The Hoya: The Guide: November 10, 2017

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friDAY, November 10, 2017

Rumors Uncovered: Inside Kober-Cogan Mac Dressman and Noah LevesquE Hoya Staff Writer and Special to The Hoya

A walk through the abandoned Kober-Cogan Building reveals old books, medical kits and remnants of a hospital all covered in a film of dust, now nearly erased from memory. Furniture still sits untouched in the empty offices of the psychiatric department, while medical equipment once used to study virology grows rusty.

Debris covers the floor and many rooms are little more than decrepit shells, but charts and signage are still intact and give the impression of a once-vibrant medical community.

Although the building’s doors are locked to all except maintenance workers, those daring enough to find a way in through the tunnels from the Reiss Science Building are treated to an impressive view of campus and Washington, D.C., on the building’s rooftop.

Kober-Cogan’s Closing Located between the Leavey Center and the MedStar Georgetown University Hospital parking lot, Kober-Cogan occupies an important space in Georgetown University’s history of medical treatment and research. But since it was closed in 2010, the building has sat empty on Tondorf Road, awaiting its demolition.

Like many buildings at Georgetown, KoberCogan is insulated with asbestos, and it must therefore undergo an asbestos abatement process before it is taken down. This process is scheduled to begin January 2018, and the building’s demolition is scheduled to be complete June 2018.

The building was named after former Dean

TOP: ANNA KOVACEVICH/THE HOYA, BOTTOM: GEORGETOWN UNIVERSITY ARCHIVES

The Kober-Cogan Building was constructed in 1959 and originally named for George Kober and William Cogan, former deans of the Medical Center and Dental Center, respectively, top. The building was abandoned in 2010 and has since been a source of intrigue for students.

of the Georgetown University Medical Center George Kober and former Dean of the Georgetown University Dental School William Cogan.

After its construction in 1959, the 48,500 square foot-building served for six years as a residence hall for medical and dental students before Darnall Hall was constructed in 1965.

From 1965 on, Kober-Cogan served as a clinical building for various fields of medicine and research, including psychiatry, ophthalmology virology and speech, and had a hearing center.

Kober-Cogan presents an eyesore for some and a source of intrigue for others, but it is soon going to reclaim its place as part of Georgetown’s history.

After 51 years of service in these capacities, MedStar evacuated and closed off Kober-Cogan in 2010, citing health concerns related to mold potentially arising from a steam leak in the building. Kober-Cogan was used largely for clinical treatment at the time, but has been unoccupied ever since.

Mysteries Beneath Kober-Cogan Perhaps the most fascinating aspect of the abandoned building is the presence of hidden underground tunnels that run under campus and provide access to Kober-Cogan. Connecting the hospital to Reiss, the main tunnel stretches for hundreds of feet and leads directly into the stairwell of Kober-Cogan.

Inside the passage are broken glass bottles, rusty tools and a disheveled, dirty mattress.

The air is thick with dust, and the atmosphere is hardly pleasant, but no security concerns were cited by Robin Morey, vice president of planning and facilities management, when she was asked by The Hoya about the building.

Today, the building’s boarded-up entrances and “no-trespassing” signs have led to a fair amount of speculation about its history. Some students have shared rumors that the CIA’s MKUltra human subject experiments had a connection to Kober-Cogan.

Conducted between 1953 and 1973, the CIA’s MKUltra program conducted experiments at universities, hospitals and prisons in an attempt to develop mind control techniques that could potentially be used for interrogation and covert operations.

Many of the experiments violated standards established in the Nuremberg Code, a set of research ethics principles developed after World War II, because they involved unwilling administration of drugs, hypnosis, sensory deprivation and torture, all on unwilling patients.

The CIA took particular interest in the MGUH in the mid-1950s and provided the university with funds to build the research building that would eventually house these experiments.

However, although declassified CIA

friday, NOVEMBER 10, 2017 documents related to the testing program suggest that one-sixth of the MGUH’s Gorman Building was set aside specifically for this purpose, there is no evidence in the documents that directly links Kober-Cogan to the program. Such rumors may have arisen because the building’s construction in March 1959 coincided with the start date of Georgetown’s MKUltra program.

Other rumors spread about Kober-Cogan have far less basis in fact — some say it is a meeting spot for Georgetown’s secret societies, and others even claim the building is haunted by the ghosts of its psychiatric ward.

What these rumors prove, if anything, is that most students know very little about the building, but many are intrigued by its mystery.

Future Plans Despite the rumors and curiosity surrounding Kober-Cogan among the student body, campus faculty and police do not have any public plans regarding safety concerns for the building or the tunnels. MedStar staff members did not respond to requests for comment, and the Georgetown University Police Department did not respond to requests for comment regarding about safety concerns or the existence of tunnels surrounding Kober-Cogan.

The passage no longer allows access to Kober-Cogan. Although the tunnel can still be entered, the entrance to Kober-Cogan is closed by a locked metal door covered in rust, blocking the only path into the secretive building.

It is unclear precisely when or why this door was closed, putting an end to intrepid students’ exploration. Regardless, the passage

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could be gone soon entirely.

“These are largely utility tunnels,” wrote Morey. “[The tunnels] will be blocked off and secured.”

The space currently occupied by Kober-Cogan is planned to be used in the construction of both an extensive underground parking garage and a 477,000-square-foot medical and surgical pavilion.

Planned to house 156 patient rooms, a new Emergency Department and updated operating rooms, this pavilion is intended to improve MGUH’s capacity and quality of care.

The roof of the new building is slated also serve as a helipad, which, despite its proximity to busy locations such as St. Mary’s Hall and Darnall Hall, is designed to make less noise than the current helipad near Shaw Field.

Other plans for the $567 million project include updating current hospital facilities and creating two large green spaces, one between St. Mary’s Hall and Reservoir Road and the other between the new pavilion and Epicurean and Company. The Reservoir Road entrance to campus is set to be redesigned for better handicap accessibility. Construction is likely to have a significant impact on vehicular traffic in the area until its scheduled completion in 2021.

