continues to impress with Holmes’ distinct goofy and lovable persona that breaks the mold of the traditional comedian.
‘Dirty Clean’ Showcases Holmes’ Captivating Energy KIERA GERAGHTY Hoya Staff Writer
The third season of comedian Pete Holmes’ HBO comedy “Crashing” premiered Sunday, Jan. 20. Those viewers unfamiliar with Holmes may want to watch some of his previous stand-up specials before delving into his series about the life of a still-aspiring comedian inspired by his own life. Holmes’ most recent HBO special, “Dirty Clean,” does not quite live up to his first special with the network, “Faces and Sounds,” but it continues to illuminate Holmes’ captivating, familiar persona: lovable, goofy and quick to laugh at himself. Filmed at the Aladdin Theater in Portland, Ore., “Dirty Clean” covers some of Holmes’ favorite topics from his family to the existence of the afterlife, punctuated by standard bits about traffic and the debate over dogs and cats. Holmes is arguably one of the most intellectually curious comedians working today. While he is known for his stand-up career, Holmes has been hosting a longform podcast called “You Made It Weird with Pete Holmes” since 2011, with an archive over 400 episodes deep. For every
installment, Holmes interviews someone, usually another comedian like close friend John Mulaney (COL ’04) or Kumail Nanjiani, about genuinely anything that comes up, in addition to standards like religion. While the show technically fulfills the interview format, it usually devolves into fascinating yet meandering conversations. Recurring topics on the podcast also show up in his new special. Seemingly totally enamored by and in awe of life, Holmes and his guest reveal their core beliefs, no matter how weird, at some point over the unedited two hours that Holmes has them on mic. This same energy finds its way onto Holmes’ new special. Frequent listeners of the podcast may find themselves suffering from too long of a look behind behind the curtain. Holmes often discusses the inner workings of his comedic philosophy, making viewers of his stand-up crippingly aware of the process and creating a slight inability to live in the moment of each joke. Maybe after listening to so many hours of Holmes in a conversational setting, it is an odd transition to watch his stand-up again. The perpetual self-awareness exhibited
on his podcast can lead to funny moments in his specials, like naming his first with HBO “Faces and Sounds,” which is how he describes his comedy or his acknowledgement of his large and overbearingly happy persona. “Dirty Clean,” though, seems to have less of the genuine quality found in his first special, with Holmes seeming a little less energetic and warm. Moreover, fans who watched Holmes’ “Faces and Sounds” would probably find themselves quoting the most memorable jokes, even if they can not possibly live up to his delivery. “Dirty Clean” offers fewer gems that stick with the viewers long after watching. While Holmes sticks to his trademark delivery that frequently employs funny voices and twisted expressions to complement anecdotes, the comedy hits just slightly less powerfully than in his previous special for HBO. Holmes’ persistent positivity, though, is always a refreshing departure from the mainstream comedy scene. He proudly declares himself pro-marriage, pro-baby, pro-traffic and pro-laughing whenever possible. Recently married and a new father — and happy about it — Holmes finds himself frequently going against the
grain of the traditional hard archetype of a comedian. Holmes would rather take a long, slow drive on a freeway listening to a podcast than give in to the high-speed anxiety of Waze. Despite his incomparable ability to find a positive spin on almost every topic, Holmes still maintains enough edge to seem like a full-fledged person. Some of his most interesting material comes from confronting people on their beliefs. Holmes is now more fascinated by religion and spirituality than a practitioner of it. In “Dirty Clean,” he gets his audience to show by a raise of hands their beliefs on the afterlife before boldly claiming that they are all right. Any answer is believable when the standard for ridiculousness is the existence of life in the first place. Even in his more standard material like his proposal, his new baby or even his dogs versus cats debate, Holmes finds an angle that feels distinctly him, showing his vulnerability and balancing the line between self-deprecation and ego. For fans of Pete Holmes, “Dirty Clean” offers more of the same Pete whom we love, even if the jokes do not quite meet the high bar of his previous special.
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FRIDAY, FEBRUARY 1, 2019
THE HOYA
CONCERT REVIEW
ANNIE GOTT/THE HOYA
Country singer Kacey Musgraves debuted her first album, “Same Trailer, Different Park,” in 2013 and has only gained popularity since. As demonstrated at her Jan. 24 show at The Anthem, Musgraves’ songs have incorporated more of a disco sound in recent years, which sets her apart from traditional country artists.
