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the guide F R I DAY, S E P T E M B E R 7 , 2 0 1 8

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ILLUSTRATION BY: ANNA KOOKEN/THE HOYA

THE HOYA

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friDAY, September 7, 2018

Women Take the Stage at All Things Go Music Festival mAC DRESSMAN Hoya Staff Writer

This year, Ariana Grande proclaimed that God is a woman. Cardi B topped the charts with the Latin-inspired banger “I Like It.” Beyoncé strode onto the main stage at Coachella, to the applause of thousands of fans. In many ways, women are the heart and soul of popular music. Yet they are conspicuously absent from the lineups of many popular music festivals. Lollapalooza, Bonnaroo, Sasquatch, Firefly, Boston Calling and BottleRock Napa Valley all lack a single female headliner. “It’s just common sense that there should be a balance,” said Zack Friendly, co-founder of music festival All Things Go.

This April, fearless rap sensation Cardi B had thirteen songs simultaneously in the Billboard Hot 100, achieving the most songs charting by a single female artist in Billboard history. Pop mogul Beyoncé’s “The Formation World Tour” concert series was attended by over 2 million fans. Female artists are undeniably popular, yet they continue to be underrepresented at music festivals. Part of the problem is that women are largely pigeonholed as singers, rather than as producers or instrumentalists, leading to a lack of females in creative instrumental positions. According to a study by Stacy Smith, a pro-

Hot 100 year end charts from 2012 to 2017, women comprised just 22.4% of artists and 12.3% of songwriters,” Smith wrote. “2017 represented a 6‐year low for female artists—an unexpected result in a year when women forcibly took hold of the cultural conversation.” Gendered expectations One factor for this gender disparity in the music industry may be that female musicians are often discouraged from pursu-

LACKING REPRESENTATION Since the revelation of Harvey Weinstein’s persistent harassment of women in October 2017, brave individuals have repeatedly come forward to expose other injustices related to gender — including lack of representation or sexual misconduct — in Hollywood, politics and corporations. Less talked about however is the shockingly persistent gender gap in the music industry, with award shows and critics often overlooking female ing traditionally male musicians, composinstruments that are ers, and producers. the backbone of popuIn 2017, 74 perlar music. cent of bands perHanna Chan (COL forming at the ’19), a singer who relargest U.S. music cently released an EP festivals were allunder the name “.hanmale, while only na.” and who per14 percent were all- LEFT: ALL THINGS GO FALL CLASSIC 2017; RIGHT: COURTESY HANNA CHAN forms with all-female female and the re- Carly Rae Jepsen, left, is part of the all-female Saturday lineup at the Washintgon, D.C. music a capella group Gramaining 12 percent ceNotes and Georgewere mixed-gender festival All Things Go Fall Classic. Hanna Chan (COL ’19), right, is an a capella singer. town Cabaret, a rock groups, according and pop cover group, to Pitchfork Magazine. fessor at the USC Annenberg School for explained how gendered instruments Some music festivals lack even a cour- Communication and Journalism, female contribute to the dearth of female intesy nod to gender parity. instrumentalists are sorely lacking from strumentalists in popular music. Bunbury, a music festival held in Cin- popular music. “Who is encouraged to play drum cinnati with a focus on indie rock and a The study analyzed the proportion of set, drums, horns, bass, and any kind of 2016 three-day attendance of over 60,000 female and male artists in popular mu- more funky jazzy instruments, electric people features no female artists in any sic from 2012 to 2017, and found that guitar versus acoustic? It’s usually boys. of the bands comprising its top 11 acts in although women were more likely to Girls are encouraged to do more classical the festival’s 2018 lineup. write or perform in the pop songs than things like piano, violin and singing,” These male-dominated lineups persist men, women are rarely found in duos or Chan said in an interview with The Hoya. despite the fact that female musicians groups and comprise only 2 percent of “Girls especially feel that it’s harder for are topping charts and breaking records producers. them to execute a vision because they across the United States. “Of 600 popular songs on the Billboard haven’t been encouraged when they

grew up to have the technical skills.” Betty Repacholi, a research associate in the University of Washington’s Center for Mind, Brain and Learning, pointed to subtle gender biases from peers and parents as a significant influence on children’s choice of music instruments in an interview with ABC News. For example, a mother may not think about gender bias when she gives her daughter a violin instead of a drum set. But these decisions are reflective of the way our gender stereotypes are passed down to children. Because women face these gendered pressures from birth, Chan’s experience has been that women are held to a different vocal standard than men since their singing is unaccompanied by instruments. “A boy that can hold a melody is regarded highly, whereas girls are expected to have such a unique tone and be able to do lots of runs to be regarded as good enough, even for a cappella,” Chan said. “I think girls can get really torn down on those tiny details because they don’t play bass or electric guitar.” Pushing for parity While the societal pressures and challenges for female musicians are deeprooted and pernicious, companies like Damned Damsels are making a difference. According to the organization’s website, Damned Damsels hosts “pop up shows, roundtable discussions and panels as well as a user generated blog” to connect and support women in the music industry. Prominent female artists, like singersongwriter and producer Maggie Rogers, best known for her indie hit single “Alaska,” are using their platform to promote gender equity in music, by speaking out on social media and partnering with music festivals for inclusive lineups. As part of her work highlighting gender inequalities and limited female representation throughout the music industry, Rogers, along with indie pop singer Lizzy Plapinger, stage name LPX, is curating the lineup for the All Things Go Fall Classic music festival, scheduled for Oct. 6 to Oct. 7, 2018 at Union Market in Washington, D.C. One day of the festival’s lineup is dedicated solely to female and gender non-binary artists, including Billie Eilish, Jessie

friday, september 7, 2018 Reyez and Ravyn Lenae, as well as Rogers and LPX. All Things Go was founded as a music blog in 2006, before its founders, including Adrian Maseda (SFS ’09), editor-inchief of All Things Go, and Zack Friendly, began to expand into the live music sphere. “We did quarterly nights at the 9:30 Club, we would do showcases every year at CMJ, South by Southwest, and a number of other events,” Friendly said. “We actually launched the fall classic festival in 2014 so we’re currently in the fifth year of our festivals, and we’ve basically just seen steady growth every year.” The founders said their partnership with Rogers and Plapinger came from conversations about representation in festival lineups — especially at the top of the ticket. “They’ve been talking about the lack of representation of female artists, specifically at the top of festival lineups, for a long time,” Friendly said in an interview with The Hoya. “So when they came to us and said, ‘We’d like to curate the lineup with you,’ it was a no brainer.” Festival curators have the power to promote equity and uplift female musicians through their selection of lineups. Just as women have been the main enforcers of the #MeToo and Time’s Up movements, it is ultimately women themselves who are their own most potent advocates foequality within the music industry.