Kober-Cogan presents an eyesore for some and a source of intrigue for others, but it will soon reclaim its place as part of Georgetown’s history. The building’s demolition is set to make way for a more capable hospital and a more accessible campus, but with it disappears mysterious rumors and late-night adventures in its abandoned rooms. For future Hoyas, stories of students exploring the crumbling tunnels running deep beneath campus will seem purely the stuff of myths.

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The space currently occupied by the Kober-Cogan Building is to be used as an underground parking garage and medical and surgical pavilion for MedStar Georgetown University Hospital, top, in upcoming renovations. The building is set to be demolished by June 2018. For the time being, Kober-Cogan is accessible through tunnels from the Reiss Science Building.

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THE HOYA

friDAY, november 10, 2017

testing truisms

Determining the Value of Hard Work

Vera Mastrorilli

T

he tension in the room is palpable as your professor passes back the exams. It was a notoriously difficult midterm, and you pored over your notes for days in hopes of getting an A. “I didn’t study,” the girl next to you confesses. “I’m just hoping for a C.” When the professor hands your neighbor her exam, you cannot help but peek. Despite her professions of self-doubt, a red A is circled at the top of her paper.

We all know people who excel in school without seeming to try. They refute teachers’ claims that success requires hard work and make you question those inspirational middle school posters that insisted on the importance of trying your best. A quote by Thomas Edison often printed on these posters stands out in particular: “Genius is 1 percent inspiration and 99 percent perspiration.”

But how did your classmate, who did not study for the exam, earn an A? Given some peo-

ple’s seemingly innate abilities to accomplish their goals, how much does success depend on talent rather than hard work?

When it comes to getting your foot in the door, talent may be more important than achievement through hard work. Three studies found that applicants who appear to have natural talent are more likely to be hired than those who, through effort, achieved more than the naturally talented applicants.

Even though the hiring managers in the studies claimed that they valued hard work over talent, in practice, they favored talent over hard work. Perhaps talent seems more impressive than success achieved through persistent effort — anyone can work hard, but people with talent have greater potential from the start.

However, the ability to work hard is a talent, to some degree. According to an article in the Harvard Business Review, about half of the traits that determine people’s motivation, or willingness to put effort into achieving their goals, are part of their personalities. These characteristics, such as conscientiousness, do not change much over the course of their lives, so levels of motivation tend to be somewhat consistent. So how hard you work may be, to some degree, due to your personality.

If it really is the case that “perspiration” does not seem to have a sizeable effect on motiva-

tion or initial success, then why try at all?

Psychologist Angela Duckworth, whose research popularized the concept of grit, sees it differently. Grit consists of perseverance through challenges and failures and singleminded passion to achieve long-term goals.

Duckworth found that grit is as important as, if not more important than, talent or intelligence quotient; she also found that people can grow their grittiness. For example, learning how to practice something in a way that improves upon your weaknesses and feels achievable helps to develop grit. You may have taken such a measure by, for example, making flashcards instead of merely studying your notes.

What sets grit apart from talent is that it enables people to sustain their commitment to goals over a long period of time. Talented people may not have the stamina to continue to pursue their goal, even if they are naturally skilled at what they do. Grit gives people the self-motivation to follow through with longterm endeavors, such as earning a college degree.

Not everyone agrees that grit can be learned, however. A group of researchers from the U.S. National Library of Medicine believe that personality traits such as conscientiousness, rather than a learned mindset or methods of practice, determine a proclivity for grit.

Furthermore, while hard work does in-

crease skill, a study in The New York Times found that among people who have practiced piano for the same amount of time, those with natural ability outperform those without it; in other words, “perspiration” can only get you so far. Yet while such a difference in performance may matter in a college class, success is not always measured on a curve.

You can be successful in your career and on assignments that are not curved even if others perform better than you.

Talent is not a prerequisite for achieving lofty goals. The researchers from The New York Times’ study acknowledged that people with average IQs still do earn advanced degrees, although they are significantly less likely to do so than their peers with higher IQs. For some, like your classmate who earns As without studying, natural ability rather than “perspiration” and grit may lead to success.

But while talent can improve performance, the effectiveness of hard work and motivation, whether based in personality or achieved through practice, cannot be discounted. The willingness and drive to get 99 percent of the way to a long-term goal contributes to success in a way that talent cannot.

Vera Mastrorilli is a junior in the College.

TESTING TRUISMS appears online every other Tuesday.

the music on my playlist

Jessica Andino’s Top Latin Music Picks Jessica Andino is the vice president of the Georgetown University Student Association.

‘la negra tiene tumbao’ by celia cruz The direct translation of “La Negra Tiene Tumbao” is “the black woman has swagger,” which Celia Cruz embodied, proving that she was the “queen of salsa.” Cruz was not just a talented musical artist but an inspiring figure as well. She had to combat and overcome sexism, racism and political challenges in Cuba and the United States to make it in the industry ,all while navigating being an Afro-Caribbean woman. “La Negra Tiene Tumbao” encapsulates all the swagger that Cruz sings about as she encourages listeners to enjoy life but still work hard.

CELIA CRUZ

‘baila esta cumbia’ by selena Selena Quintanilla was a cultural icon who will forever be known as the queen of Tejano music. Her combination of cumbia and Latin pop helped redefine Latin music. “Baila Esta Cumbia” is one of my all-time favorite Selena songs because it makes me feel energized every time I listen to it. Despite her short-lived career, Selena remains highly venerated and relevant in Latinx culture.

‘chantaje’ by shakira I have listened to Shakira’s music my entire life. She rose to success in 1996 in Latin America and then again globally in 2010 when she performed the official song for the FIFA World Cup. Apart from being a gifted musical artist, she is a philanthropist and the founder of the Pies Descalzos Foundation, which aims to provide poor children with education and food. “Chantaje” is the song that I have been playing on repeat for almost eight months, and I expect it will remain on my playlist for months to come.

‘imitadora’ by romeo santos

‘gasolina’ by daddy yankee

Romeo Santos is often referred to as the king of bachata, and he infuses rhythm and blues and hip-hop into the bachata genre. His distinct, upbeat sound makes his music appealing to all listeners, whether or not they understand Spanish. “Imitadora,” a track from his latest album, “Golden,” presents a man’s passionate plea to the woman who once loved him.

Reggaeton is a fairly new genre in Latinx music, emerging from Puerto Rico in the 1990s.

