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ILLUSTRATION BY: JASON OMORI AND JANIS PARK/THE HOYA
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FRIDAY, DECEMBER 6, 2019
THE HOYA
Dorm Decor Exhibits Emotional Connection, Aesthetic MICHELLE BROWN AND SARAH KEISLER Hoya Staff Writers
Sentimental photo walls, twinkling LED lights and bright tapestries give character and familiarity to the Georgetown University student’s small living space. The artistic and skillful presentation is no small feat considering most dorm rooms begin as 200-square-foot cells with cinder block walls and harsh fluorescent lighting. With a little bit of creativity and effort, though, students turn their cramped dorm rooms into cozy accommodations that reflect their aesthetic vision and provide emotional comfort.
INTERNET INSPIRATION
While the traditional interior design industry is shaped by the work of educated professionals, students are the tastemakers of dorm design. Students use each other as a resource for inspiration. Social media platforms like Pinterest and Instagram highlight and advertise individual pieces like shaggy pillows and crisp monochromatic bedspreads as well as entire bedroom ensembles. Instagram accounts like @dorm_decor, which has 10,400 followers, advertise elegant design options with the option to view
products through their posts. @dormify, with 214,000 followers, prides itself on its large inventory of home goods and decor of all kinds, with easily accessible links to its products. Pinterest holds significant appeal for millennials, 50% of whom use Pinterest on at least a monthly basis. Of that group, 47% purchase something they interact with on the site as more and more brands and global marketers dedicate attention to Pinterest advertising. Thousands of posts are dedicated to showcasing picture-perfect dorms on move-in day. While many posts flaunt thoughtful design taste, others give practical advice. A board by Studentrate Trends titled “[Dorm Room] Trends” has nearly 10,000 pins, providing viewers with “room ideas,” “hacks & tips” and “easy DIY” inspiration. Pinterest offers models of specific aesthetics and themes to be emulated, according to Francesca Burke (SFS ’22), who lives in Copley Hall. Her design style draws heavily on inspiration from Pinterest, with an abundance of fairy lights and tapestries. For Burke, creating a space that is well-lit is valuable not only aesthetically, but practically. “Decentralized lighting improves my mood and helps me study,” Burke said in
an interview with The Hoya. Cohesive, thematic designs that capture a specific interest are made accessible by Pinterest, allowing students to realize their aesthetic vision. Incorporating travel and international appreciation is a focus of interior design efforts for Max Levine (SFS ’22), who lives in Alumni Square. (Full disclosure: Levine previously served as a staff writer for The Hoya.) An antique-inspired world map hangs above his bed with classic gold and neutral hues, on which he has marked the places he has traveled to. Beside it is a carefully arranged collage of international postcards, some even written in German, Russian and Chinese. Pinterest is also a resource for students to get tips and tricks on working with such a difficult canvas like university dorms. Its wealth of hacks on saving space and minimizing clutter can be useful in optimizing these small spaces. Accomodating for space is another issue to be considered in decorating, according to Levine. “When I lived with my parents, I had too much going on, and I had to scale down,” Levine said in an interview with The Hoya. Combining practicality and design can be achieved with an eye for detail, according to Escadar Alemayehu (NHS ’22), who lives in Copley Hall. She even finds ways to spruce up her storage. “When I was at home, I found some decorative storage boxes at Home Goods
and decided to bring them over and use them as inspiration,” Alemayehu said. Still, some prefer to cultivate a distinct aesthetic rather than opting for a cohesive Pinterest-esque theme. Conglomerating diverse interests and specific references to beloved pieces of media and art is an approach to decor embodied by Margaret Neely’s (COL ’22) room in McCarthy Hall. On Neely’s wall, postcard-sized images of “The Simpsons,” ancient pottery, religious iconography and colorful 20thcentury advertisements all appear next to each other. Neely’s abundant postcards and tchotchkes reflect disparate interests in a chaotic and almost overwhelming way, yet they all come together in that they each hold value for Neely. “I would characterize my decorating style as eclectic, probably approaching the ‘I’m a hoarder please help me’ look,” Neely wrote in a message to The Hoya.
SENTIMENTAL SETUP
The choices students make for their decor does not only involve the realization of an aesthetic vision, but creating a home away from home is also a matter of representing emotional and personal elements to make a room look and feel good. Using wall and desk space to remind themselves of home gives students’ rooms a comforting ambience that brings liveliness to otherwise cold and sterile walls, according to Neely. She incorporates both the old and new in her photo
LEFT: MICHELLE BROWN/THE HOYA, RIGHT: COURTESY MAX LEVINE
Students use their dorm spaces to better reflect themselves, adding color and self-expression to the bare walls. By mixing ideas found on platforms like Instagram and Pinterest with their own personal aesthetics, they are able to morph their dorm rooms to be completely their own, like Max Levine’s (SFS ’22) space in Alumni Square, right.
FRIDAY, DECEMBER 6, 2019 wall, with printed snapshots of friends as well as years-old black and white photos of relatives. “I like having reminders of different people and places that I’ve held onto over the years,” Neely wrote. “So I think, at the end of the day, my style of decoration carries with it the intention of creating a personal space that is uniquely my own and full of reminders of things that bring me joy, so that I have this makeshift home just for me.” For some students, moving to school and condensing their belongings into whatever will fit into a dorm room means prioritizing the objects that reflect their values. Creating photo walls and hanging mementos and souvenirs keep amusing times with family and friends at the forefront of their memory, according to Levine. Across the top of Levine’s bedroom wall hang glossy group photos, strung up with dainty miniature clothespins. “As I’ve gotten older, the things that matter to me are less material things but more the people that matter to me, so my items are more sentimental. I like to see the people I love when I get up in the morning,” Levine said. Photos of those near and dear — or often, far away and dear — are not the only memories some students like to incorporate into their decor choices. Baubles from time well spent on campus make for pleasing ornaments and desk adornments, according to Ashley Chen (MSB ’22). She lives in Ida Ryan and Isaac Hawkins Halls, which students must apply to live in. Residents of the hall frequently engage in community events intended to encourage self-reflection and build stronger community bonds, beginning with an orientation to their unique living experience. “The activity for the Jes Res orientation retreat was actually planting succulents & decorating pots, so you’ll find succulents in all [Jesuit Residence] rooms,” Chen wrote in a message to The Hoya.