the guide “Almost a year ago, @lpx and I dreamed of creating a more diverse music festival culture that celebrates the artistry, individuality, and vision of our peers,” Rogers wrote in a recent Instagram post. “Amplifying the voices of female and non-binary artists is the first step towards permanently changing a culture that for so long has underrepresented these essential members of the global artistic community.” Along with Rogers and Plapinger, the Women’s March, a women-led organization with a mission of providing intersectional education and fighting systematic oppression, is partnering with All Things Go for its Power to the Polls initiative. The organization, which helped plan and publicize the 2017 Women’s March on Washington, seeks to aid citizens registering to vote through grassroots activism like rallies and phone banking. Although the 2017 Women’s March was originally envisioned largely as a rebuke to President Donald Trump for statements that were perceived as misogynistic and harmful to women, the festival’s founders maintain that their goals in partnering with the Women’s March are universal and not political. “We’re not trying to get involved in policy statements or being the radical progressive festival,” Friendly said. “We’re trying to bring people into a place that’s fun and exciting and let them know that

they have an opportunity to shape policy in America by registering to vote. We don’t care if you’re a Democrat or a Republican; we just want you to come and register to vote.” Amplifying female voices In addition to the all-female Saturday lineup and registration initiative, All Things Go will be hosting two discussion panels, called Classic Conversations, on Friday, Oct. 5, at the Eaton Hotel from 5 p.m to 8 p.m. The panel will feature successful women in the music industry like VICE News Tonight correspondent Gaby Wilson and Columbia Records A&R Jessica Strassman. A second panel features female entrepreneurs from a variety of fields, including Women’s March Co-President Tamika Mallory and restaurant owner Rose Previte of Maydan and Compass Rose. By partnering with female musicians and the Women’s March, Maseda and Friendly hope to foster a space for female empowerment on women’s own terms. “We wanted to make sure that we’re not setting the course, that we’re just providing an avenue for these women who own businesses and these powerful women to kinda have a platform for whatever they see fit,” Friendly said. The choice at All Things Go to dedicate a full day to female and non-binary artists represents one strategy to lift up women in the music industry. This decision is

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reminiscent of recent talk from lawmakers and certain activist groups of enforcing representation quotas on company boards. California State Senator Hannah-Beth Jackson introduced a bill this year that would mandate corporations to have at least one woman on their boards by the end of 2019. The bill has passed the California State Senate and is under consideration by the assembly. Yet quotas for female artists merely address the symptoms of unfair societal norms rather than tackling the root causes of inequity. Still, promoting female artists at festivals is important, and festivals like All Things Go are moving the conversation in the right direction. “The goal is to have 50-50 representation on bills, and that’s a diversity that we want to get behind and support,” Friendly said. By making equitable festival lineups a reality, women’s voices onstage and in the music industry are amplified, and female artists are empowered to change societal norms. “I see [a day with an all-female lineup] as an awesome step to showcase women that have their own style and have conceptualized their own music,” Chan said. “I hope in the future at festivals that there doesn’t need to be a conversation of how imbalanced the performers are, and there are no barriers.”

LEFT: FILE PHOTO: AMBER GILLETTE/THE HOYA; RIGHT: MAGGIE ROGERS

The Women’s March, an organization best known for organizing the Women’s March on Washington in 2017, is partnering with the All Things Go music festival on a voter registration initiative, in addition to the festival’s all-female line-up on Saturday, featuring artists like Maggie Rogers.

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friDAY, september 7, 2018

BALLETin REVIEW Made America Thrills Fans Despite Weak Moments

ALESSIA CARA

Despite opposition from the city on the grounds of congestion and costs, the Made in America music festival returned to Philadelphia on Labor Day weekend with a star-studded lineup. Post Malone, Miguel and Kendrick Lamar wowed the audience while Nicki Minaj disappointed, but the excitement was palpable as thousands of fans danced along.

maddie finn Hoya Staff Writer

Over Labor Day weekend, the streets of Philadelphia flooded with what seemed like a sea of teenage girls in red tank tops and boys in basketball jerseys. They were headed to the same place: Made in America, a music festival featuring two days of EDM and hip-hop music, five stages and thousands of sweaty fans. Made in America was created in 2012 by rapper and music streaming platform Tidal founder Jay-Z. Tidal was founded on the idea of bringing the best artists to one singular online platform; Made in America’s star-studded lineup made an admirable attempt to do the same. Still, some performances were spotty. If these stars are what taste-maker Jay-Z believes are the best of the best, either he has lost his touch or the truly biggest and brightest were unavailable. Regardless, a festival is what you make of it, and Made in America was well worth braving the heat and the crowds for an unforgettable weekend. Although music lovers flock to the Benjamin Franklin Parkway in the heart of downtown Philly for the festival, Philadelphia Mayor Jim Kenney is not a fan. The two-day event shuts down a major road and causes congestion, trash and hefty costs for the city. In July of this year, a spokesperson from the town hall told the local news source “Billy Penn” that 2018 would be the last year the festival was held in its current venue. Jay-Z pushed back, referencing the economic growth from tourism that Philly has experienced since 2012, the first year of the festival. After a meeting between representatives, the star won out: Desiree Perez, chief operating officer of American entertainment company Roc Nation, stated, “The Made in America festival will continue at the heart of Philadelphia, the Benjamin Franklin Parkway, for many years to come.” At the festival itself, fans were greeted by art installations, food trucks and carnival rides. Still, the artists were the main event. Saturday night, headlining singer Post Malone performed for an ecstatic crowd. “Thank you all so f---king much,” he declared after nearly every song in his set as the fans cheered wildly. After a heartfelt acoustic song,