The first reggaeton song that I remember listening to is “Gasolina.” Daddy Yankee is the king of reggaeton and has paved the way for many reggaeton artists to break into the mainstream American music scene. “Gasolina” remains a highly popular party song, capable of getting entire crowds of people to dance at parties.

‘felices los 4 salsa version’ by maluma feat. marc anthony Maluma is a Colombian singer and songwriter who has recently emerged in the Latin music scene. He worked with Grammy award-winning singer Marc Anthony to produce a salsa spinoff version of his original “Felices los 4” track. “Felices los 4” was Maluma’s first single to earn a spot on the Billboard Hot 100 and is an upbeat, catchy track perfect for dancing.

DADDY YANKEE

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FRIDAY, NOVEMBER 10, 2017

MUSIC

THE HOYA

THIS WEEK’S TOP FIVE

NEW RELEASES

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Indie Artists to Watch

One of the youngest and most promising indie artists of 2017, Billie Eilish’s rhythm and blues infused sound toes the line between indie and pop. Her hit “Ocean Eyes,” released last year, showcases her vocal talent and her breadth of influences. With decades left in her career, she is an artist with great potential for growth. Tune in now for the chance to see how her sound matures as her audience expands.

SOUNDCLOUD

KODAK BLACK & PLIES ‘TOO MUCH MONEY’ This past week, Florida hip-hop artists Kodak Black and Plies teamed up for a rap project titled “F.E.M.A. (Finesse. Elevate.

Motivate. Achieve).” “Too Much Money” is the first track on the mixtape and shows both artists in good form. Swaying with an upbeat, soft synth hook, Kodak Black is a commanding presence throughout the song, pausing only to let Plies rap his one verse. Like “Too Much Money,” the other songs on the album are full of sharp bars and comedic gems; it is a must-listen for all trap fans.

JAMES HOLDEN

JAMES HOLDEN & THE ANIMAL SPIRITS ‘EACH MOMENT LIKE THE FIRST’ “Each Moment Like the First” is a track off of the talented electronic music producer James Holden’s recent trance collaboration with improv ensemble The Animal Spirits. Holden ventures away from his typical style, choosing not to use traditional dance and house music sounds, and it has yielded strong results. This track is technically sound and an excellent example of catchy trance music; its sharp melody and synths give it a powerful energy that drives it through to the end.

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Hippo Campus comes from of a long line of indie bands whose slow, dreamy sound is calming and evocative. The group has been making music together since 2013, but its rise to stardom began in 2015 with the singles “Little Grace” and “Suicide Saturday.” The band’s new extended play “warm glow” was released in September and is a must-listen.

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At 19, Declan McKenna is younger than the average Georgetown student. But despite his youth, the indie artist is taking the world by storm. The English singer-songwriter released his debut studio album, “What Do You Think About The Car?”, this year after signing a deal with Columbia Records, but his musical roots run deep. He wrote his first hit, “Brazil,” when he was just 15.

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BLAKE SHELTON

TAYLOR SWIFT

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TAYLOR SWIFT ‘CALL IT WHAT YOU WANT’

BLAKE SHELTON ‘GOT THE T-SHIRT’

The fourth single off Taylor Swift’s anticipated upcoming album, “Reputation,” is more developed than the previous three.

Swift takes refuge in love even though she sings that her “castle crumbled overnight.”

Swift defies her haters deliberately, showing that she has matured and does not need saving. “Reputation” drops Nov. 10 and is sure to dominate the music charts next week.

With signature country twang and melancholy, country artist and “The Voice” judge Blake Shelton laments a breakup, using an extended metaphor in which he compares his ex-girlfriend to a tourist; she “has been there, got the T-shirt.” The track’s slow pace allows for Shelton’s pained croons to shine, helping him connect with the audience. Shelton released his latest album, “Texoma Shore,” on Nov. 3.

Maggie Rogers is one of the most talented vocalists in the indie scene. She wrote her debut release, “Alaska,” in just 15 minutes. The recent college graduate shows some of the greatest promise in today’s music scene with meaningful lyrics and a beautiful, vulnerable voice. Having just released one extended play thus far, Rogers has much more to show the world.

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Moses Sumney instantly strikes listeners as not just a talented artist, but also a fun person to befriend. His latest album “Aromanticism,” released in September, captures the best of the subtle indie music of the past ten years. Sumney is a thoughtful musician, capturing emotion with lyrics better than those of typical modern pop artists. Sumney’s most recent work signals a bright future for his distinct musical style.

BILLIE EILISH

BILLE EILISH

HIPPO CAMPUS

HIPPO CAMPUS

DECLAN MCKENNA

DECLAN MCKENNA

MAGGIE ROGERS

MAGGIEROGERS.COM

MOSES SUMNEY

MOSES SUMNEY

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friDAY, November 10, 2017

exhibition

‘Pickett’s Charge’: A Modern Take on Civil Rights JULIA YAEGER

Special to The Hoya

“It kind of worked out, right?” said Mark Bradford, smiling and gesturing to his almost-400-square-foot creation at the Nov. 7 press preview of his new exhibit, “Pickett’s Charge.” The contemporary artist’s newest work occupies the entire third floor of the Hirshhorn Museum and Sculpture Garden beside the National Mall. The project is two years in the making and each of its eight constituent paintings are over 45 feet long. The exhibit tackles the issue of civil rights in modern America through a creative lens.

Bradford’s charismatic attitude and rapport with museumgoers during the press preview matched the dynamic mood of his paintings. In this respect, it is clear that he puts his soul and personality into his works. As a great visionary of the period, Bradford is turning contemporary art on its head. He kept touching and moving the pieces throughout the preview, putting all viewers on edge but also proving that art is dynamic and should not be taken too seriously. The eight pieces were commissioned by the Hirshhorn two years ago; Bradford began them in his studio, took a break to stage another exhibit, “Tomorrow is Another Day” at the La Biennale di Venezia International Art Exhibition, and then continued on to finish “Pickett’s Charge.” He claimed that this break allowed the project to develop and its purpose to change over time.

Bradford started this commission planning to create a series of paintings based on the idea of civil rights, inspired by the Hirshhorn’s location on the National Mall. Bradford’s work calls viewers to consider the ways in which American narratives are shaped over time and how remnants of the past, like the Civil War period, can manifest in the present.