THE HOYA
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tranquil environment by keeping her furnishings simple, clean and bright white, with plenty of open space. “My design style: minimalistic, open, bright [for a] stress free environment,” Chen wrote. Despite their small size, dorm rooms can also be transformed into spaces for uplifting social activity and liveliness, as proven by Alemayehu. She sought to create a warm and cozy ambience. To create a more homelike space conducive to social interaction, she and her roommate constructed a makeshift living room with floor pillows and a shag rug in one corner and hung string lights. “When we were designing we were thinking movie nights and study sessions, just a fun warm vibe where people could come in and talk. We like to leave the big overhead light off and just turn on our string lights! Just a warm and inviting room,” Alemayehu wrote in an email to The Hoya. Students design their living spaces with consideration for how their surroundings make them feel comfortable and shape their mental states. In this way, the environment students create has much more than just aesthetic value, according to Neely. “Decorating a dorm isn’t just about curating a space, it’s the opportunity to tailor a space to your specific needs and interests,” Neely wrote. “It’s a valuable way to bring stability and a sense of permanence to your life in college.”
EMOTIONAL IMPLICATIONS
Within the four walls of a standard dorm room, students experience everything from late nights studying to relaxing with friends. Some students consider how their decor contributes to their mood and how they might craft a haven amid the tumult of college social and academic life. Representing positivity with physical surroundings aids in acclimation to living away from family, according to Neely. “Moving to Georgetown for college was the first time I really had to live away from my family. I think creating a space that reminds me of the people I cherish, as well as my other personal interests (film, The Simpsons, etc.) has been a grounding and calming experience amidst the chaos of college life,” Neely wrote. Chen employs a minimalist approach because physical clutter reinforces a mental kind of disorganization. She makes a conscious effort to cultivate a
ABOVE: COURTESY ASHLEY CHEN
Dorm spaces serve as students’ homes for nine months, so students use them to evoke specific emotions, either to remind them of home or to encourage positive feelings while studying, like Ashley Chen (MSB ’22) does in her dorm room in Ida Ryan and Isaac Hawkins Halls.
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THE HOYA
FRIDAY, DECEMBER 6, 2019
DANCE REVIEW
JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS
“Pepperland,” a dance showcase at The John F. Kennedy Center for the Performing Arts’ celebrating Beatles album “Sgt. Pepper’s Lonely Hearts Club Band,” does not dog itself with the nostalgic tropes that would seem to define the show. Instead, it puts on a maximalist performance that highlights the artistic style of the genre, all through the medium of evocative dance.
‘Pepperland’ Delights With Beatles Tribute Performance ETHAN KNECHT Hoya Staff Writer
Mark Morris’s “Pepperland” at the John F. Kennedy Center for the Performing Arts is no exercise in mid 20th-century nostalgia, despite the fact that the show is a tribute to The Beatles’ 1967 album “Sgt. Pepper’s Lonely Hearts Club Band.” Delightfully provocative and often laugh-out-loud hilarious, the Mark Morris Dance Group’s latest stop in Washington, D.C., provided a charming evening for both audience members with a longstanding appreciation of performative dance and new, younger viewers in its departure from traditional classical ballet. Morris clearly intended to make the audience laugh from the start, as dancers strutted into famous poses of 1960s celebrities. For example, as the vocalist drawled into his microphone, “Ladies and gentlemen, presenting Marilyn Monroe,” a bearded dancer popped into the blonde actress’s famous white dress pose. Later announcements of “Shirley Temple,” “Oscar Wilde” and “a statue from John Lennon’s house” aroused similar cackles from the audience. Subsequent moments of hip thrusting, Hercules-esqe arm flexing and jazzercise provided deliciously provocative moments that went against traditional dance routines. The dances were dynamic and skill-
fully tailored to the tracks that backed them. Since the show celebrates the more than 50 years since “Sgt. Pepper” was released, the score included arrangements of some of the tracks on the album in addition to six original compositions intended to mimic the style of “Sgt. Pepper.” In one instance, a short combination of goose-stepping kicks, wiggling hips and literal bunny hops was replayed over and over again to a dressed-down rendition of “When I’m Sixty-Four” as dancers filed on and off the stage trying to keep in time with one another. To heighten the comedy, the piece snowballed until all but one of the performers were clapping in time with the music on the side of the stage to force the lone dancer to keep up with the beat of the music. The comedic acting and dancing combined with the cheery tunes of “When I’m Sixty-Four” made for an experience that was captivating, both visually and auditorily. The inclusion of “Penny Lane,” though not on the original album, was a welcome addition. Dancers acted out ridiculous scenes including lifting one dancer, clad in a lime-green suit, into the air as he pretended to drive a car, and another in which a dancer pretended to be a barber giving a shave. Such moments surprised the audience by re-interpreting mundane activities with humorous and
provocative artistry. Dances set to “Within You Without You” and “With A Little Help From My Friends,” as well as shorter snippets of music inspired by chords or rhythms from the album, provided creative moments for dance but ultimately ended up blandly repetitive and less inspired than the rest of the show, which was more structured in its storytelling. The creative choreography was brought to life by the talent of the dancers. Balancing the technical and athletic nature of choreography with the obvious silliness of the show is no easy task, but the cast proved they were up to the challenge. Ballet-inspired movements, like the off-kilter cabriole, were uniform and precise as the dancers jumped diagonally in the air and clapped their legs together. Men and women lifted one another in split leaps reminiscent of grand jetés back and forth across the stage with the pointed feet and rotations of a prima ballerina. Modern technique got its due with flawless off-balance turns and stylized walks around the stage. Straight faces seamlessly melting into smiles highlighted the dancers’ acting capacity. The clearly professional technique of the performers elevated the show from kitschy comedy to a visually striking show of artistry. Despite its cleverness, “Pepperland” is not a perfect show. The reinterpre-
tation of the album featuring a single, and often flat, baritone vocalist and theremin did not come close to giving Paul McCartney and Lennon their due. Frequently too quiet for even the moderately-sized Eisenhower Theater, the live performance of iconic songs like “Penny Lane” or “When I’m Sixty-Four” did not match the energy of the dancers. The lighting also seemed lackluster; a bland pattern of sterile white lights seemed incompatible with this performance at a famed concert hall. The set design was not enough to offset the blandness of the overhead lights. Tinfoillike mountains that rose to the knee and a scrim that was backlit with a rainbow of colors were the only objects that occupied the set. Ultimately, tension between an embrace of the strange and maximalist style of The Beatles’ album, best represented by the flamingo-pink suits and chessboard checkered pants, and the more conservative set and lighting choices did not resolve in the evening’s favor. Despite its imperfections, “Pepperland” is an exciting addition to the dance canon. The unconventional show offers a welcome departure from dances strictly Russian, cold and en pointe. Humor not typically featured in the professional dance world combined with exquisite technique made the evening a must-see for dance fans everywhere.