“Feeling Whitney,” he went straight into a rowdy per- standing still was nearly impossible. formance of “Rockstar,” smashing his guitar onstage. One of the most anticipated performers was the one Smoking a cigarette and drinking from a red Solo cup and only Kendrick Lamar. The popularity of his most rethroughout the performance, Post Malone brought both cent album “DAMN.” was apparent in the crowd’s swarmhis tender personality and baller attitude to Philly — and ing to the main stage to get closer. His performance the crowd loved it. cut straight Another great set was Miguel, the half-black, to the point; half-Latino R&B singer. His calculated and fun there was performance had groovy ’80s vibes: He danced little speakaround stage in lime green pants, and the mic ing, storytellstand had black and white tassels. Smooth and ing or theatsexy songs like “Adorn” seemed to be perfectly rics, just rap. timed as the sun set over the Philadelphia skySongs ranged line. The audience adored him. from older Nicki Minaj was one of the disappointments Kendrick, of the weekend. Her gaudy headliner perforlike “Backseat mance Sunday night included mainly songs off Freestyle,” her new album to his latest as well as guest and greatappearances by est hits from rappers 6ix9ine, “DAMN.” A$AP Ferg and Lil So how Uzi Vert. In clasdid Made in sic Minaj fashion, America 2018 theatrics stole compare to the show over the other festivals like the Governors Ball or music itself. AuLollapalooza? The short answer is that it dience members is hard to tell. There were highs and lows; were either conperformances varied both among the artfused and unimists and within the sets. pressed or too inAnother valid answer is that it does not toxicated to care. matter. Statistics on the number of atThere was no tendees or the amount of revenue can give shortage of DJs or some indication of the festival’s overall electronic dance success, but numbers cannot tell the full music in Philly top: MADE IN AMERICA; bottom: NICKI MINAj story of an experience. The impermanent this weekend, moments of any festival make it impossiand fans were more than excited to get up and dance. ble to quantify the feeling of pushing through a crowd Diplo roused the packed audience Saturday night with to get to the front and look a performer straight in the seemingly infinite bass drops and beats. Zedd’s artsy per- eye, or the experience of being tired and dehydrated but formance brought crowd members to their feet. Snake- still smiling as your feet ache from dancing. Regardless hips, Louis the Child and Jai Wolf similarly encouraged of a couple of dud performances, the experience of Made moshing, dancing and general joy from the audience — in America was well worth the trek.

friday, SEPTEMBER 7, 2018

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CONCERT REVIEW

Kathryn baker for the hoya

During his Sept. 4 performance at The Anthem, Miguel opened up to the audience about childhood struggles with poverty and his biracial identity. The R&B singer performed an assortment of songs from his entire discography, including singles such as “How Many Drinks?” from his 2012 album “Kaleidoscope Dream.”

At The Anthem, Miguel Transcends Concert Conventions Kathryn Baker Hoya Staff Writer

It is rare for a musician to tour for the sole purpose of self-expression, without the strings of album promotion, merchandising or publicity; then again, California-based blues-funk-rock singer Miguel is not your average musician. As he pivoted across The Anthem’s stage on Tuesday night, Miguel appeared to be in his own world — equal parts psychedelic and grounded, political and apolitical, fantastical and realistic. He succeeded in creating an inclusive, loving concert environment, allowing audience members to participate in the masterpiece rather than just witness it. Accompanying Miguel on his “The Ascension Tour” is Canadian rhythm and blues duo dvsn, whose latest album, “Morning After,” was released in 2017. Pairing well-known singles like “Mood” from “Morning After” with covers of fellow R&B classics like Alicia Keys’ “If I Ain’t Got You,” dvsn’s performance was marked by effortless falsettos and evocative, colorful background visuals. The group’s slow, sensual melodies provided a fitting contrast to Miguel’s more popinfused dance tracks, while their themes of unrestrained sexual expression and romantic turmoil mimicked Miguel’s intensity and occasional erotic energy.

Unlike last year’s “War & Leisure” promotional tour, 2018’s “The Ascension Tour” is not associated with a specific album. Instead, Miguel told Tuesday’s audience that he “wanted to be real” and “share whatever is in my mind.” His lack of allegiance to a particular sound enabled Miguel to freely perform any song in his discography, and he frequently paused to engage with audience members — a beautiful blend of genders, ages and ethnicities — as well as showcase his nimble guitar playing and seamless dance moves. Even before beginning his set, Miguel’s confidence and static energy permeated throughout The Anthem. As his platform rose above the stage, Miguel maintained his poised, mannequin-like posture — only breaking character when the beat to “What’s Normal Anyway” from his 2015 album “Wildheart” began. In that moment, Miguel broke free, expressing the inner turmoil of a child “too black for the Mexicans” and “too broke for the rich kids.” In the background, a vibrant outline of a human head appeared, symbolizing Miguel’s willingness to verbally express the inner workings of his colorful and sometimes painful memories. As the concert progressed, Miguel found new ways to open himself up to his audience, whether through choreographed interactions with his fierce,

feminine background performers or offthe-cuff conversations with the crowd. While singing “Harem” from 2017’s “War & Leisure,” targeted green and red lights illuminated the stage, evocative of the “bright love” Miguel speaks of in the song. Following the performance, Miguel paused to encourage audience members to release their inhibitions and embrace pure sound, announcing that “tonight is about going beyond the limits.” Rejoicing in Miguel’s celebration of identity, the crowd adopted a new aura for the second half of the concert, letting their bodies move naturally to the beats and vocalizing their satisfaction. Individuals raised their drinks in the air during “How Many Drinks?,” a track from Miguel’s 2012 album “Kaleidoscope Dream,” and swung their hips to the hauntingly sultry lines of “Come Through and Chill” from “War & Leisure.” Miguel commented on his lack of new music for the “The Ascension Tour” tour, only to surprise the audience with a new single, “So I Lie,” about the tendency to filter our lives on social media and hide our true selves from the world. After performing “Adorn,” a slowjam romantic tune from “Kaleidoscope Dream,” Miguel once again paused to address the crowd, this time calling for the audience to grab a partner and prepare