Bradford drew inspiration from the Hirshhorn building itself when creating his pieces. Because the museum is circular, Bradford decided to create a “cyclorama,” a giant, circular painted diorama that completely surrounds the viewer.

In his research of cycloramas, Bradford discovered “Gettysburg Cyclorama,” a famous work by French artist Paul Philippoteaux that depicts Pickett’s Charge, the Confederate attack on Union armies during the 1863 Battle of Gettysburg.

Pickett’s Charge then became the inspiration for Bradford’s final piece and the title of his exhibition.

While experimenting with different textures and styles, Bradford fought to keep all eight pieces unified. To do this, he used rope purchased from Home Depot, which is colorful and is similar to the cords used by rock climbers, as the bottom layer of all of his pieces.

“That was an architectural and grounding mechanism,” Bradford said.

This rope runs both horizontally and in waves throughout all eight pieces. The ropes are covered with layers of paper and photos, building texture. In some places, Bradford ripped the rope out of the paper to create torn lines. In other pieces, he left the rope either hidden, to create ridges, or exposed, to show color and differing textures. The consistency of these lines unifies the eight pieces, making the exhibit cohesive. Furthermore, the ropes represent the themes of struggle and oppression inherent to the subject matter of post-Civil War America.

The development of Bradford’s style is apparent throughout the eight paintings, although each is distinct in its own right. Whereas the painting “The HighWater Mark” is almost entirely abstract and uses wavy lines to create movement and visual interest, in “Dead Horse,” the final piece that Bradford created, vivid images of soldiers marching and fighting are the central focal point. Bradford claimed that he made “Dead Horse” less abstract than the rest of the pieces because he wanted to push himself creatively.

Bradford also uses negative space to create visual interest. In “The Thunderous Cannonade,” colorful paper forms giant, abstract shapes with black negative space. This is the only dark piece in the collection, but the grounding techniques of the torn paper and rope allow the painting to fit in among the other works.

Put simply, the exhibit makes sense.

Walking around the third floor, it is clear the exhibit tells a story.

Visitors begin with bright-colored abstractions and curved lines and finish with “Dead Horse,” the only literal artistic interpretation of Gettysburg in his abstractions of the battle. His message of calling viewers to contemplate civil rights and social justice in post-Civil War America is clear from the imagery in these works.

During the press preview, Bradford and the museum curators, chief curator Stéphane Aquin and senior curator Evelyn Hankins, continuously referred to Pickett’s Charge as a “monument.” We often think of monuments as bronze statues of presidents and soldiers, but we rarely think of monuments as pieces of abstract art.

Bradford addressed the current social connotation of monuments, and his work reclaims monuments as places that represent expression and resistance.

Even though he began the work almost two years ago, the social context of a monument is more relevant than ever.

“This work is a way of looking at the past from a new perspective,” Bradford said.

“Pickett’s Charge” will be on display at the Hirshhorn Museum beginning Nov. 8, 2017, and will run until Nov. 12, 2018.

Admission to the Hirshhorn is free of charge.

HIRSHHORN MUSEUM AND SCULPTURE GARDEN

“Pickett’s Charge” draws inspiration from the Battle of Gettysburg and the National Mall to create an eight-piece cyclorama that comments on social justice in post-Civil War America.

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theater preview

GU Theater Presents a Modern Take on‘Caesar’ Rachel Linton Hoya Staff Writer

“How many ages hence / shall this our lofty scene be acted over / in states unborn and accents yet unknown!” Cassius asks as he and his co-conspirators wash their hands in Caesar’s blood. The line is one of Shakespeare’s most prescient: spoken by a character in ancient Rome, written in 1599 and still resonant with modern politics in a country that did not exist at the time the play was written.

Georgetown University’s theater and performance studies program gives this line a new life in its upcoming production of “Caesar,” adapted from William Shakespeare’s play and directed by Anita Maynard-Losh, who also serves as the director of community engagement at Arena Stage, a Washington, D.C. theater company. “Caesar” is the second production in the program’s 2017-18 season, after “The Infinite Wrench,” a production presented last month in partnership with The Neo-Futurists, an American experimental theater company.

The play is centered on Julius Caesar, played by Charlie Trepany (COL ’19), who has recently returned triumphant to Rome after defeating his military rival and finds himself beloved by his subjects. Cassius, played by Kate Ginna (COL ’18), and other members of the Roman Senate worry Caesar is about to seize power as a king.

Convincing even Caesar’s friend Brutus, played by Eliza Palter (COL ’20), that the assassination is necessary to protect the people of Rome, the conspirators stab Caesar to death in the name of liberty and then must face the consequences of a capricious public and their own guilt and doubt.

“This play has a very strong resonance right now,” Maynard-Losh said in an interview with The Hoya. “I think that it speaks to us when we’re looking at our country in the present time and looking at the power and how power affects the people who have it, and how they sometimes want to challenge the representative government that we have.”

The staging itself incorporates elements of the historic and the present. The script uses parts of Shakespeare’s original text, preserving the male pronouns of some of the characters who are here played by women.

The set, designed by Elise Lemle (COL ’10), is a crumbling Roman cityscape, yet the actors wear modern clothing, such as suits and army fatigues, and the sound design echoes this modernity with sirens and gunfire. The characters also constantly film each other speaking; the images project onto the damaged building facades in a reflection of the modern ability to record and spread information.

“I wanted to explore to whatever degree we were able to, technologically, the concepts of politics and performance. In our contemporary time, so much is recorded and so much is transmitted and so much is posted, moments that in the past would not be public moments,” Maynard-Losh said. “So how does that affect people in political power, if they know they are always or almost always on camera?”

The dichotomy of past and present is not

the only one illustrated onstage; the divide between male and female actors is equally striking. Brutus, Cassius and all of the conspirators are played by women; Caesar, Marc Antony and almost all of Caesar’s supporters are played by men.

“I really wanted to have the conspirators be played by female actors and team Caesar played by male actors; that was part of my original idea for the production,” MaynardLosh said. “I wanted to underscore the effect of rebellion, of revolution, with the conspirators, and give the opportunity for female actors to portray these really powerful and kind of badass characters as women.”

