The Hoya: The Guide: December 8, 2017

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Holidays on the Hilltop

ILLUSTRATION BY: GRACE CHUNG AND VALERIE MA/THE HOYA

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Hoya Holidays: Celebrating Diverse Traditions

Gabrielle Irwin Special to the Hoya

In a 1963 issue of The Hoya, the editorial board shared its Christmas wish for both the university and the nation: “Let us make this Christmas the turning point, the time between two eras, an interregnum which commemorates the glory that has been and pledges itself to renew the world in hope for the future.”

Today, this sentiment rings truer than ever. Although Georgetown has a strong Catholic faith tradition, over time, the community has come together to celebrate the diverse beliefs of its members.

Hoya Holiday History A look through the university archives reveals how the holiday season has been celebrated at Georgetown over the years.

According to Blue and Gray, Georgetown’s biweekly newspaper for faculty, in 1948, Santa Claus visited the dining hall and delivered distinctive blue packages to students. 1948 also marked the beginning of the Annual Christmas Carol Singing Contest, in which carollers gathered to sing in a variety of foreign languages.

The event was sponsored by the Institute of Language and Linguistics, which was founded by Leon Dostert and Fr. Edmund Walsh, S.J., in 1949, though it has since been consumed by the department of lin-

guistics.

1992 saw the release of a humorous email begging students not to topple the 12-foot Christmas tree in the Intercultural Center.

“Due to previous mishaps involving the unscheduled toppling of the tree, we ask that this tree not be moved under any circumstances,” read the email.

This year, Georgetown kicked off its holiday festivities Dec. 1 with the annual tree lighting ceremony in Dahlgren Quadrangle. Although the exact origin of the tree lighting is unknown, Blue and Gray first mentions its occurrence in 1998. The tree lighting has remained an integral part of Georgetown’s holiday festivities.

“The annual lighting of the Christmas tree is a special moment for our community and a time to come together during the holiday season to reflect on our many gifts,” said Rachel Pugh, senior director of strategic communications at Georgetown.

The department of performing arts plays a vital role in organizing the ceremony. Student a cappella and theater groups annually perform in the ceremony, taking advantage of the opportunity to share their talents with the community.

“Oftentimes we go unnoticed unless students have a personal interest in seeing our shows, so it is fun to bring the community

together with performing arts,” said Anna Pack (COL ’21), a singer for the GraceNotes, Georgetown’s all-female a cappella group.

The Mask and Bauble Dramatic Society, the longest-running student theater group, which was founded in 1852 at Georgetown, also performs at the tree lighting each year, where it puts on its rendition of Charles Dickens’ “A Christmas Carol” following the lighting.

On the same day as the lighting, the department of performing arts stages an annual holiday concert with the Georgetown jazz band and chamber singers, providing students with the opportunity to sing along to their favorite Christmas tunes.

The annual Messiah Sing-Along, another beloved tradition, combines carols with charity. The concert choir, conducted by professor Frederick Binkholder leads its audience in classic hymns like “Hallelujah” and “Glory to God” while raising money for the Lombardi Comprehensive Cancer Center.

A Holiday for All Although Georgetown is a Catholic university, it has long celebrated different faiths. The holiday season on campus gives students the chance to participate in interfaith traditions and celebrations.

Georgetown set a precedent for academic institutions across the country when it

hired its first Jewish chaplain, Rabbi Harold White, in 1968. Since then, Jewish Life has been an integral part of Georgetown’s spiritual community. In 2016, the Center for Jewish Civilization was launched.

Amidst the Christmas trees scattered around campus, Jewish Life lights the Menorah on each night of Hanukkah, the eight-day Jewish festival of lights that commemorates the rededication of the Holy Temple in Jerusalem.

The celebration takes place either in the foyer of Georgetown’s historic Healy Hall or the Makóm, the designated space for Jewish Life in the Leavey Center.

“This season is a salient and visual reminder of what the dominant culture is,” wrote Jewish Life Engagement Professional Ronit Zemel in an email to The Hoya.

“Jewish Life is proud to be a part of the Georgetown community that values difference and inclusions.”

The Jewish and Catholic faiths are not the only ones to be represented at Georgetown. Thirty years after hiring its first Jewish chaplain, Georgetown hired Imam Yahya Hendi, its first Muslim chaplain. In 2014, Georgetown welcomed Pratima Dharm, the first Hindu chaplain.

Director for Hindu Life Brahmachari Vrajvihari Sharan said he appreciates Georgetown’s respect and celebration of different religious customs.

RYAN BAE FOR THE HOYA

Georgetown kicked off its holiday festivities with the annual tree lighting in Dahlgren Quadrangle on Dec. 1, which included performances from student a cappella groups and the Mask and Bauble Dramatic Society. The holiday season gives students the chance to participate in interfaith traditions and celebrations.

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friday, December 8, 2017 “The respect for the spiritual dimension of life that was woven into the fabric of the institution by the Society of Jesus is a solid foundation for this [respect],” Sharan wrote in an email to The Hoya. “Hindu religious observances continue throughout the holidays, and this does not in any way impede our services, as Hindus are always happy to help their friends celebrate Christmas, Hannukah, Kwanza or other festivals that they may be observing.”

