the guide F R I DAY, O C T O B E R 5 , 2 0 1 8
sounds of the underground ILLUSTRATION BY: ANNA KOOKEN/THE HOYA
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THE HOYA
the guide
friDAY, october 5, 2018
Tune In: Hoya Musicians Who Rock the Hilltop Gabrielle Irwin Hoya Staff Writer
The desk lamp on the floor cast a warm, hazy light over the unmanned keyboard, drum set and guitar. The crowd had squeezed into this Henle living room and was buzzing with anticipation for what was to come. Conversations of artists and past gigs faded away as the New North Collective took to the stage. Roaring cheers followed the introductions of each of its members: Sean Berman (SFS ’19) on saxophone, Julian Tamers (COL ’21) on guitar, Tommy Batterman (COL ’22) on drums and James Khoury (SFS ’20) on keys. Berman established the first song’s melody on his sax, and when the whole band joined in, the lively jazz track electrified the room. When Tamers strummed the melody of “Redbone” by Childish Gambino and Batterman hit the beats in unison, the audience went wild. The crowd swayed, vibing with the familiar song, re-energized by its jazz rendition. The New North Collective intertwines jazz with funk and soul to create engaging, rhythmic tracks. The audience that night was engaged, wide-eyed and acutely aware of the vibrations of live music. The sense of unity was undeniable: Every person there appeared completely lost in the moment. While bands like the New North Collective can rock apartments, their access to formal venues is significantly more limited. Because music is not well-supported at Georgetown University, student musicians have to make due with limited space and struggle to promote their work. Nowhere To Go The university has no shortage of performing areas: McNair Auditorium in New North seats up to 140 people, while the Davis Performing Arts Center is home to the Gonda Theatre and Devine Studio Theatre. Every visiting prospective Georgetown student has seen the a capella performances and enticing speeches at the imposing Gaston Hall in Healy Hall. Yet musicians are not always able to get access to these places.
The only musical events held in Gaston Hall this semester are the D.C. A Capella festival, the Georgetown University Orchestra and Concert Choir, and the Messiah Sing-Along, according to Georgetown’s event calendar. Although the GU Orchestra and Concert Choir and the Messiah Sing-Along feature instrumentalists in the orchestra, most of the performers are faculty or adult professionals, not Georgetown students. Tamers, the guitar player for the New North Collective, feels that there are not many opportunities for instrumentalists to play at these venues. “I feel like music, or at least instrumental music, is not that recognized. It would be great if instrumental music could perform at Gaston, too,” Tamers said. Even “Guild of Bands,” a class that students can sign up for, requires students to have a band to audition with before they can gain access to recording resources. “How do you even practice with a band when you have to audition to use the practice space?” Tamers said. Overcoming Difficulties As a result of limited space, the student-led music scene at Georgetown is quite literally underground. “The basement of New North is where all of the music happens, and if you go down, there are exposed pipes and it seems very forgotten, but that’s where I practice with my friends every day,” Tamers said. While practice space can be found below Georgetown’s surface, creatives have carved out performing space on the top floors of the Leavey Center. Uncommon Grounds -- the Leavey Center location of Students of Georgetown, Inc., more commonly known as the Corp, in the university bookstore -- seeks to provide another location for students who are not necessarily well-established musicians to express themselves by hosting weekly open mic nights. Drew Bell (COL ’19), the director of Uncommon Grounds, said the cafe hopes to foster creative expression inclusive to all students. “With open mic nights, Uncommon Grounds
hopes to provide a space for students to express their creativity and provide opportunities for all students, regardless of major, to perform,” Bell said in an interview with The Hoya. Even if students do not have time to pick up an instrument or produce songs, anyone who loves music can go see band gigs. University-sponsored productions can be found on the Georgetown Events Page or the Department of Performing Arts website, while less official events are often posted in the Facebook group Georgetown University Collective of Creative Individuals, or GUCCI. Politics Preceding Music Besides the lack of space to practice, musicians on campus often struggle to build an audience. Bell believes students can find music outlets on campus but must set aside time and put forth an active effort to do so. “I think that the problem lies in getting students to know about these types of events,” Bell said. “With Georgetown’s culture of being involved in as many things as possible, it can be difficult to find the time to attend musical events on campus.” Even when people can carve out a spot in their schedule, those who wish to get involved or promote the various bands at Georgetown have no idea where to look. “It’s tricky to get involved in music on this campus,” Tamers said. Stone Morales (MSB ’21), a songwriter and guitarist, agreed with Tamers that finding the right people and resources is tough. Morales explained that being a good musician requires dedication and can be difficult to balance with academics. “Producing music is incredibly time-intensive, and if you are involved in every step of the process, you’re going to have to make major trade-offs with other activities,” Morales said. Student groups such as the Georgetown University Student Association, the Georgetown Institute of Politics and Public Service and the Georgetown International Relations Club are much more popular and prevalent on campus than musical groups.
Rachelle Bonja (SFS ’20), a singer for the Jazz Ensemble at Georgetown, which features undergraduate and graduate student musicians, agreed music is not well-supported at Georgetown. “The student body, or just the university, focuses much more on governmental groups and stuff like that. Which is cool, but at the same time there should be something for everyone,” Bonja said in an interview with The Hoya. Although music is not prominent on Georgetown’s campus, those who do play are dedicated and prolific. Tamers alone is in several music groups, including the New North Collective, a duo with Lana Nauphal (COL, ‘19) and the Jazz Ensemble. “I should formalize this whole funk jazz thing because it’s really kind of hype music, and it’s actually really accessible,” Tamers said. “Part of the problem with jazz is that it can be niche and pretentious.” By reinventing popular contemporary songs like “Redbone,” groups — including the New North Collective — aim to break this stigma and make jazz music more exciting to young listeners. However, Tamers’ favorite event might be Cabaret, a 42-year-old tradition where the best Georgetown musicians perform rock and popular songs. “[Cabaret is] a concert of about 25 absolute bangers,” Tamers said. “It’s the most exciting, hype thing you’ll go to. Last year we sold out U Street Music Hall, and the whole thing is completely student run.” Cabaret is just one example of Georgetown’s dynamic underground music circle. Despite limited venue space and lack of awareness, musicians like the members of the New North Collective and Stone Morales are working to bring student music to the forefront of campus life. “The music scene is present, beautiful and vibrant,” Bonja said. “I wish I had found it earlier.”