Despite the trappings of the dramatic — Caesar’s violent demise that ends with much of the cast smeared with blood and Antony’s funeral speech delivered by Alex Prout (COL ’19) inciting an easily swayed, restless crowd to violence — the real strength of the play is its firm grip on reality and sense of the present. In the wake of Caesar’s assassination, the city’s division into civil conflict and murder of innocent people plagues Brutus with selfdoubt over whether, in the name of patriotism, he has truly done the right thing.

“There is something that is not successful about using means that are not coherent with your actual values in order to try to maintain those values,” Maynard-Losh said. “So the subtext, or the subtitle, perhaps, [is that] Romans destroy the Roman Republic by trying to save it. The very thing that they are trying to prevent is what happens anyway.”

“Caesar” runs Nov. 9 to 11 at 8 p.m. in the Gonda Theatre. Tickets are available online at performingarts.georgetown.edu or by phone at 202-687-2787.

COURTESY JORDAN SILVERMAN

The Georgetown theater and performance studies program’s updated version of William Shakespeare’s “Caesar” warps gender roles and situates the Shakespearean drama in an updated context with implications for modern society and the state of politics today.

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the guide

THE HOYA

friDAY, november 10, 2017

Concert review

NIALL HORAN

Irish singer-songwriter Niall Horan, former member of the boy band One Direction, took to the stage at the Fillmore on Nov. 4. Horan is making his mark on the music scene with his recently released album, “Flicker,” and his “Flicker Sessions” tour series, as he discovers his identity and distinguishes himself from his former bandmates.

Niall Horan

Fillmore Silver Spring Mayeesha galiba Special to The Hoya

One Direction fans are now faced with a new predicament: having to see each member of the boy band perform individually. Gone are the stadium shows where screams were louder than the music. Those have been replaced by intimate venue performances bringing life to the members’ promising solo careers. At Niall Horan’s Nov. 4 show at the Fillmore Silver Spring, the Irish-born singer and former One Direction member came armed with only a guitar and his signature boyish charm but managed to put on a stellar show.

When One Direction began a temporary hiatus in January 2016, Horan signed with Capitol Records. He then released two singles from his debut solo album, “Flicker,” and announced the Flicker Sessions 2017 tour in mid-2017, which will be succeeded by the Flicker World Tour in 2018.

Despite bouts of rain and dreary weather, the line for the Washington, D.C. Flicker Sessions show stretched around the block and down the street, even past the opening of the venue doors. Attendees included eager teenagers and young adults who had grown up listening to the band,

ready to relive the music of their youth.

Ireland was well-represented throughout the show, with Dublin-born singersongwriter Gavin James opening the show. James’ music seemed to soothe the tension and anticipation in the air, bringing a soothing acoustic sound as he built an engaging rapport with the crowd. His performance of his song “Hearts on Fire,” which showcased his wide vocal range, was met with snaps and rhythmic claps.

The audience interactions did not end there; James performed a cover of the classic song “What A Wonderful World,” holding some parts true to the original while rearranging others, with his voice falling into an almost-growl. The playful grit in his voice was met with giggles throughout the audience, and hundreds of voices sang back to him in response.

“That was beautiful,” James said, before launching back into playing more intensely and finishing his set.

“Welcome to Flicker Sessions,” Horan announced on-stage after opening the show up with the final track on eponymous album, “The Tide.” He could barely get a word in through the shrieks but insisted, “We’re not f--king leaving.” Horan thanked the crowd for their patience in waiting for his album, which came out

on Oct. 20.

The Fillmore’s floor and balcony were packed to the brim for the sold-out show.

A few dedicated fans held up signs, which Horan tried to read to the audience throughout. The venue, with its chandelier-clad ceiling, was an interesting location for the show. It was sufficiently cozy to feel like a tight-knit acoustic session, but regal enough to highlight the night’s importance and Horan’s stardom.

Horan did not hide behind the guitar but instead used it to show a connectivity to music that was lacking in his previous projects. He moved effortlessly from slower ballads like “Paper Houses,” the emotions augmented by the soft pink stage lighting, to catchier tracks like his new single, “Too Much to Ask.” Horan took a minute to calm the audience down and ask for quiet before launching into what he claimed was his most personal and lyrically important song to date, “Flicker.” The room remained relatively hushed, with all focus on Horan’s melodic vocals.

Since the singer does not yet have an extensive discography, he performed every song on his sole album, which made up almost the entirety of his set. He made sure to point out his favorites, like “Fire Away,” a soft and uplifting song that cap-

tures the essence of acoustic pop. Horan’s performance of “Since We’re Alone” was upbeat and reminiscent of ‘80s pop music — the chorus line, “You can show me your heart,” had everyone dancing and bopping their heads to the beat.

The moment fans were waiting for came in the form of a nod to One Direction — Horan crooned through the song “Fool’s Gold” from the band’s album “Four.” It was a sweet and gentle reminder of where he had come from and a recognition of the context of his career. Horan thanked the audience countless times throughout the show, but the performance of this song drove that point home.

Finally putting his guitar down, Horan danced his way through his sensual radio hit “Slow Hands.” His movement on the stage had thus far been limited, but he seemed to make up for it by crossing back and forth and engaging the crowd on all sides, grinning cheekily into his microphone. Horan capped the show with “On My Own,” a song with a strong and steady background beat and a story of reckless youth, and a wave goodbye.

Horan is no longer performing alongside his bandmates, but if the Washington, D.C. stop on his tour is any indication, Horan is ready to make his mark on the world all on his own.

the guide

friday, november 10, 2017

Red Pill Blues Special to The Hoya

Fifteen years and five albums since the release of its critically acclaimed debut, “Songs About Jane,” quintessential pop-rock group Maroon 5 is creating quite a different sound.

The sultry rock songs that launched the band to stardom in the early 2000s would not find a place on its new albums, like “Red Pill Blues” released last Friday.

Although “Red Pill Blues” has all the romantic lyricism characteristic of the band, and particularly of lead singer Adam Levine, the album has a distinct electronic pop sound, somewhat reminiscent of The Chainsmokers. This electronic sound makes for a few fun, catchy tracks but is ultimately disappointing — the album does not profess emotion with the same melancholic music that most Maroon 5 fans are accustomed to.