to spend the rest of the night dancing heavily. His call to action was paired with a note on consent, warning men to keep their hands off the ladies in the crowd. The last 30 minutes of Miguel’s set contained hit after hit, as Miguel seamlessly transitioned back and forth between some of his most popular songs like “Coffee,” Vixen” and “Got Friends.” Despite the constant lighting and rhythm changes, Miguel never missed a beat and the audience, feeding off his undeniably electric charm, stayed in sync with him. Just like the rest of his set, Miguel’s ending blast of music played with duality, pairing perfectly crafted vocals with organic dance moves. One of the final songs of the night, the 2018 single “Remind Me to Forget,” encompassed the concert’s ethos. The juxtaposition of the song’s electronic dance-beat and deep-cutting lyrics of “It doesn’t matter where you are, you can keep my regret” encompasses Miguel’s formation of complexities. While Miguel encouraged audience members to forget their troubles, his politicized slogans like “legalize ascension” and discussions of race and sexual assault inherently call for remembrance. His performance at The Anthem on Tuesday proved the possible dynamism of music and artistic expression; for the night, the crowd got to join Miguel on his bridge between two worlds, forget the bad of the world and remember the good.

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friDAY, september 7, 2018

director’s cut

‘Operation Finale’ Disturbs and Moves Viewers Olivia Simon The capture and trial of Nazi SS officer Adolf Eichmann, one of the major masterminds behind the Holocaust, is not a story that everyone would feel comfortable putting on the big screen. Films that portray the Holocaust can be difficult to produce because they can often capture sensitive moments in ways that may misrepresent or overdramatize the events. While it can be daunting for directors to tackle such material, reaching back through history and relaying these stories in a visual and narrative way reopens conversations about the events’ importance. The film’s director, Chris Weitz, raises intriguing questions by telling the story of Eichmann’s capture in a moving yet deeply disturbing manner.

“Operation Finale,” which was released in theaters Aug. 29, 2018, recounts the strategy of Israeli Mossad intelligence agent Peter Malkin, played by Oscar Isaac, and the rest of his team members to capture Adolf Eichmann, played by Ben Kingsley. The group travels to Argentina — where Eichmann had been hiding since the end of World War II — and carries out a secret plot to capture and bring Eichmann to Israel to stand trial. What makes “Operation Finale” such a troubling watch is that it brings a strong human component to Eichmann. The atrocities of the Holocaust seem like they were born out of some distant evil, but the sad truth is that Eichmann was still very much human. Due to a number of complications, the members of Malkin’s team are not able to depart right away for Israel, so they are forced to take turns caring for Eichmann while they hold him hostage, handcuffed in a bedroom. During Malkin’s shifts, he has to engage in very intimate routines with Eichmann, including feeding him, brushing his teeth and taking him to the bathroom. These processes force Malkin to see him in a more humane light, and he de-

velops rapport with Eichmann — an understanding based around the common toils of the human heart. As they begin to share pieces of their lives with one another, Eichmann opens up to Malkin and expresses the love he has for his family and how all he wants is the best life for his son Klaus. Familial affection is a tangible feeling, and the fact that Eichmann has the capacity in this film to cultivate these relatable emotions is frightening to witness. At first, these humanizing moments disquieted me because it felt like the film was working to make viewers sympathize with Eichmann. But then I realized that my discomfort was the film’s greatest feat. If Eichmann had been portrayed as some unfeeling beast, the audience would not have to make the connection between evil and an individual’s choice to perpetuate or fight it. This realization will creep up on viewers after the fact as they ask themselves how they were unwittingly roped into sympathizing with a Nazi. Whatever the case, Weitz evokes sympathy for Eichmann with ease, as if he is pulling some

kind of emotional joke on us — a joke that merits nervous laughter rather than fullthroated chuckles. “Operation Finale” also offers the possibility that hatred is hereditary. Before the mission unravels, the audience is shown the way Klaus admires his father and seeks his approval. Toward the end of the film, there is a brief clip of Klaus, played by Joe Alwyn, displaying the Nazi flag outside of his home after his father has been captured. The difficulty of eradicating hatred is emphasized through this chilling scene; even as Eichmann is brought to justice, his son continues to spread the Nazi ideology. “Operation Finale” uses a historical tragedy to recount Mossad’s great undertaking and illuminates how themes like unprecedented evil and hatred play into society today. In the age of superhero films in which heroes and villains are unable to relate to one another, Mossad agent Malkin is faced with an adversary with whom he empathizes. Olivia Simon is a senior in the School of Foreign Service. DIRECTOR’S CUT appears in print every other Friday.

miss-taken identity

Dreaming of Adventures, Not Boys

Julia Usiak What do you think about before you go to bed? When I was 7 years old, I had four bedtime fantasies mapped out in my mind, scene by scene. That way, when I drifted off to sleep, I would lucid dream through my own thoughtmovie. These thought-movies were documented in my Lisa Frank journal: me as Nancy Drew, being told to “get off the case!” via a threatening note slid under my door; me as a Parisian chef, telling the newcomer to the cuisine game they “had to pay their dues in this town”; me “coming on down!” on “The Price is Right;” me as Hermione from “Harry Potter.” At 7 years old, I theorized it wasn’t normal for me to have the world’s worst telenovela to deliver me to sleep. My suspicions were confirmed when I asked my older and cooler cousin, Elizabeth, the same question: What do you think about before sleep? Elizabeth dropped her pingpong paddle and pulled me in by my Limited Too poncho, lowering her voice so that Uncle Dave couldn’t hear us un-