For students who want to know more, follow GUCCI on Facebook, follow @thenewnorthcollective and @jstonemorales on Instagram, follow Nymphéa on Soundcloud, and look out for events like Cabaret, the Friday Music Series and the Spring Concert.
LEFT: AMBER GILLETTE/THE HOYA; RIGHT: CAROLINE PAPPAS/THE HOYA
Julian Tamers (COL ’21), left, plays guitar in Cabaret, the Georgetown University Jazz Ensemble and the New North Collective, while also collaborating with other musicians on campus. His specialty is jazz and rock, but he also experiments with soul and funk. Uncommon Grounds’ open mic nights, right, incorporate music into Hoyas’ lives in a casual and inviting way.
friday, october 5, 2018
the guide
THE HOYA
B3
TOP LEFT: CAROLINE PAPPAS/THE HOYA, TOP RIGHT: AMBER GILLETTE/THE HOYA, BOTTOM LEFT: RYAN BAE/THE HOYA, BOTTOM RIGHT: GUCCI
Open mic nights at Uncommon Grounds, top left, give singers opportunities to showcase their abilities outside of a cappella groups like the Chimes, bottom left. Band guitarists like Julian Tamers (COL ’21) of the New North Collective, top right, perform at gigs like the one Georgetown University Collective of Creative Individuals hosted, bottom right.
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THE HOYA
the guide
friDAY, october 5, 2018
Director Rupert Everett IlluminatesWilde’s Final Days Paulina Enck
age. Most young people are quite selfish. You learn not to be selfish through experience.
Rupert Everett chronicles the dramatic last days of radical 19th-century English writer Oscar Wilde in his new film, “The Happy Prince,” slated for release Friday, Oct. 5. Written and directed by Everett, who also stars as Wilde himself, “The Happy Prince” does not shy away from Wilde’s romantic and tragic relationships with Lord Alfred “Bosie” Douglas and Robbie Ross. The lust and absinthe-filled parties of Wilde’s final days are intertwined with his struggles to escape physical and mental incarceration, as he was persecuted for his sexual orientation. The Hoya sat down with Everett to discuss his nuanced portrayal of the legendary free thinker in “The Happy Prince.”
There were several scenes depicting this excessive absinthe-flowing party life. Some scenes look happy and fun, while others look almost bleak and empty. How did you balance that exploration and was there any underlying message in the ups and downs of the harder-partying style?
Hoya Staff Writer
You’ve been working on “The Happy Prince” for a very long time. What inspired you to make this movie about this period in Oscar’s life?
I was partly inspired because the other movies take you up to this point and stop, and secondly, because I felt there was more to explain to people about Wilde. People enjoy Wilde but they don’t understand what society did to him. I thought the other films rather conveniently stop when it gets too awkward, but I thought now is the time to remind people, particularly coming to [Donald] Trump’s America, what society did to Wilde, not only in the punishment, but the apres punishment, which was a pretend liberty, but was in fact another kind of imprisonment, a more tortuous one in a way. Freedom was pretty depressing too, so that’s what inspired me to write about this period. Plus, for me, this idea about a rock star on the skids ending up as the last great vagabond of the 19th century is romantic and exciting and for me very important.
The way the film explored relationships was really fascinating, particularly the relationship between Oscar and Bosie. You really see how toxic it is but also why they keep going back to each other. Can you explain how you went about capturing that really complicated dynamic?
I didn’t want Bosie just to be a villain character, because he wasn’t for me. He’s a young boy, really, who wanted to have fun, and had been with someone who was very rich, and he’d exploited him, OK, but that’s not the end of the world. The relationship going wrong is just as much Oscar’s fault as his. If you put everything in the hands of someone who’s unbalanced, you have to take responsibility, and Oscar did that. So, I didn’t want him to be just horrible, and I wanted, when they met at the station, for us to get the impression that, for the first time in the film, they were having a laugh and they enjoy each other, and you can see, I hope, why they like being with each other. And then, really quickly, the relationship goes wrong, but it’s not altogether Bosie’s fault. It’s just he’s not capable at his young
Party style is always full of ups and downs. If you’ve been a party person or a clubber, as I certainly was, there’s ups and downs, life and death. I think, for example, in the film, obviously the juxtaposition of Oscar’s Christmas party and his family’s Christmas party is quite troubling in a way. On the one hand, it’s funny, but on the other hand, it’s not funny at all. On the other hand, it’s very sad.
Much of the film focuses of the characters’ relationships and complicated dynamics, and the chemistry between the cast is so effective. How did you, as a writer and a director, go about fostering the relationships between the characters? I once read a quote by Mae West saying, “You should always surround yourself on film with people who love you, because then, if you can’t act, they’re all looking lovingly at you, and then something rubs off.” So I thought, “I have to get friends involved and people who will really help me.” The thing is, they’re all so nice to me, and I think that rubs off on the film somehow. The care and attention they all took just to show up and be there, and play so effectively, and I think you get an amazing feeling of the camaraderie between Oscar and everybody thanks to all those actors. Even the small parts, they’re played by wonderful, overqualified actors from the UK. Even the old doctor, John Standing, is a very famous older actor in our country. Tom Wilkinson as the priest is amazing.
The relationships seem to be one of the driving forces of the film. Can you explain how you fleshed those out for the narrative?
I made a quick decision right at the beginning, because I wanted the relationship with Bosie to be kind of demystified and for the real relationship to come into focus, which, for me, is the relationship between Robbie Ross and Oscar Wilde. It was Robbie who actually introduced Oscar to homosexuality, who continued an affair with him all the way through on and off. Robbie was always the one Oscar would come to if he, you know, didn’t have another boyfriend, and they even restarted their affair when Oscar arrived in France, but Oscar really either couldn’t accept Robbie’s love, I don’t know what it was, or couldn’t accept love in general, maybe, until it was too late. So the real story of the film for me was always about a character who has love, which is a subject he talks about nonstop, but actually he can’t see it underneath, or he just walks past it, and it’s only realized for him at the very last minute when he’s dying. The only fruit of it is conversion to the Catholic faith, rather than a lifetime that could have been quite fun.