“Red Pill Blues” is the most the band has ever dared to experiment with electronic music, but the risk has not paid off. Few of the songs are remarkable, and rather seem to be one-time hits that will not likely stand the test of time, unlike earlier standards like “She Will Be Loved” and “Sunday Morning.” These electronic beats do not complement the silkiness of Levine’s voice and even make the album’s love songs feel un-

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Album review

Maroon 5 gabrielle irwin

THE HOYA

 romantic.

The title of the album is a reference to 1999 science fiction film “The Matrix” in which the protagonist, Neo, must choose whether to swallow a red pill and discover an ugly truth or take a blue pill and remain ignorant of reality. The theme is reflected throughout the album, as Levine grapples with both the happier and the darker, painful sides of love.

The album opens with “Best 4 You,” an upbeat song with a strong beat, but one that sounds more like a song by The Weeknd or Daft Punk than one by Maroon 5. “Best 4 You” has some of Levine’s old-school charm that Maroon 5 fans will enjoy, but the hectic electronic beats distract from the charisma of Levine’s lyrics and vocals.

“Best 4 You” leads into the album’s standout track, “What Lovers Do,” featuring up-andcoming singer SZA, which is currently fifth on iTunes’ list of top songs. SZA’s smooth vocals complement Levine’s perfectly, and in this song, the bouncy electronic beat is upbeat but not overwhelming.

Most tracks on the album have a formulaic and repetitive lyrical structure. The verses are composed of simple rhymes, and the hooks and choruses tend to repeat the same two or three lines, a clear departure from the intri-

cate love ballads from “Songs About Jane.”

“Songs About Jane” established Maroon 5 as one of the best pop-rock bands in the music industry, with its tender lyrics, sensual moments and wistful melodies. In this album, songs were mainly played on acoustic guitar and drums with few added effects, giving the music a much more analog sound to accompany Levine’s voice.

But since then, and especially on “Red Pill Blues,” Maroon 5 has strayed from the trademark sound that propelled it to success. On its latest album, electronic instrumentals are overused, and the songs lack the vulnerability and emotion that the members of Maroon 5 have proven they are capable of evoking.

On the other hand, Levine’s voice carries the same power and emotion as always. On songs like “Denim Jacket” and “What Lovers Do,” his voice reaches impressively high octaves.

Another standout track on the album, “Wait,” has a distinct, compelling rhythm that matches the lyrical themes of patience and urgency. “Denim Jacket” is another highlight of the album, coming closest to Maroon 5’s original style of setting poetic lyrics to catchy guitar riffs. However, its electronic elements prevent the song from creating true feelings of intimacy or romance.

MAROON 5

For fans of Maroon 5 hoping the band will return to its roots, “Red Pill Blues” is not quite the answer to their prayers.

Although its songs touch on the feelings of longing and lust that Maroon 5 is famous for singing about, the album’s lyrics are largely lacking in poignancy and true substance and feel mechanical. As a result, the album feels more like a string of generic electronic pop songs than it does anything else. This album shows that Maroon 5 is taking risks and moving in a new direction, but perhaps it should rethink its new sound and consider a return to its roots.

Feature

DC Talks Conference Fosters Dialogue on the Arts TOM GARZILLO Hoya Staff Writer

The capital city is not just a political hub, but also a thriving center of arts, music and journalism. The D.C. Talks conference, hosted by the Georgetown University Music Program in partnership with the Music Policy Forum, Listen Local First and 202Creates on Oct. 28 in the Lohrfink Auditorium, sought to spark conversation about the changing relationship between arts and the media, specifically in the District.

The event brought together a wide array of professionals from across the country to discuss the role of the public sector in the rapidly expanding media landscape. The various panelists and presenters spoke about the intersection of various arts communities and how like-minded creators can benefit from integrating strategies and networks.

Following an introduction from event organizers Anna Celenza, Thomas E. Caestecker and Michael Bracy (COL ’90), Jax Deluca, media arts director for the National Endowment for the Arts, discussed the results of an NEA and International Documentary Association report that outlined key issues and recommendations to improve the career sustainability of documen-

tary professionals.

“The purpose of this report was to capture the conversations that have been happening in the field for so long,” Deluca said.

Deluca also addressed the conference’s main theme of cross-sector dialogue and stressed that although different mediums are becoming more interconnected than ever before, there is still much to be done in regard to bringing them together.

“While there are many collaborations happening, it is easy to forget that there is a whole lot of relationship building and education that needs to be put into place in order to build better working structures,” Deluca said.

The second presentation featured Lisa Gedgaudas, a Denver administrator whose Create Denver program showcases the city’s creative community and aims to create a more cohesive and sustainable music ecosystem.

“We’re very lucky. Folks are coming to our city for the arts and cultural opportunities,” Gedgaudas said. “We’re a highly collaborative city, with a lot of startups happening. The tech industry is coming in more and more.”

The conference’s first roundtable centered on fan engagement. Among those on the panel were Anwan Glover, a founding member

of the Washington, D.C.-based go-go group Backyard Band and actor known for his role on “The Wire,” comedy organizer Sean Joyce, Seed&Spark education director Julie Keck and work x work senior producer Jemma Rose Brown.

Joyce, founder of Underground Comedy, noted the growth that he has seen in the D.C. comedy scene and how a lack of opportunity led him to begin producing weekly shows.

“I was unhappy with the way comedy shows were being run in the city,” he said.

“D.C. didn’t really have mid-level comics.

There are a lot of great theaters, but only so many people can perform there.”

Glover also gave his thoughts on gentrification and changing demographics in the city, which he saw as having a mixed effect on his career as a musician.

“They just fixed the Wharf up, with the big theater [the Anthem], but our music is always downplayed,” Glover said. “But you also have lots of different people of all nationalities and races, from all different places, moving to Washington, D.C., and they’re curious about my music.”

The keynote interview, moderated by Bernard Cook, an associate dean in the College, spotlighted singer-songwriter

Thao Nguyen. A native of Falls Church, Va., Nguyen is influenced by folk, country and hip-hop and has released seven albums since 2005. She is the subject of the intimate documentary “Nobody Dies,” which follows her bittersweet trip with her mother to her homeland of Vietnam.