der the dulcet tones of Snow Patrol’s “Chasing Cars.” “Boys,” she said without a hint of irony. “Boys — and how they notice me.” This was a novel idea. Out of my five daydreams, only one involved a man — and that man was Harry Potter. I promised myself to keep my eccentric thought-movies forever, but maybe this exchange wasn’t that meaningful: Elizabeth and I also promised to give up going to the bathroom for Lent immediately after this conversation. But the older I got, the more disturbed I became at the rate at which my monolithic childhood dreams diminished. Yes, I understood growing up meant developing more realistic goals, but why were more and more of my daydreams becoming about obtaining male attention? Why was the thought-movie in which I solved the mystery of the old ranch phased out for one in which I became a magician’s assistant? And why did that magician resemble my high school calculus teacher, Mr. Frey? I told myself that it was because now, before I went to bed, I wanted to save brain space for the SATs, APUSH, or AHWEFJ — Acronyms Are Hard to Write Even for Jokes. But the fact remains that I — a needlessly self-confident kid, with the best mom and aunts as role models — responded to the conditioning that a woman’s ultimate aspiration is to be involved with a man. Why did this happen? Was this merely an addendum to the process of growing up, like how “The Care and Keeping of You” inexpli-

cably lands in one’s bedroom? Was it because middle school friendships were entered into the same way one enters a poker game: an ante and responding to the text “who do u like?” Or was it something else?

I — a needlessly selfconfident kid, with the best mom and aunts as role models — responded to the conditioning that a woman’s ultimate aspiration is to be involved with a man. This past summer, I learned about the Bechdel Test, written by cartoonist Alison Bechdel. Three simple rules help evaluate the portrayal of women in movies: The movie has to have at least two women who talk to each other about something besides a man. It sounds simple. Two named women — looking at you, “Woman in Bathroom #3” — each having one or more lines of dialogue, discussing anything but a Y chromosome. But the more I looked at my favorite childhood movies, the more I noticed how few of them passed this low bar: “Toy Story.” “The Lion King.” “Atlantis.” ”Aladdin.” Films that

are specifically marketed to girls during their critical period, the stage in development when characteristics, habits and skills are easily acquired. What messages did these movies impart on me during this crucial window? Take, for example, “Beauty and the Beast.” I certainly inherited Belle’s affinity for reading while walking through crowded suburbs — dangerous — and long-haired men — more dangerous. But the film fails the Bechdel Test. All conversations between Belle and Mrs. Potts, the only two named females, are about the Beast, who, by the way, looks better as a wolf than he does a human. But that was already slated to be the topic of next week’s column. Imagine you’re a woman in a Bechdel-failing world for a day. Twenty-four hours without a word to your roommate about what you had for dinner, or a comment to a classmate about last night’s reading. Instead, every conversation is about your boyfriend, ex, brother or father. Either that, or the conversation never occurs because you never interact with another female in the first place. In the real world, women converse, sharing ideas, commentary and aspirations. So why do we support movies that pretend these conversations don’t exist? And what effects do the elimination of these conversations have on young girls? Julia Usiak is a senior in the College. Misstaken Identity appears in print every other Friday.

friDAY, september 7, 2018

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THE HOYA

RESTAURANT REVIEW

90 SECOND PIZZA

Moist and doughy yet thin and crispy, the thin-crust pizzas served by 90 Second Pizza are reminiscent of the classic Italian delicacy. The chef tops each pizza with high-quality ingredients before placing it in the wood-fired oven for 90 seconds, producing a perfectly cooked crust and delicate flavors.

90 Second Pizza Is Worth the Wait

90 second pizza

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1077 Wisconsin Ave. NW, Washington, D.C. 20007 | Cuisine: Pizza | $ Arden Fitzpatrick Hoya Staff Writer

Nestled between two shops on Wisconsin Avenue, about a 10-minute walk from Georgetown’s front gates, is 90 Second Pizza, a pizza joint that opened in August 2018. The white townhouse with fire engine-red trim immediately draws guests in; the front window displays various fresh ingredients like bags of imported f lour and wooden pizza boards. The menu is simple and to the point, just like the ingredients. Guests can choose from 12 pizza styles, which range from meat lovers to Pascalina, the restaurant’s vegan option, or opt to create their own. Beside the register is a fridge with Italian-style beverages such as grapefruit-f lavored San Pellegrino and Coca-Cola in small glass bottles. The simplicity of the menu makes it easy to sample 90 Second Pizza’s offerings. The Vegetariana Rosa pizza features the restaurant’s special San Marzano tomato sauce and is topped with

mozzarella, bell peppers, eggplant and zucchini. Its margherita pizza has the same cheese and sauce but is topped only with basil. San Pellegrino sparkling water in its signature emerald green bottles rounds out the meal. The pricing is incredibly reasonable: Each pizza costs $9.99 with the option to add any drink for $1.99 — perfectly priced for a casual meal out with friends. The food preparation is a transparent process. The chef carefully pulls the fresh dough into the desired shape, spreads the red sauce and sprinkles ingredients on top before placing the pizzas in the large tiled pizza oven at the end of the counter. The food is ready in about 90 seconds, as promised. The pizzas come out glistening, with perfect, charcoaled crusts, and are placed on square silver serving trays. They are large enough to be shared, but guests have no problem finishing an entire pizza on their own. The pizza has a thin crust, and the f lavors are delicate and simple — not at all overwhelming or processed. It

is evident that the vegetables on the Vegetariana Rosa pizza are roasted inhouse and that f lavor is held to a high standard. The consistency of the crust — moist and doughy while remaining thin and crispy — is reminiscent of pizza in Italy; other American pizzas do not have this quality. The round shape of the pizza is a welcome departure from the elongated pizzas at &pizza. The decor and ambience of the restaurant also improve the customer experience. The first f loor has many red and white accents, like the banister, the counter and the wood-fire oven. The counter is beautifully decorated with colorful mosaic tiles, and a brick wall lies behind it; these features add an urban sophistication to the establishment. Even the staff contributes to the charm: The chef sports a bright white, green and red Italian bandana and the other employees wear white pants with bright red shirts. After receiving their pizzas, guests head up the stairs and enjoy their meals at wooden tables with silver

metal chairs. On the brick walls, chalkboards share fun information about the authenticity of the restaurant, such as the oven’s cooking temperature, the ingredients that make the dough so good and the restaurant’s “secrets” to its success — including the staff’s experience and the lava stone baking surface. Upon exiting down the stairs, guests see “Grazie, Ciao!” written in red, loopy script on the wall, adding to the Italian atmosphere. For the amount of food and the experience guests receive at 90 Second Pizza — for only around $10 — this restaurant is highly recommended. Its food is simple and delicious, it is an easy walk from campus and it is a fun, fast and cheap place to go with friends on a weeknight after class or for a weekend get-together. On a future visit, grab a lemon and mint–f lavored San Pellegrino and order the Pizza Bianca, topped with mozzarella, cherry tomatoes and mushrooms. A meal from Georgetown’s new pizza joint is worth the 90–second wait.