MAZE PICTURES
Rupert Everett’s timely “The Happy Prince” engages with the parts of Oscar Wilde’s life that often get ignored as they reveal the ways that society mistreated him as a result of his identity.
friday, OCTOBER 5, 2018
the guide
THE HOYA
B5
art review
‘DON’T MAKE ME OVER’ Mixes Ethereal and Traditional suna cha
Special to The Hoya
As cold rain drowned the streets outside with somber, gray tones, Jeffrey Gibson’s “DON’T MAKE ME OVER” infused Georgetown University’s newly built exhibition space with vibrant colors and sound. The Maria & Alberto de la Cruz Art Gallery, under construction since February 2018, made its debut this fall in the Edmund A. Walsh Building. Gibson, a Choctaw-Cherokee painter and sculptor based in New York City, inaugurated the annual exhibitions cycle with his new work that combines Native American tradition with modern aesthetics. On Sept. 27 at 6:30 p.m., the gallery hosted Gibson himself for the grand opening of his innovative three-part exhibition: installation, theatrical performance and painting. Becoming integrated into the exhibition space as the subject of the art himself, Gibson performed a 30-minute piece. As the reception noise died down and the lights dimmed, Gibson began his performance with ominous, incomprehensible humming. The translucent, rainbow-colored curtain installation hung from the ceiling, forming a rectangular space around the artist and allowing the audience to see only part of him. The lighting created distinct shadows that established the mysterious mood. All around the curtains, words in chunky black font repeated the phrases “don’t make me over,” “don’t pick at the things I do” and “accept me for what I am.” The artist’s outfit was another striking visual feature. He wore a suit carefully embellished from head to toe with conical and round bells used in Native American dances. Over the suit, he also wore a holographic gown that gave him a feather-like, ethereal quality and finished the appearance with a metallic crown around his head. Relying solely on his voice and movement, the artist sang parts of “Don’t Make Me Over,” a 1962 pop song by Dionne Warwick. Gibson’s suit would clink with his varied movements, while his flapping motions further accentuated its kinetic and auditory features. He also played a hand drum that added bellowing volume compared to his wavering voice. Although the garments were distinctive and engaging, the performance was not. The lyrical repetition of “don’t make me over” felt exhausting and overused, especially when the curtains overtly reflected this message. The artist only stepped out of this mantra to sing lyrics in a similar intonation: “somebody save me,” “Amazing Grace” and “Somewhere over the Rainbow.” The repetitive assemblage of pop cul-
ture influences made the work feel unoriginal and uninspiring. But perhaps Gibson’s painfully obvious trajectory has reason to be as blatant and redundant as it is: The personality of the artist shows that the exhibit may have complex implications about identity and reconciliation. Gibson incorporated his intersectional upbringing as queer and Native American into the performance. Having lived in Germany, England and South Korea, Gibson’s global experiences and complex identities also bleed into his work. An appropriate description of his personality, the exhibit wall description adds that Gibson would find himself “equally at home at a gay disco or an intertribal powwow.” Because pop music was his outlet for expression growing up, Gibson borrowed Warwick’s lyrics to encapsulate the theme of acceptance over assimilation. Gibson’s series of acrylic paintings on wood panel also reflects a modern, abstracted and asymmetrical interpretation of the diptych. Rather than being rooted in gay culture, these “queer paintings” represent the “other,” according to Gibson. In addition to queer theory,
“DON’T MAKE ME OVER” overlaps with postcolonial critiques about the historical oppression of Native Americans. Addressing his Native American and queer roots, Gibson transformed the exhibition space in a creative and interactive manner. Though the exhibit engages in multiple mediums — installation, performance and painting — that worked well together, the experience was overall monotonous and unrelieved. Gibson challenges boundaries of Native American art, and his previous works reveal his colorful expression eloquently woven together in detail. Viewers seeking the most rewarding experience should skip his performance and focus instead on Gibson’s visual works. Luckily, without even having to walk up four flights of stairs, students can easily access the gallery’s opening exhibit in Walsh to take a look at Gibson’s “DON’T MAKE ME OVER.”
The Maria & Alberto de la Cruz Art Gallery is open Wednesdays through Saturdays 10 a.m. to 6 p.m. and Sundays 1 p.m. to 5 p.m. It is located on 3535 Prospect Street NW, Washington, D.C. 20007, and admission is always free.
left: amber gillette/the hoya, top: maria & Alberto de la cruz art gallery, middle: ali enright/the hoya, bottom: maria & Alberto de la cruz art gallery
While the artist’s performance was underwhelming, students should take advantage of the opportunity to witness Gibson’s three-part exhibition, which engages boldly with multiple mediums that delve into what it means to be the “other.”