Changing tone, local comedian Haywood Turnipseed Jr. provided the auditorium with some laughs while discussing his own experiences and performances.

Asked about the impact of today’s national politics on comedy, Turnipseed was pessimistic.

“When Obama was president, people liked laughing,” he said. “Now, they feel like they need to.”

The final event was a roundtable on public sector partnerships that explored the relationships between public, private, nonprofit and creative entities. Cynthia Lopez, media strategist and former commissioner of the New York City Mayor’s Office of Media and Entertainment, summed up the spirit of the conference.

“Every job I’ve had has been figuring out, with the resources we have, how can we have a productive conversation?” Lopez said. “At the crux of my career has been building partnerships between unlikely organizations.”

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the guide

THE HOYA

friDAY, NOVEMBER 10, 2017

Movie review

Movie review

Murder on the Orient Express

Lady Bird

Starring: Penélope Cruz, Johnny Depp Directed by: Kenneth Branagh 

Starring: Saoirse Ronan, Laurie Metcalf Directed by: Greta Gerwig 

Liddy Kasraian

Alexandra Brunjes

Special to The Hoya

“Murder on the Orient Express,” the starstudded film adaptation of the 1934 Agatha Christie novel of the same name, is a fast-paced mystery that captivates even those familiar with the plotline. Directed by Kenneth Branagh, who also stars as the beloved protagonist, Belgian detective Hercule Poirot, the film is a mind-boggling murder mystery with underlying themes of justice. This rendition follows several other critically acclaimed adaptations of the famous novel, including a 1974 film adaptation by Sidney Lumet and several television adaptations.

The film opens by introducing a fascinating array of characters who join Poirot on the Orient Express as it snakes its way through Europe.

These characters include quiet Spanish missionary Pilar Estravados, played by Penélope Cruz; charming American passenger Edward Ratchett; played by Johnny Depp; outspoken American widow Caroline Hubbard; played by Michelle Pfeiffer; and Russian princess, Natalia Dragomiroff, played by Judi Dench. Although it is initially challenging to keep track of the numerous characters on the train, they become more memorable as the film progresses, and the relationships between the passengers are gradually revealed.

After a lengthy exposition, the pace of the plot quickens drastically when Mr. Ratchett is found dead in his cabin. Due to an avalanche blocking the train, the remaining passengers are trapped on board as Poirot races to determine the killer’s identity. The potential suspects are endless, albeit predictable; among them are the devoted secretary, the charismatic widow and the trusty butler. The constant developments of new evidence and complicated relationships between various passengers set the stage for a mystery that keeps the audience guessing until the conclusion of the film.

Although some of the movie’s plotline of is relatively generic, following the typical frame-

work of any murder mystery, the unexpected moments of levity interspersed throughout the film make it distinctive. The humor and sarcasm in the dialogue add a refreshing amount of modernity and liveliness to a story written over 80 years ago.

Another strength of the film is the action occurring off the train. The film was shot with 65 mm cameras, providing stunning wide shots and very lifelike imagery. It can be challenging to shoot these simple shots in a way that is engaging, but “Murder on the Orient Express” absolutely succeeds in this area, and the shots of the train rolling from a bazaar in Istanbul to the snow-capped mountains of Eastern Europe as action unfolds inside of it are stunning.

Arguably, the film’s greatest flaw is in its multiplicity of characters. Besides Detective Poirot, the characters do not receive enough screen time to be sufficiently developed. Furthermore, the film barely allows the audience to register the information given about the characters before the murder case is solved. Given the number of seasoned actors in the cast, like Cruz, Dench and Depp, it was especially frustrating that the overly fast-paced plot did not slow to let the actors bring their characters to life.

Worse yet, the resolution was anticlimactic after nearly two hours of exciting mystery that kept even the famed detective Poirot on his toes.

While solving the mystery raises questions of what constitutes true justice in a balance between the letter and spirit of the law, the neat and speedy resolution of a messy murder case may feel unrealistic to some audience members.

Although the newest adaptation does not quite live up to the talents of its celebrity cast, it successfully lays out an unpredictable mystery inside the Orient Express and keeps viewers engaged for its duration. Director Branagh has expressed interest in adapting other Christie mysteries and, given the excitement and intrigue of this rendition, audience members can look forward to watching Detective Poirot solve more complex cases in the future.

Hoya Staff Writer

“‘Lady Bird,’ is that your given name?” “I gave it to myself, it’s given to me by me.”

In “Lady Bird,” the brilliant and relatable film written and directed by Greta Gerwig, Christine ‘Lady Bird’ McPherson, played by Saoirse Ronan, navigates her senior year of high school and grapples with her love-hate relationship with her family and hometown.

“Lady Bird” is the quasi-autobiographical brainchild of Gerwig, who has described the film as being “about a home coming into focus when you’re leaving.” For Gerwig — and for Lady Bird — home is Sacramento, Calif. As Lady Bird tiredly plods through her last year of high school, she often reflects on her frustration with her hometown and her desire to go to college on the East Coast. A child of lower-middle class parents content with their lifestyles, Lady Bird constantly argues with her mother Marion, played by Laurie Metcalf, about her desire to move away and experience new things — during one argument, Lady Bird even apologizes for “wanting more.”

The brilliance of this film lies in its depiction of a typical coming-of-age story in a marvelously atypical manner. Although “Lady Bird” checks the box on several coming-of-age experiences — Lady Bird has her first serious boyfriend, loses her virginity and turns 18 — it does so without shifting focus away from the film’s heart: Lady Bird herself. The film jumps through Lady Bird’s senior year in a meandering manner that mirrors the rapid-fire, impulsive nature of youth.

The way that each experience tumbles into the next is a refreshing yet realistic take on the tumultuousness of being a teenager.

Perhaps the best part of the film is its compelling main character. Lady Bird is simultaneously a fascinatingly complex yet transparent character. She wants what typical teenagers want — a boyfriend, college acceptances, to leave home — but the actions she takes to achieve these mile-

stones are charmingly against the grain. For example, when trying to avoid a conversation about college while driving with her mother, she escapes by opening the car door and throwing herself out. Lady Bird consistently asserts her independence and individuality despite the fact that she is frequently unsure about what she is doing or what she truly wants.