FRIDAY, DECEMBER 6, 2019
THE HOYA
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MOVIE REVIEW
‘Frozen 2’ Enchants With Empowering Music, Characters Directed by: Jennifer Lee, Chris Buck Starring: Idina Menzel, Kristen Bell, Josh Gad HALEY RESNICK Staff Writer
The widespread acclaim of “Frozen” in 2013, which won Oscars for Best Animated Film and Best Original Song, left the sequel with big shoes to fill. While the success of the first film contributed to the sequel’s achievement of the biggest global opening at the box office for an animated film, comedic undertones, breathtaking visuals and powerful vocals from all the cast members prove that “Frozen 2” lives up to the reputation of the first movie. “Frozen 2” picks up in the delightful kingdom of Arendelle, where Elsa (Idina Menzel) is still queen but the characters are not together. Anna (Kristen Bell) and Kristoff’s (Jonathan Groff) relationship has moved on to thoughts of marriage, and Olaf (Josh Gad) remains the same lovable and quirky character from the first film. However, Elsa hears noises and senses danger coming to her kingdom, and this looming threat brings the original “Frozen” gang back together. The group journeys to an autumn forest, which departs from the winter theme that
dominated “Frozen.” Every scene in the fictional forest is filled with awe-inspiring graphics featuring vibrant colors and meticulous details of shedding leaves. The intricacy of these graphics cultivates an enchanting world wherein every action seems motivated by beauty. Beyond its captivating illustrations, the movie is strengthened by plenty of humorous one-liners, mainly provided by Olaf. Even at more serious moments in the plot, Olaf’s excellent timing with his witty quips makes the whole audience laugh. This humor adds a much needed level of levity to the movie and facilitates a more enjoyable and engaging experience for moviegoers. As with any Disney musical, the songs in “Frozen 2” are stellar. Written by the songwriters from the first film, Kristen Anderson-Lopez and Bobby Lopez, songs like “Into the Unknown,” sung by Elsa, show skill both in vocal capacity and composition, even if they are not as catchy as “Do You Want to Build a Snowman” or “Let it Go,” huge hits from the first film. “The Next Right Thing,” sung by Anna, reveals a new side of the young heroine as she exposes her grief and confusion. She la-
ments her feelings of darkness and emptiness, which contrast with the perky, hopeful, younger character she was in “Frozen.” The “Frozen 2” soundtrack has placed more emphasis on accurately reflecting human experience, rather than depicting a cheery and idealized animated world, which provides a more relatable and down-to-earth film for audiences. One of the most notable songs in the movie is “Lost in the Woods,” which is sung by Kristoff. Unlike most Disney movies, the well-crafted ballad finds a man, rather than a woman, professing his love and emotion through song. Likewise, although Kristoff does not play a major role in this movie, he leans into his emotions. Willing to be vulnerable and openly express his love, he tells Anna his “love isn’t fragile.” Kristoff’s sensitivity in the film renders him a commendable male role model, which is especially valuable in a movie primarily geared toward child audiences. “Frozen 2” successfully provides educational moral lessons in addition to its inclusion of heartfelt emotions. The storyline, written by the same writers as the original film, Chris Buck and Jennifer Lee, reminds
audiences that its characters are not completely defined by their pasts and that personal growth and development should be welcomed. Anna recognizes her own power, Elsa becomes less self-restrained, Olaf gains wisdom and Kristoff learns the extent of his love. While the characters in the film initially seem to fear what their futures hold, by the end it is clear that they are willing to embrace change, a refreshing lesson about the value of self-reflection and understanding how to view oneself in an ever-changing world. As this evolution is showcased throughout the movie, the movie’s focus on life lessons fashions a more dynamic experience than simply pretty graphics or catchy songs. “Frozen 2” encapsulates all the elements “Frozen” got right, with beautiful animations, an engaging storyline, amusing songs and loving characters that the audience is sure to root for. The classic animated Disney movie still holds its appeal regardless of one’s age — “Frozen 2” will bring a smile to audience members of all ages and rekindle a childhood spirit of love and fun in everyone.
WALT DISNEY ANIMATION STUDIOS
Returning to direct “Frozen 2,” Jennifer Lee and Chris Buck lead a noteworthy effort, creating a laudable sequel to the worldwide phenomenon that caused a craze in children and adults alike. The film boasts much of the same empowering characters, intriguing storylines and meaningful music that will be a delight for all viewers, regardless of age.