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THE HOYA
the guide
friDAY, october 5, 2018
DIRECTOR’S CUT
Feig Unveils a Glossy, Seductive Version of Noir Olivia Simon Director Paul Feig has put a feminine twist on gritty noir tropes in “A Simple Favor,” injecting the film with dark humor and sets that bend reality to bring the film’s two antiheroines to life. The film opens with Stephanie Ward, played by Anna Kendrick, livestreaming on her vlog, which she uses to offer tips and tricks to other mothers. However, Stephanie’s comfortable, suburban life is upended when she strikes up a complicated friendship with Emily Nelson, played by Blake Lively, who goes missing after asking Stephanie for a simple favor — to pick up her son after school. Emily is declared dead after her body turns up on the shore of a lake, which pushes Stephanie to fill the gap she has left behind. Stephanie kindles a relationship with Emily’s husband, moves into Em-
ily’s house and cares for Emily’s son as she cares for her own. Now, I know what you’re thinking: I just threw those last few plot points at you without much context or elaboration. Well, that’s sort of what the film does too. “A Simple Favor” grazes over the backstories of its main characters with a series of choppy flashbacks to detach their pasts from the present. Moments like these are used to prolong the suspense, detracting from the important ways these events have fundamentally shaped the characters. Obscuring these storylines works against the film’s larger goal — to encourage the audience to become invested in uncovering these characters’ personal mysteries. Despite this setback, some parts of the movie have standout potential. Feig manages to successfully navigate the play between truth and fiction: There were points in the film when I felt myself actively questioning if what was unfolding onscreen was real or merely a figment of a character’s imagination. This effect was induced by the combination of the way the film is shot, with long, symmetrical takes that make certain scenes feel dreamlike, and the way it is set — relying on minimalistic, modernized
sets and excessive color coordination to create an eerily staged atmosphere, reminiscent of a film like Frank Oz’s “Stepford Wives.” This surreal atmosphere is bolstered by Stephanie’s vlogs. In one scene, she informs her viewers of Emily’s disappearance, actively drawing her audience into the “reality” she is experiencing, so they can relate to her at a more profound level. Her platform is a clever ploy. Contrary to the purpose of a vlog, which is often used to convey transparency, the details that underly the film’s plot are mostly hidden, only uncovered toward the end. “A Simple Favor” touches on a new subgenre. Feig bridges the disillusioned, dark, sometimes gritty nature of a noir film with the flashy delicacy of strained femininity. He incorporates common noir tropes, like the femme fatale, convoluted storylines ,and themes of corruption and misguidance. But these qualities are infused with witty, unconventional banter; dark humor and the guise of two well-put-together women who slowly come undone as the film takes form. This fusion of noir elements with a refreshing embodiment of the antihero-
ine — through not one, but two complex women — means that “A Simple Favor” does not live within any pre-existing cinematic framework. It is difficult not to become absorbed in Stephanie and Emily’s relationship as the two characters blossom independently onscreen. As the plot thickens and the characters’ facades fall back to reveal their maniacal schemes, Stephanie attempts to shape herself to Emily’s mold, while still clinging to the safety of her organized, domestic life. But in contrast to the main characters’ difficulties with mediating their internal struggles, the film strikes a sleek balance between what is dark and what is chic. Blending notes of Hitchcock with twisting narratives, “A Simple Favor” taps lightly into a new subgenre: a glossy, seductive version of noir. Despite the weakness of the flashback scenes, the film offers up a delightful plate of twists and turns — from the casting choices to Feig’s decision to take his humor down a dark, winding road. In “A Simple Favor,” Feig has unveiled something beautiful, polished and dark. Olivia Simon is a senior in the School of Foreign Service. Director’s cut appears in print every other Friday.
Miss-Takes
Manic Pixie Dream Girl Chooses Her Own Adventure Julia Usiak Oh, hey. I didn’t see you there, until precisely this very moment, when I climbed off my Harley-Davidson Freewheeler, removed my vintage leather bomber jacket, and shook out my helmet, revealing my a) long curly red tresses; b) short blonde pixie cut; c) Zooey Deschanel bangs. The helmet probably made you think I was “one of the guys,” although a bit less now that it’s been covered in stickers from my favorite a) bookshop; b) cafe; c) bookshop cafe. But, by the way, when we bumped into each other accidentally? Thanks for picking up my a) leather-bound books; b) paint palette; c) ukulele; d) monkey wrench and spark plug pliers. I’m sorry if I seemed out of breath, or left our meet-cute abruptly. Mysteriously. You wouldn’t understand. You see, I’m late for my favorite, not-classically-feminine activity. I only have about 30 seconds in my meetcute calendar for a bumbling, well-meaning
man-child who a) I will teach how to enjoy each moment; b) will teach me to enjoy each moment. Don’t worry, though, because tonight I will definitely recount the entire interaction in gushing detail to my singular female friend — particularly the sight of you fumbling to pick up my quirky impersonalized possession, sweating ever-so-perceptively in a delightfully boyish, male, masculine way. That’s right, I’ll recount the whole shebang to my a) older, more practical sister; b) sluttiest, most vulgar friend played by Judy Greer; c) Aidy Bryant. a) “This is just like you!” b) “This is so unlike you!” she’ll say. And then she’ll a) toss a pillow at me at the sleepover; b) demand we go back to work at our consignment shop; c) “shhh” me so she can go back to reading Proust at our favorite dive bar. “Shut up, a) Erica; b) Donna; c) Karen! I’m not in love!” I’ll shudder and look out the rain-streaked bay window, a single tear trickling down my cheek before I close the curtains. “I don’t do emotions anymore, remember?” Flashback to the boy that broke my heart last a) summer; b) summer; c) season after spring. He looked just like you, you know? The resemblance is striking: You both have the same a) calves; b) number of arms; c) ability to respire. I used my full 18 years of wis-
dom to swear off love for good. I’m certainly not going to break that now! It’s too soon! You, new boy, you wouldn’t get it. You’re no a) Brad; b) Ryan; c) Bryan. Do you know what me and a) Brad’s; b) Ryan; c) Bryan’s first kiss was?
Who else will project onto my highly specified, underdeveloped, blank-slate excuse for a personality? He played me a track from this really underground band that we both loved and totally bonded over, a) The Beatles; b) The Strokes; c) LMFAO; d) Hoobastank. He put one earbud in my ear and one in his, and we shared our first kiss right there. Sitting right there, right on top of the a) hood of his Hyundai Sonata; b) Coney Island ferris wheel; c) world. You wouldn’t get it. But wait — what’s that t-shirt that you’re wearing? Is that the logo of a) The Beatles; b) The Strokes; c) LMFAO; d) Hoobastank? You’re also a fan? Of music? Wow. I’ve been waiting to tell you this, new boy, whatever your name is, ever since the
first moment I laid eyes on you, five whole minutes ago: I think that I was running from you, because I knew that I would fall for you. Because I think that this thing between us … it could be real. I know it’s crazy, soulful brooding male hero, but you need me to snap you out of your joyless existence. Who else will teach you to blow dandelion seeds, scattering them to the wind, and then make poignant, existential, definitely believable John-Greenwriting-as-a-teenager commentary: “And aren’t we all a little bit like this dandelion?” Who else will project onto my highly specified, underdeveloped, blank-slate excuse for a personality? Who else is as self-aware and mature? I mean, what other 18-year-old knows herself well enough to be into a) calligraphy; b) old cars; c) Nihilist philosophy; d) all of the above; e) none of the above? Without you, who else will I pull into my wacky antics and enjoying the-moment idiosyncrasies? You see, a) I’m not like the other girls; b) you’re not like the other boys. You and I? We’re a) different; b) the same. And the highest praise I can offer you is that you are also not like your gender. Because what a tragedy that would be! Julia Usiak is a senior in the College. misstakes appears in print every other Friday.
friday, OCTOBER 5, 2018
the guide
THE HOYA
B7
Festival REVIEW
TRILLECTRO
After a year off, Trillectro is back in the nation’s capital to bring hip-hop, electronic and R&B performances to welcoming fans. The festival originated as a college radio show run by two friends at Boston College and eventually evolved into the unforgettable event it is today. This year featured stars like 2 Chainz, SZA and RL Grime.