Most Hindu festivals conclude in the fall, but Hindu Life continues to host its weekly Arati prayer services in addition to partaking in interfaith events with other campus ministries.

For Sharan, religious festivals and interfaith dialogue on campus allow the holiday spirit to transcend specific religious practices and involve the entire student body in the various celebrations of the season.

“Sharing in one’s joy is a theme that pervades most philosophies as a counter to negativity, so, even if not part of the tradition whose festival is being celebrated, people will nevertheless have some takeaways therefrom,” Sharan wrote.

Finding Time to Reflect Protestant chaplain Rev. Olivia Lane believes that Advent is the perfect time to prepare for the season because it encourages to students to slow down and relax.

“It’s a really special time for us in the liturgical year to remember to take a breath, and especially during the business of the last week of class and going into finals season,” Lane said.

Rev. Brandon Harris echoed Lane’s emphasis on contemplation in times of chaos.

“When we invite students to come to our office and come to service, we’re saying to slow down just for a moment, collect yourself and then go back into the world with a deeper sense of who you are,” Harris said.

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In the spirit of deeper reflection and selfawareness, the Protestant chaplaincy also holds Taize services throughout the year in Dahlgren Chapel. Chaplains leave candles burning for several hours after the service ends to provide students with a space to quietly reflect and take a break from studying.

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The annual lighting of the Christmas tree is a special moment for our community and a time to come together during the holiday season to reflect.”

Rachel Pugh Senior Director of Strategic Communications

“It’s just good mentally, emotionally, and obviously spiritually to take that moment to check in with yourself and ask what your expectations are for the rest of the holiday,” Harris said.

Yet this reflection does not always have to take place in public, Sharan said, or even in a dedicated space of worship.

“For Hindus, the heart is the highest and most important abode of the divine,” Sharan wrote “By extension, when we celebrate our major festivals, therefore, the home is the focal point of the observances.”

Amid cramming for finals and seasonal celebrations with friends, campus ministry activities give Hoyas the opportunity to take a moment for themselves to reflect before leaving campus for winter break. Inclusive interfaith services bring a welcome calm to campus, making Georgetown truly feel like home before the holidays.

TOP: RYAN BAE FOR THE HOYA, BOTTOM: ANNA KOVACEVICH/THE HOYA

Chaplains encourage students to take a break from their busy exam schedules to participate in various religious services like Mass, Taize, Shabbat and Arati. Interfaith activities bring a welcome calm to campus, reminding students to slow down, according to Protestant chaplain Rev. Olivia Lane.

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A Conversation With Director Greta Gerwig aly pachter Hoya Staff Writer

“Lady Bird,” Greta Gerwig’s solo directorial debut that delves into adolescent life in an all-girls Catholic school, is now the best-rated movie on film review aggregator site Rotten Tomatoes, touting a 100 percent “Certified Fresh” rating.

With an average rating of 8.9/10, “Lady Bird” has surpassed the 8.6/10 rating “Toy Story 2” scored in 1999, solidifying Gerwig’s strong directorial talent. Gerwig’s previous work on movies such as “Frances Ha” and “Mistress America” helped her break into both acting and writing.

“Lady Bird” focuses on a high school senior who calls herself Lady Bird and who yearns to leave her hometown of Sacramento, Calif., to pursue a more “cultured” life on the East Coast. The movie interweaves a web of female relationships in a story about the ups and downs of high school.

Gerwig sat down for a conference call with college newspapers including The Hoya to discuss her filmmaking process, portrayal of female relationships and hometown of Sacramento.

Why is a coming-of-age story about the female experience important in 2017?

In a way, the story is a story that is so universal. But because there’s been a lack of female creators, it’s one that’s less documented than male coming-of-age. I love male coming-of-age stories and I have nothing against them, but I’m always interested to see what the female version of that is. Like what is “Boyhood” but for a girl? I wanted to make something that was about not only a young woman, but about a mother and a family and a place.

What other coming-of-age cinema might have influenced the creation of ‘Lady Bird?’

I was thinking about a lot of the different films that deal with both coming-ofage and growing up and occupying personal identity. I wanted to make a film that was both one person’s coming-of-age and another person’s letting go.

I guess I was thinking about the films that to me have to do with not just childhood but also memory, like Fellini’s “Amarcord” or Truffaut’s “400 Blows” — films that are both about childhood and about the loss of childhood.

What went into choosing the specific music from the movie’s time period?

Music is such an important part of what it means to be a teenager and how you form your identity and your taste and imagining an adult life for yourself.

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Music is such an important part of what it means to be a teenager and how you form your identity and your taste and imagining an adult life for yourself.”

Greta Gerwig Director of “Lady Bird”

I was very careful about the music that I chose in the movie, because I didn’t want

it to just be music from the year 2002; I wanted it to have music from the ‘90s. In 2002, it’s before the streaming and all the other stuff, and you really got your music from the radio, and people were still playing the hits from 10 years earlier or seven years earlier on the radio. That was important to me.