The intrigue of Lady Bird can be attributed both to Ronan’s exceptional performance and to the brilliance of Gerwig’s script. Every line in the script seems realistic and contributes to the audience’s interpretation and understanding of the characters; there are no scenes that seem hastily thrown in.

The excellent script and casting conflate to result in a moving, honest portrayal of relationships, the most notable of which is between Lady Bird and her mother. The two are very similar but frequently clash and have a constant tension that may feel relatable to mothers and daughters watching in the audience. Lady Bird desperately wants to leave Sacramento, but Marion consistently reminds her to be realistic, forcing Lady Bird to acknowledge financial constraints and the gravity of her circumstances.

At the heart of “Lady Bird” is Sacramento.

The town hums in the undertone of the film and in the back of Lady Bird’s mind. Lady Bird says that she hates Sacramento and wants to escape, but her college counselor surprises her by saying that her college essay demonstrates a love for the city. It seems that Lady Bird suffers from a common confusion felt during youth: the inability to separate feelings for a place with the feelings for the things you’ve experienced in that place.

This film is ultimately a manifestation of Gerwig’s immense talent. She has managed to take common teenage experiences and spin them into a wise and poignant film. “Lady Bird” is realistic, fresh and sure to incite reflection in audience members of all ages — it is well on its way to becoming a coming-of-age classic.

Check out the guide’s other new movie reviews at thehoya.com Blade of the Immortal

Bill Nye: Science Guy

WARNER BROS. PICTURES

Tom of Finland

PBS

PROTAGONIST PICTURES

the guide

friday, november 10, 2017

THE HOYA

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restaurant review

PINEAPPLE AND PEARLS

Pineapple and Pearls, owned and operated by chef Aaron Silverman, is the recipient of two Michelin stars — and it certainly lives up to the acclaim. The restaurant presents whimsical dishes with superb technique and stellar service. Although dinner at the restaurant comes with a high price ($250), the dining experience is well worth it.

Eclectic Cuisine and Playful Elegance at Michelin Spot Pineapple and PeArls



715 8th St. SE, Washington, D.C. 20003 | Cuisine: New American | $$$$$ DANIEL ALMEIDA Hoya Staff Writer

At Pineapple and Pearls, chef and owner Aaron Silverman makes fine dining fun.

Silverman’s 2016 project presents a refined but playful menu comprising 11 courses paired with both alcoholic and non-alcoholic beverages. Behind the buzz that surrounds Silverman’s newest venue, visitors will be thrilled to find a restaurant devoid of stuffiness and a team that tries its hardest to ensure a memorable experience.

Pineapple and Pearls boasts no singular theme; some dishes lean Japanese, others nod to Mexican and American coastal traditions. Drawing on accumulated experience working for the likes of David Chang of Momofuko Noodle Bar, Marco Canora of the now-closed Insieme, and Sean Brock of McCrady’s, Silverman’s pedigree shines through.

Silverman’s first endeavor, Rose’s Luxury, proved him a flexible and bold cook. But Pineapple and Pearls reveals a chef willing to push the boundaries and experiment with new techniques.

To my delight, absent from our meal were

the usual suspects of fine dining: seared foie gras, heavy dollops of truffle oil, heaping spoonfuls of caviar; Silverman’s menu does not rely on gimmicks. He risks a lot with new takes on familiar dishes, but always delivers. The flavors are vibrant, and the visuals are striking.

We were greeted at the entry by our hostess, who offered us each a glass of a 2015 Gramona Cava La Cuvée Gran Reserva. It tastes earthier than champagne, but has clear pear and lemon notes. A sandwich and coffee shop by day, Pineapple and Pearls is well known for its fried chicken sandwiches.

The space is designed to make guests’ experience feel elevated but intimate. Seating 20 people, the room has a chic ’70s atmosphere, with charcoal black wooden tables contrasting sleek white walls and wooden tones with the occasional gold detail. Molecular-looking chandeliers highlight soft mountain tops etched into the walls.

A marble chef’s counter overlooks the kitchen: A quiet electricity is felt among the chefs, who number the diners one-to-one.

Everything has been created specifically for restaurant-goers’ enjoyment.

Our first dish — a trio of smoke mushroom

and huitlacoche a Mexican truffle, with mole and garlic crema, and salsa verde dips hidden inside three identical chips — set the tone for the meal: playfully elegant.

Highlights of the meal included the bass Veronique, a popular and delicious take on a filet of bass overlaid with millimeter-thin grape slices, and the beggars’ purse with egg yolk and truffle finished at the table with an egg-enriched Parmesan broth over spring vegetables, herbs and chilies.

Notable mentions include the squash blossom taco served over a still warm from the oven corn tortilla alongside white mole and fried herbs and the pecorino cake decorated with cheese crisps and served with three gelato options.

Each dish is crafted with artistry and precision. The course selection changes every night and I recommend waiting to inspect the menu until after dinner is over so as to not ruin the surprise.

The thought and care that go behind the beverage pairings are clear. A 2009 Aetneus Etna Rosso, boasting deep cherry and cellar aromas, pairs beautifully with the restaurant’s grilled Australian wagyu beef covered in an olive tapenade and smoked. For the

uninitiated, the Hakutsuru Sayuri Nigori sake is a must-try, with its creamy texture giving way to sweet fruit and condensed milk aromas.

Pineapple and Pearls does not hold back in entertaining its guests. Although the price includes alcohol, tax and tip, at $280 per person, this is no casual meal.

Bookings for each week open a month in advance, and payments are made prior to dinner. After the restaurant earned two Michelin Guide stars last year, spots are even harder to come by. Those seated around us were celebrating anniversaries, promotions and birthdays. Guests part with a surprise goody bag, a note from the staff and a personalized menu as mementos of their meals.

The meal started at 5:30 p.m. and, as dinner came to a close around 8:30 p.m., my party and I felt euphoric about our dining experience. Pineapple and Pearls perfectly combines its whimsical culinary style with superb technique and attentive service. Visitors of the restaurant will leave craving another taste of the restaurant’s always-changing menu — if their wallets will allow.

ILLUSTRATION BY: GRACE CHUNG/THE HOYA