Trillectro Thrills Raucous DC Crowds
Megan shapiro Hoya Staff Writer
When I entered Trillectro, a music festival at Merriweather Post Pavilion in Columbia, Md., I could feel the atmosphere shift from the streets of Maryland. The colors were brighter, the music was louder and the people were happier. The anticipation and excitement were tangible as I steadily made my way toward the concert entrance where I was joined by fellow concertgoers. As I entered, the smell of cheap beer hit my nose while the music reverberated throughout my body and consumed the room. In 2007, Quinn Coleman, Marcel Marshall and Modele “Modi” Oyewole, three Washington, D.C. natives, decided to start a Boston College radio show, DC to BC, on WVBC AM. Unbeknownst to them, five years later, they would announce the first ever Trillectro, a festival featuring electronic, hip-hop, R&B and indie-rock performances. In 2015, Coleman, Marshall and Oyewole made the decision to move Trillectro out of D.C. to the Merriweather Post Pavilion in Columbia. The group had initially worried about moving the D.C.-based mu-
sic festival out of the city for fear of losing the city’s culture and creating transportation problems for their District fanbase. However, as Trillectro grew, so did its audience and need for a larger venue. This change in venue resulted in a oneyear hiatus of Trillectro due to a $55 million renovation of the Merriweather Post Pavilion after the roof of the reserved seating collapsed in January 2018. Thankfully, the building is now structurally sound, and Trillectro is back and better than ever. Merriweather Post Pavilion is split up into three stages: the Pavilion Stage, the Hill Stage and the 9:32 Club. Each location has a contrasting, yet complementary vibe. The Pavilion Stage is the largest, accomodating the crowds that the lineup’s most popular acts garner. The Hill Stage sits to the left of the Pavilion Stage on top of a grass-trodden hill, as the name would suggest. Finally, the 9:32 Club offers a medium-sized, semi-enclosed area with a bar and video screens streaming the events on the Pavilion Stage. Its name and ambiance emulate the iconic 9:30 Club in the Shaw neighborhood of D.C. Beyond the fantastical allure of the festival itself, Trillectro also offered a showcase for local talent, including up-
and-coming musicians and small artists. At the start of the daylong event, lesserknown musicians made the stage — most notably, risi ng rapper Soduh, rock band First Family and hip-hop artist Beau Young Prince. Headliners SZA, 2 Chainz and RL Grime performed in the evening. As day turned to night, the crowd became younger and wilder. The lawn filled with wide-eyed young adults waiting for Young Thug, The Internet and Rico Nasty. While the sky grew darker and the moon emerged, an array of different-colored lights of the venue pierced the crowd. The trash from food and beverages which built up during the day fell away into the background in favor of the spirited performances and transcendental vibes. Sheck Wes, a Harlem rapper, generated buzz and drew a crowd. Everyone gathered around for “Mo Bamba,” Wes’ summer hit viewed on YouTube more than 15 million times. In disjointed unison, the audience bounced along to the hardhitting beat as the neon stage lights immersed the venue. Rap star Playboi Carti generated an even wilder crowd. During the performance, an unknown individual was seen quickly approaching the prolific musician be-
tween songs. Carti appeared to throw a punch at the individual before security escorted him off stage. Despite the commotion, Carti ended the performance maintaining the crowd’s enthusiasm. SZA, a pop star who rose to fame after signing to Kendrick Lamar’s record label imprint TDE, ended the concert with passion and lightheartedness. Unlike most other musicians at Trillectro, SZA addressed the audience by introducing each song with playful anecdotes and appreciation for the outpouring of support. Unsurprisingly, SZA performed songs from her 2017 debut studio album “Ctrl.” Her deeply self-analytical yet empowering songs resonated with the crowd. For a slower-paced artist, SZA managed to keep the energy alive and the crowd swaying. Trillectro was an experience that live music fans, even those who do not call the District home, should not miss. Star performers, effervescent vibes and great music attracted like-minded individuals to enjoy a shared passion. Trillectro bridged the boundaries between electronic music and hip-hop to create an unforgettable music festival.
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the guide
THE HOYA
friday, october 5, 2018
What to Do in DC
MUSIC
New Releases
sarah cammarota Hoya Staff Writer
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Faris Bseiso Hoya Staff Writer
hillfest
Hillfest 2018 is a daylong music festival and conference that hopes to highlight policy issues affecting musicians at local and national levels. The event is sponsored by Mayor Muriel Bowser (D) and will feature 15 different musical acts, including jazz vibraphonist Stefon Harris and R&B singer Cheryl Pepsii Riley. The event is free to attend this Saturday, Oct. 6, from 11 a.m. to 8 p.m. in Garfield Park.
lil Wayne
Marshmello
Lil Wayne ‘uproar’
Marshmello and Amr Diab ‘Bayen Habeit’
A standout track from Lil Wayne’s comeback album “Tha Carter V,” “Uproar” is sure to have people dancing manically any time it hits any speaker. Be sure to keep watch for the viral videos of people Harlem-shaking away to the Swizz Beatz instrumental.
This record represents a meeting of East and West, a beautiful clash of cultures, and a guaranteed hit. Renowned DJ Marshmello and Egyptian star Amr Diab team up to create a sonically brilliant fusion of Arabic and electronic music. In a year that’s seen Arabic pop music experience a resurgence in the Middle East, this track represents a step toward more Western listeners.