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FRIDAY, DECEMBER 6, 2019
THE HOYA
RECORD REWIND
Constant Change Defines The Neighbourhood’s History Ellie Yang Five years after the release of its first album, “I Love You.,” The Neighbourhood made public its one-year plan of releasing a spate of songs, the focus of which is its fourth fulllength album, “Hard to Imagine The Neighbourhood Ever Changing.” Having become a fan of the band after it released its third album, it was exciting for me to open the iTunes page of the band and find a new list of songs on its already wonderful page. The American alternative pop band began its career with a “wow” moment. “Sweater Weather,” the lead single of its debut studio album, quickly reached No. 1 on the Billboard Alternative Songs chart in June 2013, followed by Imagine Dragon’s “Radioactive,” and achieved 11 nonconsecutive weeks at the top of the chart. This promising start, however, did not bring the band lasting attention or superstardom. Throughout its career, many promising signs of imminent superstardom have only
left the band stranded on the edge of creating another cultural moment, never quite hitting the mark and reaching the peak of its stardom again. The Neighbourhood has accumulated millions of views and streams on YouTube and Spotify and it has also brought Travis Scott, The 1975 and Kevin Abstract on its previous American tours. Despite this, it remains a relative unknown in the mainstream music world. One explanation is that the band fails to project a consistent identity. The five members, who formed the band in 2011 as altrock group, stood out because of their incorporation of hip-hop and electronic elements. Since, they have experimented with no shortage of musical styles, from rhythm and blues and cloud rap to indie, just to name a few. All these attempts end up being just that — attempts to rekindle the magic of “Sweater Weather” from years ago. No particular style has become a signature or come to define what The Neighborhood does as a band. A constant search for identity might be a way for the five members to avoid facing who they are or to hide who they may be. The opening song on the first album, “How,” expresses pessimism with questions like “Why would you tell me that it’s fate / When they laughed at me, every day, in my face?” The repetition of “When I wake up I’m afraid, somebody else might take my place,”
on “Afraid” extends this sense of hopelessness established early on. On the following song, “Everybody’s Watching Me (Uh Oh),” Rutherford startlingly asks “Where can I go? / Everybody’s watching me” as insecurity and fear resurface. Appearing in such frequency, the selfdoubt the band experienced in 2013 needs to be considered seriously. In a September 2018 interview with Coup de Main Magazine, drums and percussion player Brandon Fried jokingly said that “The best [songs] you vomit out.” This observation, combined with how the band only started getting more into the songwriting process for its newest album, might suggest that the members wrote their hits too quickly in their early career. The members received attention before they were ready and before they had a chance to first deal with their issues. Five years later, it appears the band is still on the long path of discovering itself. The incredible length of its latest album at 21 songs, with a breadth of styles, attests to this. Last year’s blistering Pitchfork review, which Rutherford recalled reading, implied that the band’s music is yet a work in progress. Nevertheless, The Neighbourhood has at least found more maturity. With each member in their mid-20s, the band members believe their past works have only been steps in their growth. They define themselves and
their music as ever-changing, and their projects have all been a learning experience toward greater heights. Eight years of being in the music industry also taught the band how to adapt to changing landscapes. A theme the members kept bringing up in interviews is the short attention span of internet users. The Neighbourhood is, therefore, picking up its pace to produce more songs and try to have a social media moment. The variety of songs on “Hard to Imagine” might have been partly intended to draw in a wider range of listeners to expand its relatively small fan base. It is refreshing to see that, in the face of many negative reviews, the band chooses to walk forward on its path, this time with greater confidence. “I got nothing to prove / Nothing to you” and “I’ma still make millions when this music fade / Reinvent every time the music change,” lyrics from “Livin’ In a Dream,” are both testaments to the band’s increasing positivity. The Neighbourhood consistently grows and changes as it experiments with new genres and projects. Whether The Neighbourhood’s attempts at creativity will advance its popularity and fanbase, though, remains to be seen. ELLIE YANG is a junior in the College. This is the final installment of RECORD REWIND.
BECOMING U
Social Media Should Not Determine Happiness Nicole Marion It’s ever-present and thought consuming. It’s the itchy mosquito bite on your leg you need to scratch but know you shouldn’t. It’s the fear of missing out, and it is ingrained into our psyches. Everyone experiences FOMO at some point in their busy college lives. When we face choices of how we want to spend our time, there’s always the doubt that we are sacrificing something that will never present itself again. This fear is rarely based in reality. Most of the time, the thing that we have “sacrificed” and spent our time fretting over is not as spectacular as we initially hyped it up to be in our head. Despite this truth, we always end up wishing and wondering if we should be somewhere else. It isn’t hard to speculate where FOMO comes from or why it’s so prominent among people of our age rela-
tive to members of older generations. Social media has become an essential and daily part of our lives that is often taken for granted. The statistics about how social media is harmful and the rants and judgements of older generations about how we are addicted to our phones can frequently go in one ear and out the other. While technology and social media undoubtedly have downsides, they also have given our generation immense advantages in the way we interact with each other and our surroundings. It is useless and unwarranted to completely berate this generation’s use of technology and social media. However, it is important that, while we recognize all the good, we also confront the bad. Instead of condemning our generation’s use of technology, we should be devoting attention to the necessity of personal reflection, self-awareness and intentional living when it comes to social media. If we don’t pause and think about how we’re engaging with social media and each other, then the negative side of social media will continue to have an adverse effect on us. I hadn’t really considered any of these issues until I deleted all my posts on Instagram and said I was starting fresh. I told
myself I wanted to create a profile that was a better representation of who I am currently. In reality, I wanted to create a profile that was a better representation of what I wanted others to think of me. I told myself that I was only going to post when I was genuinely happy and had something purely positive to share with the world. In reality, I only ever posted when I had something to prove or when I wanted others to believe that I was happy. This kind of denial always led me to be wary of social media: Instead of taking advantage of the benefits social media could offer, my mindset had created a competitive and harsh environment in which I woulwd no doubt always lose. This mindset is only one aspect of the complicated and messy culture of social media I and many others can feel the effects of. Social media encourages us to not only present a perfect version of ourselves, but to judge others with the same kind of unfairness that we experience. In essence, we must strive for the approval of others when we should be looking inward for validation. Similarly, our constant connectedness has great benefits and great costs. On one hand, we’re able to reach parts of the globe we have never seen and learn new
and unique perspectives. On the other hand, we feel the pressure to always be reaching out to others, leaving us feeling uncomfortable when we face any sort of disconnectedness. We might not realize it explicitly, but social media plays a huge role in our mental health. Especially as college students, it can simultaneously connect us with people around us while also isolating us. Deleting social media can make us feel freer and less obligated to keep up with every little thing going on around us, but, in a culture in which a lot of our communication is done through our phones, it can lead to many unintended consequences. Instead of choosing one extreme or another, we should be reflecting more on the role we want technology to play in our personal lives instead of simply accepting it as the status quo. Taking a break from social media or limiting screen time may be hard at first, but it will most likely help you feel more present and happier being where you are instead of worrying about where you’re not. NICOLE MARION is a sophomore in the College. This is the final installment of BECOMING U.