the guide

THE HOYA

FRIDAY, SEPTEMBER 7, 2018

What to Do in DC

MUSIC

NEW RELEASES

MAYA GANDHI Hoya Staff Writer

FARIS BSEISO Hoya Staff Writer

ADAMS MORGAN DAY

The longest-running neighborhood festival in Washington, D.C., will descend upon 18th Street on Sunday with food, live music and artwork. The event, which will run from 12 p.m. to 6 p.m. Sept. 9, celebrates the history and culture of Adams Morgan.

MALUMA

ARIANA GRANDE

MALUMA ‘MALA MÍA’

ARIANA GRANDE ‘THEM CHANGES’ (COVER)

The 24-year-old Colombian singer is ready to build up his “dirty boy” image, as he wrote on Instagram. “Mala Mía” is one of various projects that he’s releasing as he closes out 2018 on a high.

The pop princess joined the crew of BBC Radio 1 in the Live Lounge to deliver a cover of alternative singer Thundercat’s “Them Changes.” With her sharp, resonant falsetto voice, she adds a soulful touch to the bassist’s funk-infused track.

EVENT NATION

TINO SEHGAL: THIS YOU

This new outdoor piece, which will run at the Hirshhorn Museum through Oct. 14, presents the first exclusively live work in the history of the permanent collection, featuring a solo female singer who will interact with guests.

HIRSHHORN

BUSBOYS AND POETS

The new K Street location of the popular bookstore and cafe opened this week, a revival of its longstanding but recently shuttered shop in the area. The new spot features a mural of prominent women including Frida Kahlo and Zora Neale Hurston.

BUSBOYS AND POETS

GEORGE WASHINGTON PATRIOT RUN

This exciting race on Sunday, which offers a 5K, a 10K and a Kids Fun Run, gives runners the chance to trace the path down the George Washington Memorial Parkway up to President George Washington’s Mount Vernon mansion.

KODALINE

CALVIN HARRIS

CALVIN HARRIS KODALINE AND SAM SMITH, ‘PROMISES’ ‘HEAD HELD HIGH’ Continuing his shift away from dropheavy electronic pop tracks, Calvin Harris teamed up with Sam Smith on “Promises” to create a groovy and relaxed new track. The video is a point of pride for the duo, as it showcases the queer ball scene of the 1980s.

In contrast to Irish rock band Kodaline’s early work, “Head Held High” is a much more pop-influenced song. With its inspirational lyrics and feel-good chords, it’s a great record to start your day on a positive note.

MOUNT VERNON

‘MACBETH’ AT THE FOLGER

Check out this staging of William Shakespeare’s tragedy at the Folger Theatre, which will run from Sept. 4 to Sept. 23. The production features a new approach, based on a later adaptation of the play. FOLGER SHAKESPEARE LIBRARY

friday, SEPTEMBER 7, 2018

the guide

THE HOYA

MOVIE REVIEW

‘Crazy Rich Asians’ Defies Hollywood Stereotypes

Directed by: Jon M. Chu Starring: Constance Wu, Henry Golding, Awkwafina CYNTHIA SUN Hoya Staff Writer

At a time when Hollywood has started to realize that diversity sells, “Crazy Rich Asians” brings glitz and glamour to the rom-com genre and makes history in the process. Dynamic performances by Constance Wu and Henry Golding and nuanced characters who defy tropes make the story compelling, while the appealing landscapes and costumes delight the eye. Signifying a cultural milestone for the Asian-American community, this blockbuster is the first major studio film to feature a majority-Asian cast since “The Joy Luck Club” over 25 years ago. Based on Kevin Kwan’s bestselling novel, “Crazy Rich Asians” tells the colorful story of ChineseAmerican economics professor Rachel Chu, played by Wu, who accompanies her longtime boyfriend Nick Young, played by newcomer Golding, to his best friend’s wedding in Singapore. Rachel is unknowingly thrust headfirst into a world of elitist family members and jealous socialites when she discovers that her boyfriend comes from one of the wealthiest families in Singapore. Throughout the film, Rachel navigates many challenges, the most difficult being the disapproval of Nick’s mom, Eleanor Young, played by Michelle Yeoh.

On the surface, “Crazy Rich Asians” is a lavish escapist fantasy with a crazy plot and an even more eccentric ensemble of characters. The breathtaking scenery of Singapore and extravagant costumes contribute to the visual feast that the film offers. “Crazy Rich Asians” also tells the story of an Asian-American woman coming to terms with her cultural identity and embracing her mixed heritage with great pride. Throughout the movie, the greatest criticism Rachel faces from Nick’s family and friends — especially his mother — is that she will never be enough for Nick or his world due to her American roots and lower socioeconomic status. Eleanor particularly looks down on the fact that Rachel is the daughter of a single mother and that Rachel pursues her passion rather than focusing on familial responsibility. The personal journey Rachel undergoes provides the backbone of the narrative, and the moment she realizes her own self-worth, regardless of what others think, is an empowering and emotional scene. The vulnerability, strength and humor that Wu brings to her character endear her to the audience and leave them rooting for her happy ending. Along with Wu, the star-studded ensemble features a combination of established Hollywood actors and actresses and notable newcomers; this mix can be attributed in large part to