2
hillfest 2018
all things go fall classic
The popular All Things Go Fall Classic music festival is back for two days of concerts this Saturday, Oct. 6, and Sunday, Oct. 7, at Union Market. One of the District’s only large music festivals, the Saturday lineup features only female artists. The headliners of this year’s festival include alternative pop singers Carly Rae Jepsen, Billie Eilish and Maggie Rogers. Tickets are $95 for both days and $65 for individual day passes. all things go
3
army ten miler
Sunday, Oct. 7, marks the 33rd annual Army Ten Miler road race. The race is open to runners of all skill levels and its course winds past some of the District’s most iconic landmarks, from the Pentagon to the Washington Monument. Registration is closed for the run, but spectators can watch the race from a number of locations around D.C., including the start and finish line at the Pentagon. The race begins at 8 a.m.
badbadnotgood
dj Snake
BADBADNOTGOOD and Little Dragon, ‘tired’
Snake with Cardi B, Ozuna and Selena Gomez, ‘Taki Taki’
The Canadian jazz-hip-hop group BADBADNOTGOOD usually doesn’t incorporate vocals into its tracks, making its collaboration with Little Dragon a welcome change. Little Dragon’s lead singer Yukimi Nagano uses her voice well to complement the instrumental and create a melancholic vibe.
With DJ Snake’s signature flutes, Cardi B’s raps, Ozuna’s suave Spanish, and Selena Gomez’s enchanting vocals, it’s hard for this track to go wrong. In what might be the musical crossover track of the year, “Taki Taki” energizes listeners from the first drum kick.
4
Army Ten miler
fall wine festival and sunset tour
George Washington’s historical Mount Vernon estate celebrates the coming of fall this weekend with the Fall Wine Festival and Sunset Tour. The event takes place from 6 p.m. to 9 p.m. Friday, Oct. 5, through Sunday, Oct. 7, and features live music, a sunset tour of the estate and, of course, a wine tasting. Tickets run a steep $42 apiece but include unlimited wine samples from 20 local vineyards. visit Alexandria
the guide
friday, october 5, 2018
B9
THE HOYA
album REVIEW
6LACK Displays His Emotional Side on Latest LP East Atlanta Love Letter
6LACK alLan navarro Special to The Hoya
Atlanta-based singer 6LACK, whose birth name is Ricardo Valentine, burst onto the alternative R&B scene in 2016 with platinum-selling singles “PRBLMS” and “Ex Calling,” leading up to his debut album, “Free 6LACK.” Accused by fans and critics like Anthony Fantano of being an industry plant capitalizing on the popularity of alternative R&B artists like The Weeknd, Frank Ocean and Bryson Tiller, 6LACK rejects these labels on his sophomore LP “East Atlanta Love Letter.” Anchored by fantastic features from Future and J. Cole, 6LACK reminds his fans of his talent and proves his critics wrong by putting out his most consistent and understated project to date. 6LACK takes a more personal approach on this LP in both songwriting and vocals, with airy and atmospheric trap-based beats that establish a mood and never let up. The LP opens with the three of the best tracks on the album, anchored by the titular track featuring Atlanta trap king Future. 6LACK heavily sampled Future’s “Perkys Calling” on his debut single “Ex Calling,” so this track represents 6LACK’s career coming full circle: collaborating
with the artist who gave him his initial burst of fame. 6LACK and Future take turns singing and rapping over a soft beat, composed primarily of hi-hats and piano, with deeply personal and emotional vocal inflection that speaks of lost love and the pain it inflicts on each artist. The message of the titular track underscores the subject matter of “East Atlanta Love Letter” — the pain of loving someone, the mistakes 6LACK has made in his relationships and his venture into fatherhood, which plays off the album art featuring him and his son. On “Sorry,” 6LACK croons, “Can find me somewhere writing when I’m wrong,” playing off the phrase “righting your wrongs” to emphasize the personal nature of this LP in contrast to his debut album, “Free 6LACK.” Valentine successfully brings listeners into his world, inviting them to connect with the struggles that fame and success have brought into his love life. The other high point of the LP is “Pretty Little Fears,” featuring J. Cole. The North Carolina rap superstar has notably shown an aversion to features in the last few years, both on his own albums — three of which have gone platinum with-
out any features — and on other artists’ songs, as he only has featured on eight tracks since 2016. Securing a Cole feature is a major cosign for the burgeoning 6LACK, and the collaboration does not disappoint. Each artist raps about his relationships: 6LACK talks about his struggle with the mother of his child, while Cole raps about his love and respect for his wife. The two spit over an atmospheric beat by T-Minus, who is known for his collaborations with Drake and Kendrick Lamar. The fact that the two best songs on the “East Atlanta Love Letter” rely heavily on their star features underscores one of 6LACK’s primary shortcomings — his inability to hold up a stellar track without help. Though some of the better tracks on the LP feature 6LACK without any other artists, reading into the lyrics of tracks like “Let Her Go” and “Switch” reveals deficiencies that are rarely made up for with catchy hooks or singing ability. The tracks on the latter half of the album are also much less notable than those in the first half, blending together almost seamlessly and doing little more than re-emphasizing the mood that the first half of the LP carefully cultivated. Tracks like “Nonchalant” and “Sea-
sons,” which features an underwhelming Khalid verse, are unremarkable and feel like filler added to pad an otherwise short track listing. The Khalid-assisted “Seasons” and “Balenciaga Challenge,” featuring Offset of Migos fame, are half-hearted attempts to break up 6LACK’s monotony on the second half of the album that end up mostly falling f lat. Nevertheless, “East Atlanta Love Letter” serves as 6LACK’s best effort to date and furthers his position as one of alt R&B’s most promising up and comers. On “Scripture,” 6LACK raps that he is an “R&B n---a with a hip-hop core,” perfectly describing himself at the forefront of one of the most popular and beloved genre-blending movements in contemporary music. Alt R&B is currently in vogue and is the primary reason for 6LACK’s popularity. Other, more successful alt R&B artists, like The Weeknd and Frank Ocean, realized the genre’s limited lifespan and quickly pivoted towards different styles that would help them maintain commercial viability. For 6LACK to become the star he envisions, he needs to challenge himself creatively and push musical boundaries.
6lack
6LACK establishes himself as an up-and-coming alternative R&B star through his star-studded new LP, “East Atlanta Love Letter,” his most personal and understated album to date. However, 6LACK must push the boundaries of the genre to achieve fame and commercial success.