FRIDAY, DECEMBER 6 , 2019
THE HOYA
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ALBUM REVIEW
British Artist Arlo Parks Pens Dynamic Lyrics on Debut EP
‘SOPHIE’
Arlo Parks YU YOUNG LEE Hoya Staff Writer
In her new EP “Sophie,” 19-year-old singer Arlo Parks quietly bares her soul to anyone who will listen. With simple, groovy beats and to-the-point, biting lyrics, Parks meditates on a youth defined by deeply personal experiences of love that are both turbulent and perplexing. Hailing from Hammersmith, London, the self-described poet is a relative newcomer to the music scene. Describing herself as just a girl who spent her schooldays “listening to too much emo music” and “crushing on some girl in her Spanish class,” Parks possesses a flair for vividly depicting complex emotions through transparent snapshots of her teenage angst. “Sophie” is a compilation of her previous work, showcasing four of her singles released earlier this year, with the additional end track “Paperbacks.” Parks’ bedroom pop aesthetic effortlessly infuses rhythm and blues elements for a unique blend of genres, as seen in both “Paperbacks” and “Second Guessing.” Serving as the opening track, “Second Guessing” exudes a dreamy, atmospheric sound that is further mellowed by Parks’
milky voice that creates the environment of the entire track listing. Although the created ambience seems unobtrusive, the words sung are anything but as she tells of her emotional “burning.” “Bleeding out a velvet couch,” Parks sings, “They’re kinda worried about me.” Direct and unrelenting statements comprise her confessional musings on “Second Guessing.” She reflects on both her past and present, admitting, “Yeah, in my stupid way, I wish I was five / without the cigarettes and quiet goodbyes.” The juxtaposition of the groovy ambience and bitter words only serves to highlight the cynicism that colors her views of the world. Despite her youthful 19 years, she explains her tiredness with life has become numbing, singing, “I know you hate it when I say I wanna die.” Throughout the song and even the entire collection, Parks appears nonchalant and worn out in her straight-forward delivery of troubling words, but rather than making the song lackluster, it works in her favor and leaves a haunting impression. Once she has drawn us in, “George” and “Sophie” continue to develop her narrative. The two songs parallel each other in their subject matter as they de-
scribe two different kinds of people the singer has encountered in her life. There are the “Georges” who “leave a little blood in every room,” the boys that stay on her mind. Parks declares a bit scornfully, “This place still stinks of you, I swear.” Both “George” and “Sophie,” which deal with the spiteful girls in her life, incorporate components of funk, working within her defined minimalistic sound. The undecorated quality of Parks’ lo-fi-esque music heightens its intimacy — not only are her songs catchy and groovy, they are outpourings she shares unabashedly. In “Angel’s Song,” the artist exhibits a deeper emotional conflict. Here, Parks is at her most vulnerable, her affection for the “you” who wants to “jump off the roof” laid bare. Her voice is a balm, softly whispering an honest, “Well, f--k ‘em, ‘cause you turned out so kind and so cute.” Parks’ honesty is so plain her words are potent and piercing because of the simplicity of her language. Although the EP presents a cohesive narrative across its tracks, they all express a very similar and specific mood, and the unchanging musical tones are sometimes too monotonous; the first and last tracks could be played back-to-back and sound like one
song. Rather than feeling like a dynamic collection of songs that offers diverse emotions, the majority of the songs feel like retellings of the same story and sound. Nevertheless, Parks draws on her London roots masterfully in addition to her endearing accent, highlighting her individuality. On the first track, while “on the way back from therapy,” an image of her “eating Parma Violets” grounds the song in the unique disillusionment and instability of growing up in the city. In “Sophie,” when she sings “I talk to girls that bring their switchblades to the function,” she refers to the deadly epidemic of knife stabbings that can and do happen virtually anywhere in London. Parks highlights her role as a British artist and shares images of British life that are frequently ignored in mass media. Parks kicks off her “Super Sad Generation” Tour next year, performing at intimate venues in Great Britain and Europe. Although at times too unvarying in its message and sound, Arlo Parks’ EP boldly sends messages of love and hate that appeal to those who, as she does, think deeply and sensitively about relationships. “Sophie” consoles, offering both an outlet for and a space of reflection for the hopelessly hopeful and hurt.
ARLO PARKS/FACEBOOK
Nineteen-year-old British songstress Arlo Parks showcases her full musical range on “Sophie.” The debut EP from the spoken word artist, “Sophie” blends Parks’ ability to pen powerful verses on love lost with her ear for groovy beats to create a soundscape worthy of praise, even if some of the songs do suffer from similar instrumentals.