director Jon Chu’s initial international open casting call in 2017, through which he aimed to boost Asian representation on the big screen. Western films usually feature commonly recycled depictions of Asian characters: the tiger mom, the martial arts master, the awkward nerd and so forth. “Crazy Rich Asians” turns these tropes on their heads and shows Asians in a refreshing new light. For example, the film’s portrayal of men like Nick as attractive and charming combats the stereotype of the undesirable Asian man. Rachel’s college friend Peik Lin, played by Awkwafina, demonstrates this portrayal when she gawks at Nick and says, “He’s like the Asian Bachelor!” Perhaps even more significantly, Asian women in the film are depicted as strong, independent and multidimensional through an array of different characters and personality types. The dignified Eleanor, for example, a formidable antagonist, captures both the audience’s frustration and sympathy with her unyielding loyalty to her family. Peik Lin, on the other hand, proves an absolute scene stealer with her wit and unabashed attitude. One of the most empowering scenes in the film centers on Nick’s cousin Astrid Leong, played by Gemma Chan. Her unwavering composure and politely reserved nature conceal a remarkably complex woman who delivers one

 of the film’s most iconic lines in the face of her crumbling marriage. To her husband, she says, “It’s not my job to make you feel like a man. I can’t make you something you’re not.” Taken as a whole, these characters’ dynamism is a welcome change to standard Asian representation in the media; the film emphasizes the humanity and nuance of Asian people in a way that Hollywood has rarely explored. One of the most common criticisms the film has received is that it does not represent every Asian experience. Given its focus on a specific and niche society within Asian culture — with primarily light-skinned characters of Chinese descent — this is a valid observation, which the actors, including Wu, have acknowledged. It is worth noting, however, that given the diversity in the Asian community, a single movie could not capture every story and do them all justice. While “Crazy Rich Asians” is by no measure fully representative or a catch-all solution to Hollywood’s longstanding neglect of minorities, its greatest triumph is that it opens the door for better, more inclusive representation and more diverse Asian-American narratives. As the film continues to dominate in the box office, “Crazy Rich Asians” proves to be a true testament to the importance of representation in the media and paves the way for a more inclusive Hollywood.

WARNER BROS.

Rachel Chu, played by Constance Wu, and Henry Golding, played by Nick Young, defy tired Hollywood tropes about Asians amid the vivid background of Singapore’s skyscrapers in “Crazy Rich Asians.” The blockbuster romcom explores themes of classism and identity with an eccentric cast of colorful characters.

B10

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the guide

friDAY, september 7, 2018

album REVIEW

EMINEM

Rap legend Eminem took lyrical shots at a plethora of rappers, critics and politicians on his new album “Kamikaze.” The rapper’s 10th studio album, which dropped last month, came unannounced, but presents a cohesive comeback album for the 20-year veteran of rap.

Kamikaze Eminem

charlotte lindsay Hoya Staff Writer

Eminem lashes out at anyone and everyone on his latest album “Kamikaze,” reacting fiercely to the disappointing commercial and critical performance of his 2017 album “Revival.” The Detroit, rapper deploys lyrical tongue twisters and explores topics as diverse as Vice President Mike Pence and the Grammy Awards during his ferocious attempt at a comeback. Over his 20-year career, Marshall Mathers, better known by his stage name Eminem, has accumulated a large fanbase with his distinct rapping style and clever lyricism. Eminem’s creativity has kept him relevant in the everchanging rap music scene, and his 100 million worldwide album sales are a testament to that. While most musicians spend months drumming up excitement for an album release, Eminem’s 10th studio album, “Kamikaze,” came unannounced. This surprise release was especially surprising given the poor performance of his previous album, “Revival,” which he released in 2017. Eminem, ever self-aware, admits this fact on his new album’s second song, “Greatest,” wrapping that “‘Revival’ didn’t go viral.” On “Fall,” Eminem shows that he remains unfazed: “I took an L when I dropped my last album / It hurt me like hell but I’m back on these rappers.” Throughout “Kamikaze,” Eminem’s resilience carries through once again. Despite

 drug addiction, an array of controversies and countless public feuds –– including ones with his own mother, his ex-wife and President Donald Trump –– Eminem has shown his ability to adapt and overcome. “Kamikaze” is, for all intents and purposes, a reactive album. Eminem is clearly responding to the feedback he received from his last album, and he does so in both a direct and indirect manner. He is attempting to regain his status as a rap icon. The most direct response appears on “Greatest,” in which Eminem expresses his belief that he might be the “greatest in the world … the best to ever do it.” He makes this claim despite his own admittance that his previous album had subpar performance. Despite this concession, he raps that people are still trying to copy him, which he views as proof that he is still relevant. In addition to touting his own talent, Eminem expresses a disapproval of current rap trends like autotuned crooning and simplistic lyrics. On “The Ringer,” a bold first track that echoes some of Eminem’s earliest and most popular works, his vicious alter ego “Slim Shady” makes an appearance, as he tears apart artists like Lil Yachty, Lil Pump and Lil Xan for their “mumble rap.” Eminem’s attacks are not limited to rappers, however: He also pokes fun at Pence and criticizes media outlets for using his name for views. “Not Alike,” which serves as an indirect critique of the current rap scene, features repeat collaborator Royce da 5’9”, who last appeared on an Eminem project in 1999’s “The Slim