B10
the guide
THE HOYA
friday, october 5, 2018
MOVIE REVIEW
Fitting Finale for Redford in ‘The Old Man and the Gun’ Directed by: David Lowery Starring: Robert Redford, Sissy Spacek Meghan Decourcey Hoya Staff Writer
It is difficult to imagine the silver screen without Robert Redford, whose career has spanned nearly 60 years, but the 82-year-old actor announced in August 2018 that his upcoming role would be his last. Directed by David Lowery and distributed by Fox Searchlight Pictures, “The Old Man and the Gun” is a charming film that serves as a fitting farewell to Redford. Based on a true story, the script is inspired by David Grann’s feature of Forrest Tucker, a career bank robber and prison escape artist. The plot is standard as far as crime films go: Through his courtesy and allure, Forrest, played by Redford, commits a string of bank robberies while in his late sixties. The seasoned cast is the key to making the film compelling. As Forrest drives across the
Southwest, he meets a widow named Jewel, played by Sissy Spacek. A romance ensues, and the chemistry between Redford and Spacek is sincere and genuine. The two have never starred in a film together before, yet their scenes are captivating, and they share the screen evenly. Another dimension of the story is the search for Forrest after he committed all these crimes. Leading that search is Detective John Hunt, played by Casey Affleck. Even Hunt is entertained by Forrest’s charisma. At every crime scene, the bank managers tell Hunt that the robber was a polite gentleman. Hunt is in awe of Forrest, and the rapport between Redford and Affleck is amusing. Both Redford and Affleck have worked with Lowery in the past. Redford starred in Lowery’s 2016 adventure film “Pete’s Dragon,” and Affleck starred in both the 2013 drama “Ain’t Them Bodies Saints” as well as
the 2017 supernatural drama “A Ghost Story.” These past relationships built the foundation for strong scene work and effortless acting. The film’s music adds a layer of coolness. The compositions of David Hart, who has composed scores for other Lowery films, liven the film. Besides original music, a few other songs are included as well. For example, there is a poignant sequence in which Forrest’s past robberies and escapes are recounted as Jackson C. Frank’s nostalgic song “Blues Run the Game” plays. The sequence features photos of a young Redford and footage from some of his old films to give a sense of Forrest’s past but also acts as a tribute to Redford’s long career. There is an old-fashioned feel to the film, yet the message is timeless: Find what you love and just do it. Forrest has lived by this motto his whole life. The bank robberies
were never really about the money — they were about the excitement and thrill. Similarly, it is a message that Redford has taken to heart. The parallels between the two men are evident in their commitment to their crafts. Much like its title, the film itself is not flashy. Its simplicity is what makes “The Old Man and the Gun” authentic, and the cast elevates the story with Redford as the clear star. It is a role that he is familiar with, whether as the outlaw in the 1969 western “Butch Cassidy and the Sundance Kid” or the conman in the 1973 heist film “The Sting.” His previous roles throughout his impressive career have led him to this final and fitting goodbye. Redford makes it look easy — his grace and charm will be missed on screen — but all good things, and good careers, must come to an end.
MOVIE REVIEW
‘The Sisters Brothers’ Strikes Dark Comedy Gold Directed by: Jaques Audiard Starring: Joaquin Phoenix, John C. Reilly paulina enck Hoya Staff Writer
“The Sisters Brothers” entertainingly explores familial love, man’s propensity toward both good and evil and the first use of a toothbrush. Jacques Audiard’s western dark comedy film, based on the Patrick deWitt novel of the same name, tells the story of brothers Charlie and Eli Sisters, played by Joaquin Phoenix and John C. Reilly respectively. The two assassins are sent by their boss to find and kill chemist Hermann Warm. played by Riz Ahmed, who has created a formula to find gold among the futile prospecting. Detective John Morris, played by Jake Gyllenhall, throws a wrench into their plans, however, when he betrays the pair, deciding to protect and work with Warm. The film is slower and much more atmospheric than its classic western genre counterparts. The action set pieces are executed excellently but oftentimes do not go where expected. Save for one extended, classic shootout, the tension and build up are more important and exciting than the actual payoff. This subversion also lends greater excitement and weight to one of the main shootouts and was easily worth the delayed gratification.
Benoît Debie’s cinematography is a marvel, as he uses stunning atmospheric shots to establish tone, push the narrative forward and subtly give greater nuance to the characters and their relationships. “The Sisters Brothers” reminds viewers that Phoenix is one of the best actors working today, as his performance is a tour de force. There was not a false note in his portrayal of the violent yet amiable Charlie Sisters. Viewers find themselves both drawn to the character and repulsed by his actions. When Phoenix is on camera, his commanding presence means viewers can scarcely look away. The ambitious alcoholic assassin is a complicated mess of contradictions and character development, and Phoenix has found a way to craft every aspect into a breathtaking performance. Gyllenhaal charms as the prim and pretentious private eye Morris. He effectively captures the inner turmoil of a man beginning to feel the weight of his life of crime and hoping to become a better person. Gyllenhaal melds these disparate parts of Morris’ personality beautifully, seamlessly travelling through his character’s growth. Ahmed delights as Warm, by far the most moral of the protagonists. His idealism and
hope are a welcome contrast to the violent and bleak world of gold prospecting. Reilly’s Eli Sisters, however, felt out of place during some moments in the film. While he was solid in his role as the more conflicted and moral of the eponymous Sisters brothers, his acting was never on the same level as his co-stars. This comparatively lackluster performance may be in part because of his role as a sort of everyman, while Gyllenhaal, Ahmed and Phoenix all have more complicated, interesting roles with which to display their considerable talents. Audiard and Thomas Bidegain’s script is remarkably strong. The dialogue was clever, and each of the four protagonists had a distinct speech pattern, which added to their characterizations. The writing partners seem to know just when to make the audience laugh and when to allow the more heartfelt, dramatic moments to speak for themselves. Still, some scenes featuring Reilly felt out of place compared to the rest of the film because of their slapstick nature. These forced bouts of physical comedy, which furthered neither the narrative nor the character, felt as if Audiard was attempting to fit in Reilly’s comedic gifts by shoehorning in scenes that seemed more like outtakes from “Step Brothers” or “Talladega Nights.”