Musgraves Brings Vocals, Vibes to The Anthem ANNIE GOTT
Hoya Staff Writer
Kacey Musgraves had an extremely successful 2018 with the release of her critically acclaimed second album “Golden Hour,” and she has shown no sign of slowing down in 2019. Already a fixture on the country scene, Musgraves has undoubtedly expanded her audience with four Grammy nominations this year, including Album of the Year. Her sold-out Jan. 24 show at The Anthem is a testament to her ascendency. A collision of country, disco-flair, plenty of marijuana references and f-bombs, and a few “yes queens,” with a stellar voice to boot, Musgraves is hard to put in a box. However, her multifaceted image shows why she has such crossover appeal both in traditional country fans and the LGBTQ community. The Anthem show was seated, creating a more relaxed vibe among the people waiting for the show to start. At 8 p.m. on the dot, opener Natalie Prass appeared in a shiny metallic blue 1950s-style dress, with her color-coordinated band in cobalt suits to match. The Richmond, Va. native received a warm welcome from the crowd. Prass had a jazz-meets-vintage-pop vibe, and her band was excellent as it jammed
out during the instrumental interludes. The slinky beat and flowy sound of “The Fire” especially stood out. The presentation was less about her voice as the star and more about the whole band’s cohesive sound. She explained midway through the set that she was sick, but it was not readily apparent and her airy and soft vocals seemed intentional. The last song was not particularly outstanding, sounding similar to previous tracks and but lacking their crescendo. Nonetheless, Prass and her band did an excellent job giving the crowd something to enjoy from their seats. A little before 9:15 p.m., Musgraves and her band emerged on a white stage filled with white instruments against a red curtain, evocative of a ’50s televised musical performance. Musgraves dressed in a sparkly red mini dress and thigh-high black boots, and her band wore burgundy-brown suits and turtlenecks to match. The show began with fog lights, and Musgraves appeared backlit with a single spotlight on her playing the acoustic guitar with only some accompaniment for “Slow Burn,” the opener of “Golden Hour.” Her voice was clear and smooth, sounding just as it does in the recorded versions of her tracks. The full band came in on the second verse as the lights came up so the audience could see her face.
After encouraging the audience to get up once the song was over, she then went into “Wonder Woman,” a midtempo track from “Golden Hour” that got the audience bopping along. However, most of the songs Musgraves performed were not uptempo dance songs. This slow trend led to a different kind of concert experience, one where instead of songs being a beat to jump to, they could be calmly soaked in and appreciated for the quality of their musical arrangements and Musgraves’ pure vocals. Musgraves struggled with working the stage. She preferred to remain in front of the mic, often strumming her guitar or strolling calmly around stage. Some songs she sang on the raised platform where most of her band played, while others she played front and center. She did not work the sides of the stage as much as may have been expected, making her far away for some even in the first five rows. At times the stage seemed too big for Musgraves, even with all her bandmates on stage with her. But what Musgraves lacked in physical stage presence, she certainly made up for with her room-filling vocals, as well as the casual and funny way she spoke to the crowd. Her welcome speech was warm and inclusive, beginning with “Hello, D.C., what’s up? You guys f--kin’
sold this place out. That’s crazy,” which was received with big cheers. “Yes queens, yes kings,” she continued. “I see y’all, OK, y’all turned the f--k up, I see you in your sparkles and cowboy hats even though we’re in D.C. ... Are you guys ready to f-kin’ have a great time, ’cause it sounds like it,” which was again met with big whoops from the crowd. After thanking the crowd, Musgraves acknowledged and celebrated the diversity of the audience. “I just want you guys ultimately just to have a great time and be yourselves tonight. Lookin’ around it looks like there’s you know a ton of different kinds of people in here and … I just think it’s cool that we all have common ground, and we all deserve to be in here, and we all belong in here.” After more cheers and thanking the audience again, Musgraves moved into “Butterflies,” which she noted was the first song that she wrote when she met her husband. The song was accompanied by the reveal of a giant fan behind them reflecting the color of the lights for each song. The song featured beautiful harmonies to match the delicacy of the song, making it evident how far she could push her voice with ease. “Merry Go Round” was a standout of the night. The audience was captivated as Musgraves sang this more traditional