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FRIDAY, DECEMBER 6, 2019
THE HOYA
What To Do in DC
MUSIC
NEW RELEASES
MEGAN WEE
Hoya Staff Writer
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KIRA POMERANZ Hoya Staff Writer
GEORGETOWN GLOW DEC. 6, 2019, TO JAN. 5, 2020, FREE
This year is the sixth edition of Georgetown GLOW, which will feature 11 light-up public art installations all across the Georgetown neighborhood. The exhibition debuts on Friday and some of its works like “Cloud Swing” are interactive, inviting anyone to sit on the swing, serve as part of the art itself. One can embark on a walking tour of Georgetown to see the pieces. These beautiful works of art create a fun and free distraction from the stress of finals.
@NORAHJONES/TWITTER
NORAH JONES FT. TARRIONA ‘TANK’ BALL ‘PLAYING ALONG’ Despite being known for mellow ballads carried by her powerful voice, Norah Jones has branched out by working with jazz legend Robert Glasper. This time she brings more jazz production into her own music, with soft drums and a piano beat reminiscent of producer J Dilla. She collaborates with another strong female singer, Tarriona “Tank” Ball, the lead singer of 2019 Grammy nominee for Best New Artist, Tank and the Bangas. The song is a detour from Jones’ earlier work, but it presents a welcome change.
@RINASAWAYAMA/TWITTER
RINA SAWAYAMA ‘STFU!’
“STFU!” is a punchy, angry, pop banger from Japanes-British singer Rina Sawayama. The song serves as the lead single to Sawayama’s upcoming, full-length album “RS1.” Sawayama takes a more nu-metal and rock approach to this single, reflecting anger against microaggressions and antiJapanese slurs Sawayama has dealt with her whole life. Although the song is specific to Sawayama’s experiences, she dedicates this piece to all individuals of color and minorities who have had to put up with similar struggles.
@LOLOZOUAI/TWITTER
LOLO ZOUAÏ ‘MONEY DIAMONDS ROSES’ Lolo Zouaï’s newest single is a love letter crafted for her fans. Her debut album “High Highs to Low Lows,” released earlier this year, was a stellar, alternative R&B project with French, American and Algerian influences from her upbringing, and it launched her into the public eye. Before “High Highs to Low Lows,” Zouaï worked behind the scenes as a songwriter, even earning a Grammy for her work on H.E.R.’s debut album. “Money Diamonds Roses” lets Zouaï’s growing fanbase know that their love for her and her work is more valuable than money, diamonds or all of the roses.
@SOPHARELA/TWITTER
SOCCER MOMMY ‘YELLOW IS THE COLOR OF HER EYES’
Nashville singer-songwriter Sophie Allison, known by her stage name Soccer Mommy creates the ultimate music to cry to. Soccer Mommy is back at it again with her newest single about feelings of isolation while touring — particularly how much she misses her mother. The instrumentation is more complex than her earlier work, and the contrast between the intricate distorted guitar melody and the simple lyrics shows the nuance in her music.
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DOWNTOWN HOLIDAY MARKET OPEN DAILY 12 TO 8 P.M. FROM NOV. 22 TO DEC. 23
Right outside of the National Portrait Gallery, the Downtown Holiday Market, open throughout December, is the perfect place to stroll and peruse the stalls. More than 150 regional artisans will be setting up stalls where you can find a gift for your special loved ones. The Downtown Holiday Market will also feature live musical entertainment in musical artists across a wide range of genres, from country to jazz to rock.
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GEORGETOWN GLOW DC
DOWNTOWN HOLIDAY MARKET
A MERRY MURDER MYSTERY
In this improv show, the audience will take center stage, as they are the main detectives in the case to figure out the criminal in the story. Featuring 98 Rock morning show co-host Justin Schlegel and Washington D.C. improv favorites Rob Maher, Joe Robinson, Katie Robinson, Tommy Sinbazo and Erik Woodworth, the DC Improv Comedy Club has put on this yearly Christmas show since 2016. The show will be a guaranteed good laugh for all through improvisational comedy, but audience members will have to be 18 and up to see the show.
4 The Smithsonian’s National Zoo has transformed itself into a gleaming winter wonderland with more than 500,000 LED lights adorning it for its annual ZooLights exhibition. The event will feature two laser shows set to music, animal lanterns and a European-style outdoor market, among a wide variety of other things. The plethora of activities available will make ZooLights fun for families and sightseers alike.
DEC. 19 AT 6:30 P.M., $22
THE DC IMPROV COMEDY CLUB/FACEBOOK
ZOOLIGHTS
NOV. 29 TO JAN. 1 (EXCEPT DEC. 24, 25 AND 31), FREE
SMITHSONIAN’S NATIONAL ZOO
FRIDAY, DECEMBER 6, 2019
THE HOYA
B9
TV REVIEW
‘Modern Love’ Lacks Nuance, Depth From Original Column Directed by: John Carney, Sharon Horgan, Tom Hall, Emmy Rossum Starring: Anne Hathaway, Tina Fey, John Slattery MEGAN WEE
Hoya Staff Writer
A week after its premiere Oct. 18, “Modern Love” was given the green light for its second season. The eightepisode anthology series, which is available on Amazon Prime video, draws upon The New York Times column it is based on for its storylines. However, it does not always translate the charm and emotional depth that drew readers to the column. The show, like any other anthology series, has its peaks and valleys of episodes — for “Modern Love,” its peaks are high but far too few in between. “Modern Love” began as a weekly column in The New York Times over 15 years ago that covered romance in a new and modernized world. The column has been wildly popular, spawning a book, a podcast and this Amazon anthology story for its realistic and grounded interpretations of real-world love. All episodes are distinct entities, each featuring different expressions and types of love. For example, “Rallying to Keep the Game Alive” explores a middle-aged couple, played by Tina Fey and
John Slattery, navigating the muddied waters of marriage in the midst of impending divorce. In “Hers was a World of One,” Andrew Scott and Brandon Kyle Goodman are a gay couple whose safe and secure lives are subverted by their decision to adopt a homeless woman’s unborn child. Despite the diverse types of love the show presents, the episodes lack compelling characters themselves. It is difficult to have vested interest in the relationship between the lovers on a date gone horribly wrong in “At the Hospital, an Interlude of Clarity,” as their lack of chemistry begs the question of why they even agreed to a date in the first place. The same goes for “When Cupid is a Prying Journalist,” as the love between Dev Patel and Caitlin McGee’s characters is so unspecial that the reunion between the long lost lovers does not feel like a payoff at all. The connections feel forced to fit a narrative and not genuine or relatable, which should be the defining message of the show. However, there are some exceptions to this abundance of flat and uninspiring characters and storylines. Namely, Anne Hathaway’s performance as a
woman struggling to form relationships while living with bipolar disorder is powerful and nuanced, as she spoke to the real person who inspired the role. What the show actually manages to consistently do well is depict New York City in an ultra-romantic light, as characters come and go out of their beautiful, pristine apartments with huge bay windows and tasteful pieces of art littered around the space. They venture the town to go for candlelit dinners, coffee in hipster cafes and come back to their building that definitely comes with an awning. The image of New York City comes to a height in “Take Me as I Am, Whoever I Am,” with a complete television title sequence in the middle of the episode to describe the mania of Hathaway’s bipolar character. The retro, faux cheeriness of the sequence as Hathaway struts Washington Square Park in a forest green coat and bright blue eyeshadow showcases the series’ self-awareness. By painting a dreamy, idyllic version of Manhattan that only exists as a backdrop to the show, it knowingly provides an unrealistic setting to fall in love. In this way, the commonality of the city setting between the episodes is itself a motif that love can and must be found in New York, something seen in every episode.