The comedy featuring other actors was more nuanced and situational, using witty dialogue and dramatic irony to make the audience laugh. These moments often resulted from Charlie Sister’s drunken antics or Morris’ slippery evasion. What ultimately made the film work so beautifully is the chemistry between the main four actors. Phoenix and Reilly developed a genuine rapport that made them incredibly believable as brothers. Similarly, the chemistry between Gyllenhaal and Ahmed, in their second film together after 2014’s “Nightcrawler,” was incredible. The bond between their characters developed rapidly through their decision to go into business together, but the deep affection and admiration they felt toward one another was palpable in every scene, serving as an emotional center of the film. “The Sisters Brothers” can easily be looked at as a pair of love stories in a western backdrop, contrasting the fraying bond between the eponymous brothers with the love and respect between the new business partners. “The Sisters Brothers” is an interpersonal dramedy existing in the universe of a western. The script’s nuanced characters provide plenty of room for the main ensemble to show off their acting talents, leading to a suspenseful, darkly funny take in the form of a gold-mining drama.
friDAY, October 5, 2018
the guide
THE HOYA
B11
MOVIE REVIEW
Charming Cast, Costumes Characterize ‘Colette’
Directed by: Wash Westmoreland Starring: Keira Knightley, Dominic West, Eleanor Tomlinson paulina enck Hoya Staff Writer
“Colette” breathes new life into the period costume drama, telling a scandalous true story that will fascinate today’s viewers in the same way that the French novelist Colette’s work once rocked Parisian society at the turn of the century. The film tells the story of French novelist and actress Sidonie-Gabrielle Colette--played by Keira Knightley--whose female coming-of-age stories scandalized, enthralled and moved a generation of readers. Colette marries writer and society dandy Henry-Gauthier Villars, known publicly as Willy, played by Dominic West; he convinces her to write her school stories as a ghostwriter under his name. When her novel “Claudine à l’école” becomes the toast of Paris, Colette and Willy’s marriage falters under the strain of his reckless infidelities and focus on capitalizing on the nation’s obsession with the book. Simultaneously, Colette begins to drift from her husband, forming romantic connections with a bored American socialite and noblewoman who defied the period’s gender conventions and inspired Colette to do the same. Wash Westmoreland’s direction looks at the story as one part classic period biopic, one part exploration of a woman’s journey toward sexual and personal liberation at the beginning of France’s cultural revolution. He uses the trap-
pings of a period costume drama, a drama set in a specific historical period, effectively to contrast his heroine’s more modern sensibilities with the constraints of her time. Westmoreland co-wrote the script with Richard Glatzer, his late husband and collaborator on several films including “Still Alice,” as well as Rebecca Lenkiewicz of “Disobedience,” who joined Westmoreland to finish the film after Glatzer’s tragic 2015 death to amyotrophic lateral sclerosis, or ALS. The change in writers helps explain some of the tonal disparities within the film. The first half of the film is a tightly constructed narrative, showing the development of Colette through her marriage and burgeoning career. The dialogue is sharp, with every joke landing with ease and the darker moments of drama hitting just as hard. Near the middle of the film, however, the story loses steam. Moments that should enrapture the audience feel tedious, and the quickwitted exchanges give way to sentimental monologues and romanticized bouts of expositing. While the shift in tone fits with the story arc, the execution falls short. The end, though, returns to form, with an emotional conclusion that leaves the audience moved and inspired. Throughout the entire film, Knightley brims with unrelenting passion simmering just below the surface as Colette. “Colette” follows the heroine’s transformation from an unsatisfied country girl to a fully realized artist,
and Knightley follows her character through each phase of her life with ease and grace. West plays the shallow, fun Willy with a bubbly air. The character of Willy has very little substance, but West imbues the histrionic society star with humanity where others may have coasted on the clever one-liners and fits of drama. West has some of the best lines in the film and delivers each with expert timing, causing the audience to roar with laughter. His portrayal of mercurial temper colors Willy with a childishness that makes him equal parts loathsome and likable, a difficult mix to pull off were it not for West’s singular talent. His chemistry with Knightley further sells the attraction between these mismatched individuals. Eleanor Tomlinson gives a far too brief but memorable turn as Georgie Raoul-Duval, an American socialite in Paris, who simultaneously engages in affairs with both Colette and Willy, culminating in a clever montage showing the concurrent trysts and webs of lies used to orchestrate the infidelity. Her vivacity and mostly believable accent make viewers wish she played a more integral and extended role in the film. The one weak link in the cast was Denise Gough, who played Colette’s longtime love Mathilde de Morny, typically known as Missy. Gough’s subdued performance felt dull and lifeless compared to her co-stars’ bold and dynamic personalities. The fault does not rest entirely on Gough, however, as the script does her no favors. While Colette, Willy, Georgie
and other supporting actors are given exciting and complicated characters to work with, Gough is not afforded the same luxury. Missy is kind and supportive, with hints of a deeper struggle due to her complicated relationship with gender and sexuality that is ultimately left unexplored. Most of her characterization is as a supportive partner for Colette, which, while a welcome change for the mistreated Colette, does not make for an interesting character. Viewers expecting a classic period costume drama should be warned that there is a substantial amount of sex and nudity in the film. “Colette” in many ways follows its eponymous character’s sexual awakening alongside more personal selfdiscovery. While the love scenes can be graphic, none feel gratuitous; each scene serves a greater purpose in the development of Colette or Willy, showing the audience a new side of these characters and how they have changed. Andrea Flesch’s costumes are both beautiful and integral to the storytelling. Colette’s character growth is highlighted by each change in her sartorial decisions. Her clothes are a necessary part of understanding her and where she is as a character. Interestingly, she is the only character to go through any sort of stylistic change, demonstrating the growth of her character in contrast to those around her. “Colette” captures the rise of an artist with heart, humanity and wit. The film is a must-see for lovers of costume dramas, historical biopics and complex characters.
Number 9 films
While Wash Westmoreland’s film “Colette” may appear to be a run-of-the-mill period piece, this costume drama breathes new life into an otherwise tired genre. Keira Knightley shines as the French novelist and social icon Sidonie-Gabrielle Colette, and a strong supporting cast of complex characters renders this film a must-see for fans of historical dramas.
Illustration BY: anna kooken and emily shambaugh/THE HOYA Illustration BY: anna kooken and emily shambaugh/THE HOYA