THE HOYA
FRIDAY, FEBRUARY 1, 2019 country song from her first album, “Same Trailer Different Park.” The darker red lighting and simple arrangement put all the focus on Musgraves, and the room was absorbed by the delicacy and nostalgia of the song and the purity of Musgraves’ vocals. The crowd knew the words when it came time for an a capella singalong; it was a truly special atmosphere to be a part of. After a little live interlude, Musgraves started “High Time” with a bang of a powerful, rising note. Not one to shy away from talking about her drug use, Musgraves stopped midsong to note that someone handed her a lit joint at a show in Philadelphia. Fittingly, she seemed more relaxed for this song. The highlight of the show was when the band came down and formed a semicircle around Musgraves to do more intimate versions of some songs. This transition started when everyone but Musgraves left the stage during “Mother,” a simple, almost interlude-length song on “Golden Hour,” which featured just a spotlight behind her on the platform. After a delicate, plucky outro from the band, it flowed into
“Oh What a World,” ready for her down front. This setup highlighted how stunning the arrangements of the songs were — not stripped-down, but rather done differently to accommodate a smaller setup. The whimsical tone of the song fit this more casual configuration, and it almost felt like Musgraves and her band were letting the audience watch a spontaneous folk jam session between friends. When they finished, the audience applauded and roared, and as she and the band took it in, the energy in the crowd built and the cheers got bigger and bigger. It was a sweet moment acknowledging the high level of musicianship at the concert. She introduced her band with little fun facts, calling them her “road family,” and the twangy “Family Is Family” from her first album logically following. After a sweet and encouraging speech about finding love, she added about it, “It can’t be stopped even if they f--kin’ try to. Laws come around and try to stop certain people from loving each other. It’s fine because all of that will always be trumped by the positivity and love that we really
all tend to have,” which elicited cheers from the audience. This led into “Love Is a Wild Thing,” which again benefitted from the circle to give it a more folk-like and spontaneous vibe. Then, during the bridge, the stage got dark and the band members returned to their original places, and when the song came back in with the full band, it was striking. Then came Musgraves’ fun and upbeat cover of Gloria Gaynor’s “I Will Survive,” playing into the disco part of her aesthetic. She proceeded to note that there were a “million” different kinds of people there, and that country music is not always the most inclusive, “and it’s cool to see that you guys are saying that you don’t f--kin’ care.” This made sense going into “Follow Your Arrow” from her first album, which is noted for its LGBTQ-friendly lines “Kiss lots of boys / Or kiss lots of girls / If that’s something you’re into” and “Love who you love.” The audience members cheered through their favorite parts of the chorus and sang along in a loud round of a capella. Musgraves ended the show with her
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most uptempo song of the night, “High Horse,” a country song with a disco kick. There were large inflatable balls that lit up thrown into the crowd to match the playful atmosphere of the song. Her guitarist fell on the ground at one point, and Musgraves lost the song a few times because she found it so funny, but it was very endearing. The show was a reminder that for all her glamour, Musgraves is not a country pop star; the music and musicianship come first. Her music is for relaxing and feeling good, and that was the same atmosphere for the show: warm, happy and calm, while still bringing a healthy dose of glitz and fun. While Musgraves left some physical stage presence to be desired, the superb caliber of her voice and music, as well as her candid and playful banter with the audience, made it clear why she has the broad appeal she does. Musgraves is a talent for the ages, and she is shaping her career on her own terms. With the Grammy Awards coming up, her “Slow Burn” will only keep heating up.
LEFT: KACEY MUSGRAVES/FACEBOOK, TOP RIGHT: ANNIE GOTT/THE HOYA, BOTTOM RIGHT: @HANNEYCOMBS/TWITTER
Kacey Musgraves, left, brought down the house Jan. 24 at The Anthem with songs both old and new. Though she did not work the stage as much as she could have, her impressive sound made up for it. The evening was an exciting celebration of diversity and inclusivity, atypical of most country concerts.
ILLUSTRATION BY: EMILY SHAMBAUGH/THE HOYA