Although the motif of New York love remains present, the show also removes more realistic aspects of the articles in favor of idealized beauty. The creative license taken to deviate from the source material does not work to the show’s advantage at all, as the stories become less compelling and less representative of the real, modern love the column was meant to showcase. This disservice to the source material appears most clearly in “So He Looked Like Dad. It Was Just Dinner, Right?,” directed by Emmy Rossum. The episode ignores valuable context from the original article by failing to mention how the original author took control of an abusive relationship, framing the narrative instead around passivity. The episode loses the nuance and lesson from the original article and dilutes its message to highlight the idealistic nature of the entire series. However, the beauty of an anthology series is that the audience can pick and choose what they want to get out of it. For the television adaption of the “Modern Love” stories, though there are dull moments, bland characters and uninspiring storylines, the episodes that have even the smallest glimmer of a meaningful exploration of modern love are worthy of a watch.
AMAZON STUDIOS
Amazon’s “Modern Love” series presents an anthology of episodes based on the celebrated New York Times column of the same name. While some of the episodes do succeed in the maintaining the original message of the column, most of the episodes lack the charm and self-reflection from the writers in favor of idealized characters and settings.
B10
FRIDAY, DECEMBER 6, 2019
THE HOYA
CONCERT REVIEW
ALLAN NAVARRO/THE HOYA
BROCKHAMPTON has become one of the most in-demand and powerful live performing groups in hip-hop, and its concert Nov. 25 at The Anthem showcased all of its best qualities. By pairing several distinct voices and musical styles together, the group succeeds in alternating between boisterous energy and laid-back self-reflection.
BROCKHAMPTON Showcases Range at The Anthem ALLAN NAVARRO Hoya Staff Writer
Pop-rap group BROCKHAMPTON captivated The Anthem on Nov. 25 as part of their Heaven Belongs to You Tour and in promotion of their 2019 album “GINGER.” The group’s live performance struck an excellent balance between hard-hitting and melancholic across a wide stylistic range of tracks, with each performance more powerful than the last. BROCKHAMPTON has fashioned itself into one of the bigger names in pop-rap. The group, with the performing members Kevin Abstract, Merlyn Wood, Matt Champion, JOBA, Dom McLennon, and bearface, is known for its ability to craft both heart-wrenching melodies and energized bars. After the high-profile departure of Ameer Vann in 2018 for allegations of sexual misconduct, however, the group has struggled to rediscover its artistic voice, a prevailing storyline in their live performances since his departure. BROCKHAMPTON followed two openers, American experimental duo 100 gecs and British grime rapper slowthai. 100 gecs performed in costume after erecting a tree in the middle of the stage that they later removed and the bright-
est moment of slowthai’s lackluster set came when playing his feature on Tyler, The Creator’s “WHAT’S GOOD.” The show opened on a somewhat odd note, as a prerecorded version of Rihanna’s “Stay” began playing as Abstract strolled onto the stage, also covering portions of the song. While strange, this choice provided an apt opening for Abstract, who has regularly shared his adoration of some of today’s pop stars, including Rihanna and Harry Styles. At the tail end of the song, each member came out onstage to raucous cheers. Opening with a compilation of “ST. PERCY” and “IF YOU PRAY RIGHT,” each of which featured particularly impassioned performances from McLennon, the group took a moment to bask in the rise of their stardom. Each member stood at the back of the stage for several moments, looking at each other and smiling, showcasing the powerful chemistry that makes the group so successful. The high energy of this moment did not let up as subsequent tracks “BOY BYE” and “I BEEN BORN AGAIN” made it seem as if the group was taking a victory lap. The stage design also contributed to this sensation, as all that could be seen onstage was one small screen for lights and three overhead cross-shaped structures, which provided oscillating
vibrant light effects. The group knew that stage theatrics were not necessary to captivate the audience; their boisterous and fun-loving performance styles would speak for itself. The show then took a more introspective turn, as the group pivoted to playing arguably its defining song, “BLEACH.” The track, which features every member of the group, was a watershed moment for them, both in their careers and in the concert. Pensive lyrics about inner conflict and struggle showcased the duality of the group’s discography while also adding a necessary transition in the show, from high-energy to self-reflective. After, the group also played now classic songs off the “SATURATION” trilogy which catapulted BROCKHAMPTON to fame in 2017, including “GOLD,” “GUMMY” and “QUEER,” a couch was brought on stage for the members to sit on and perform. A couch served as a common motif in both their marketing and performance, as it became a de facto logo for the group throughout their rise to fame. This reintegration of the couch, something which was absent from their “iridescence” shows last year as the group attempted to distance itself from their past with Vann, shows a return to the roots of the
group as a relatable and quirky collection of voices that stands out from the current hip-hop landscape. The concert ended on a high note as the 90-minute performance was wrapped up by “BOOGIE” and “NO HALO.” The former of these tracks is the opener for “SATURATION III” and is the highest energy track they have ever recorded. It almost seemed like the group was testing the stamina and willpower of the exhausted crowd by performing such a heavily involved song. Finally, “NO HALO” was the perfect closer to the wonderful concert; an in-between of the introspection and high energy that defines the group’s discography, which also featured stellar performances from Champion and bearface. BROCKHAMPTON recognizes its star power and attempts to create an intimate environment and performance in spite of it, something that is more reflective of the 500-person venues that defined their early career than of the 3,000-person venues they play today. By maintaining a level of energy which it wants matched by the audience and fashioning a spirited performance even deep in the middle of a grueling tour, BROCKHAMPTON succeeded in creating an engaging concert experience that few pop-rap acts can match today.