Shady LP.” The beat of the track mirrors that of Drake and BlocBoy JB’s “Look Alive.” With this similarity, Eminem shows that while he is capable of following today’s musical trends, he actively chooses not to, preferring to be original. This perceived lack of creativity is also addressed on “Fall”: “One minute, they’re mockin’ Jay / Next minute, they get their style from Migos, ’til they copy Drake.” An additional display of Eminem’s refusal to conform comes in the two skits that break up “Kamikaze.” In “Paul,” Eminem’s manager Paul Rosenberg leaves a warning message that the album might be a bad idea, given that it is in large part an attack on his peers. Eminem responds with his own skit, “Em Calls Paul,” in which he expresses no doubts about the album and launches yet another attack on an unidentified music reviewer. These skits cement the album’s reactive quality. While the reactionary message of the album is clear, it is not ubiquitous. “Lucky You,” which features fellow rapper Joyner Lucas, is much more reflective. In his verse, Eminem discusses selling your soul to be commercially successful. Winning 15 Grammys out of his 43 nominations, he raps that he was in the industry for the recognition and expects to receive continued success. “Normal,” which breaks up the album with a singing flow, also provides a thematic break. Eminem touches on a common theme in his songs: failed relationships. Shock value is certainly present in this song, with Eminem nonchalantly addressing domestic violence,

normalizing it by saying that it makes “love for each other grow stronger.” Like “Normal,” “Stepping Stones” bears similarities to Eminem’s early-2000s work, most obviously “When I’m Gone.” He temporarily abandons his rapid-fire rapping in favor of a more sing-songy delivery. Eminem’s tough exterior fades away as he expresses regret for mistakes that he has made both publicly and privately. An otherwise stellar album, “Kamikaze” is dragged down by two weak songs that lack the thematic relevance or reflection of others. The bizarre “Nice Guy (with Jessie Reyez)” is the least thrilling song on the album. The chorus, with Reyez screeching, is jarring and quite frankly painful to listen to. Eminem’s verse is underwhelming, with little substance. The follow-up song “Good Guy,” which also features Reyez, is slightly better than the previous, mostly because Reyez switches over to a more pleasant singing style. The track is, however, certainly still a decline from the early songs on the album. These disjointed songs diminish the cohesiveness of the album and fail to match the general quality of Eminem’s discography by a sizeable margin. Despite a few questionable songs, “Kamikaze” did what Eminem –– as well as his fans –– wanted the project to do. In a show of his artistry, Eminem successfully stitched together a patchwork of diverse lyrical topics into a cohesive comeback album that should quiet claims that he has been ousted from the contemporary rap scene.

friday, september 7, 2018

the guide

THE HOYA

B11

album REVIEW

TROYE SIVAN

Happiness and melancholy complement each other on Troye Sivan’s latest album, which features both innovative tracks that explore gay love and pop songs that slip into cliches. The singer’s exploration of his past relationships is distinctly personal, and his honest exploration of his pain captures listeners.

Bloom Troye Sivan timothy mcnulty Hoya Staff Writer

Though Troye Sivan’s “Bloom” tackles the same relationships and themes as on his previous projects, the Australian pop star’s latest album merits the singer as a new and diverse voice in an ever-expanding pop scene through its heartfelt storytelling and solid production. As the songs alternate between upbeat and low-tempo throughout most of the album’s short 37-minute runtime, linear time breaks down and treats each of Sivan’s relationships, past and present, as an integral part of his identity. “Bloom” is split into two song types: those addressing the sadness of his past breakups and those describing the joy of new romance. This constant juxtaposition throws “Bloom” into constant flux without allowing a solid footing in either thematic space. Sivan captures the passion of finding a new lover on “My My My,” the lead single and second track on the album. He embodies freedom and fulfillment when he sings on the booming chorus: “I die every night with you / ... / Living for your every move.” The confidence in Sivan’s voice and his ar-

 tistic persona elevate the song, giving it an edge over other love songs with similar messages. Similarly, “Bloom” and “Seventeen” both take the traditional pop song model of yearning for love and subvert it by making both the lover and the object of this love explicitly male. While “Seventeen” stays mostly in the realm of gay love, the song “Bloom” especially challenges what role male pop stars occupy by singing about sexual empowerment without giving the impression of dominance over a partner. Despite the powerful symbolism present in Sivan’s love songs, they sometimes fall into the rut of already-been-done songwriting. The lyrics describing love rely heavily on metaphors that feel overused, helping to highlight the production but hindering the songs’ originality. However, Sivan shines when he does manage to innovate and break away from love cliches. One successful example of Sivan’s musical exploration is on “Dance to This,” featuring Ariana Grande. With simple percussion and both singers coolly and casually serenading each other, the duet does not concern itself with abstract,

lofty ideas. Their playful back-and-forth sounds like two friends genuinely wanting to have a good time, and this chemistry plays out excellently in the song — making “Dance to This” one of the most charming songs on the album. To say that “Bloom” is a cheerful album, though, would discount the fact that every happy moment is accompanied by a melancholy counterpart; the sorrow found in the rest of the songs on the album ends up rendering the joy Sivan feels more meaningful. This conflict by itself is not revolutionary, but Sivan intertwines the two emotions seamlessly on songs like “Plum,” where cheerful, upbeat claps and percussion accompany deep insecurity about the stability of a relationship. As he digs deeper into his honest thoughts on the progress and failures of his past relationships, Sivan shares genuine and personal moments of pain, betrayal and regret that engage and challenge their listener. Songs like “Lucky Strike,” “Animal” and “What a Heavenly Way to Die” all grapple with passion and devotion using reverberating voices, desperate pleas and a solemn tone. “The Good Side” presents an apology for

the time he deserted a partner, while “Postcard” struggles with rejection and distance; both serve as confessionals and lay the groundwork for Sivan to make vulnerable, intimate music. However, despite the importance of Sivan, an openly gay man, reaching bona fide stardom in a traditionally unreceptive pop audience, his success should not imply that pop music does not need more voices that have different experiences than the mainstream. Sivan himself has denied the title of “gay icon” and instead insists that even more artists should receive a warm welcome into the new pantheon of pop stars who have begun to define this decade’s music history. “Bloom” is simply one person’s story out of many — thus, the project has the room to be Sivan’s experience rather than a hopeless attempt to encompass the entire gay experience. Sivan knows that he has a special opportunity with such a big platform; on “Bloom,” he truly excels when he dodges overused lyrical tropes and gets personal. His latest project makes clear that pain and joy are inseparable and form important parts of his story.

Carly Rae Jepsen BoRNS Ravyn Lenae Jessie Reyez LPX ALMA Kaye SNNY Billie Eilish Betty Who The Aces FootsXColes Maggie Rogers Cautious Clay Two Feet oshun

Illustration BY: anna kooken/THE HOYA