FRIDAY, DECEMBER 6, 2019
THE HOYA
B11
MOVIE REVIEW
‘Parasite’ Artfully Depicts Class Struggle in South Korea
Directed by: Bong Joon-Ho Starring: Song Kang-Ho, Lee Sun-Kyun, Cho Yeo-Jeong CYNTHIA SUN Hoya Staff Writer
With “Parasite,” Korean director Bong Joon-Ho delivers a modern masterpiece that is one of the best films of the year. It is a testament to Bong’s craft that “Parasite” won the prestigious Palme d’Or Award — the highest honor at the Cannes film festival — this year and still maintains its nearly perfect score on Rotten Tomatoes today. “Parasite” follows the intertwined stories of two South Korean families: the Kims, a poor but crafty family, and the Parks, an incredibly affluent one. At the beginning of the film, viewers are introduced to the former’s daily routine of trying to get by another day, as they scramble to find the closest source of Wi-Fi in their messy and disorganized basement apartment. Between being underemployed and assembling pizza boxes for a delivery company, the Kims have to resort to different lengths to make up for what they lack in wealth. Their luck changes when their son, Kim Ki-woo (Choi Woo-Shik) is asked by his friend to take over his position as an English tutor for the teenage daughter of the Parks. On the first day of his job, he, along with the
viewers, are introduced to the world of the wealthy through the Parks’ spacious house and luxurious lifestyle — a stark contrast to the Kims’ socioeconomic status. Upon realizing how he has been presented with a once-in-a-lifetime opportunity to elevate his whole family, Ki-woo begins to pull each member of the family into direct employment by the Park family by sabotaging the housekeeper and driver who were there to begin with. The first addition is his younger sister, Kim Ki-jeong (Park So-Dam), who becomes the son’s new art tutor assisting in “art therapy.” Their father, Kim Ki-taek (Song Kang-Ho), then follows her before taking over as the new chauffeur. Rounding out the ensemble is their mother, Kim Choong-sook (Hyae Jin Chang), who replaces the family’s new housekeeper. The montage of just how the Kims are able to fully deceive and infiltrate the Parks is truly a work of pure genius, and the comedic value of it all cannot be understated. One aspect that remains consistent throughout the movie is the family’s ability to work as a unit, as they pretend to not only be high-in-demand workers, but also unrelated individuals who only know each other through “connections” and “professional recommendations.”
Yet, one of the most striking aspects of “Parasite” is Bong’s ability to seamlessly create an overwhelming sense of tension within comedic situations. There is a distinct moment that acts as the film’s catalyst, which pushes it from an entertaining and humorous con act to a terrifying and suspenseful life-or-death situation. Though the tonal shift is stark and could have been off-putting if mishandled, Bong masterfully handles the pace of the story and makes it work seamlessly. The strongest element of “Parasite,” however, is the underlying theme of the class struggle in South Korea, which is applicable across the world. From the razor-sharp dialogue to the contrast in the two family’s homes and lifestyles, each element deliberately serves to further the film’s commentary on social class. The enormous gap between the wealthy and the poor is brought to a head in an incredibly unpredictable way, and the fallout from the conflict is one that stays with the viewers far past the end of the movie. As the underdogs of the situation and society as a whole, the members of the Kim family are humanized in a way that leaves the audience sympathetic to their struggles. Because of this, despite the seemingly ter-
rible way that the Kims go about their thoroughly planned scam, one cannot help but root for a successful outcome. Though the film embodies a sort of controlled chaos, the family’s relationship and demonstration of realistic and relatable emotions help anchor the story in a meaningful way. “Parasite” is genre defying and raises the standard of what a black comedy film can be. The complex task of incorporating and balancing comedy, horror and biting social commentary is handled so masterfully that there is something for everyone. Every moment of the film plays a deliberate role in furthering the story, and by the end, the stakes are higher than ever. Along with the whip-sharp script that grounds the chaotic and delightfully bizarre plot, the film’s cinematography is incredibly aesthetically appealing — a fascinating contrast to the darker themes of the film. Undoubtedly, the hype and critical acclaim surrounding “Parasite” is fully warranted as a truly revolutionary movie. The film’s brilliant mix of social commentary with comedy, dark reality and tension throughout crafts the movie-going experience of the year and something no one should miss.
BARUNSON E&A
By brilliantly blending humor, horror and thrills, “Parasite” is arguably the most captivating moviegoing experience of the year, with necessary social commentary on the destructive power of wealth within societies and seemingly constant twists with strong performances from Park So-Dam, left, Choi Woo-Shik, left, and Cho Yeo-Jeong, right, among others.
ILLUSTRATION BY: ELOISE OWEN AND JANIS PARK/THE HOYA