I would be remiss not to mention my collaborator, John Brion, who wrote the music for the movie and -- such beautiful music. I wanted it to feel like it was pop music at the time that teenagers would listen to, and that it also had this oldfashioned movie score. I was so lucky that he was willing to collaborate with me on that.

Both ‘Frances Ha’ and ‘Lady Bird’ feature female relationships at the center of their plots. How do you portray these relationships realistically for all of their complexity and nuance?

I’ve made it a goal as a writer, and now as a director, to tell stories about women.

If anything, they’re stories that are somewhat harder to get made or green-lit because they don’t have a genre. They’re

SCOTT RUDIN PRODUCTIONS

After her solo directorial debut, “Lady Bird,” Greta Gerwig is making waves with a story that centers on a young woman coming of age in a Catholic school in Sacramento, California. The film shows a rare perspective on coming of age as a woman in modern America, but Gerwig’s greatest accomplishment is her apt directing.

friday, december 8, 2017 important to tell because these windows into the lives of girls and women, to steal a phrase from Alice Munro, we don’t get to see if there aren’t female writers, directors and creators.

In terms of making it realistic, I never want to turn away from the darkness, but I also don’t want to make villains ever with my characters. I don’t try to present perfect people, nor do I ever want my filmmaking to take my characters down.

I want them to be allowed to be flawed and to be loved.

Both the titular characters in ‘Frances Ha’ and ‘Lady Bird’ are from your hometown of Sacramento and both left for New York. How closely do you stick to the old creative writing adage of writing what you know?

I always start from a place of something that I know where it’s close to my heart. And with this movie, I wanted to write about Sacramento because I’m from Sacramento. And I wanted to write about Catholic schools because I’ve been to Catholic school for high school.

They start with some kernel that’s real and then very quickly the characters spin out and become their own people, and the events of the film have their own shape and form that’s outside of the events of my life.

Lady Bird is not directionless, but she has so many different interests. What advice do you have for other people who might feel unable to decide between so many paths in life?

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I don’t know that many 17-year-olds with a very clear direction. There are always the ones who are great athletes or they know exactly what they want to do, but the majority of 17-year-olds are figuring it out. I don’t think that’s an indication that they’re never going to do anything. I think that’s an indication of being open and curious.

All these characters felt like people I knew, people I would go to class with and I would hear talking to me. What was your process with writing that type of dialogue?

One of the reasons that I’m interested in dramatic writing, in writing what is going to be said by actors -- whether it’s in theater, which is my first love, or now in cinema, which is my adult love -- is that I’m always interested in the way words fail us and the way that we use language not to say what we mean. People do that all the time. I’m always interested in the language underneath the language.

So much of who I am as a writer is a person who likes to listen. One of the things that’s great about New York is that you’re always in this circumstance where it’s very easy to listen to people talk. Mostly, people use language to not say what they mean at all. And I’m always fascinated by that. One of the reasons for me that the ending is so moving is that Lady Bird is finally able to use her language to say what she means, and she means “thank you,” and she says “thank you.”

SCOTT RUDIN PRODUCTIONS

Gerwig draws on her experience growing up in Catholic school in Sacramento, Calif. The film, “Lady Bird,” reflects its eponymous main character’s dissatisfaction with the ups and downs of her high school life through her desire to move to the East Coast to find what she believes would be a more “cultured” life.

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testing truisms

Fact or Fiction: Do Hoyas Marry Hoyas?

Vera Mastrorilli

T

he statistic is well-known. Tour guides cheerily relay the fact to prospective Hoyas, and you tease your friends about it when they go on dates. But is the rumor true?

Do 70 percent of Hoyas actually marry other Hoyas?

If you were hoping to find “the one” at Georgetown, you may be disappointed. Contrary to the long-standing rumor, only 7 percent, not 70 percent, of Georgetown alumni marry one another. So don’t count on walking down the aisle in Dahlgren Chapel.

Of the nearly 200,000 undergraduate and graduate Georgetown alumni, 6.7 percent married other alumni, according to the Alumni Records office.

However, the statistic is based on self-reported marriages and public marriage notices. Less

than 25 percent of alumni are married at all, according to Alumni Records — but nationwide, according to tax records for 48 million Americans born between 1980 and 1991, 65 percent of graduates from religiously affiliated colleges in their early 30s are married. So, Georgetown’s alumni marriages are likely underreported, and some unreported marriages may be between two Hoyas.

Nonetheless, nearly 27 percent of married alumni are married to another Hoya. Although this figure is smaller than the rumored 70 percent, it is on par with statistics about college graduates overall. A Facebook Data Science study concluded that about 28 percent of married college graduates went to the same college as their spouse, so Georgetown students are just as likely to find a partner on campus as are students at other universities.

Although an average proportion of Georgetown students marry one another, religiously affiliated universities generally have the highest rates of marriage between alumni. At Brigham Young University, a large Mormon college, around 60 percent of students marry another BYU graduate.

But Georgetown’s religious affiliation is much less prominent than that of BYU and the other schools with the highest alumni marriage rates. Ninety-eight percent of BYU students

are Mormon, and 24 percent are married while they are students. Although Georgetown has a Catholic affiliation, a significant number of students of different faiths and those who are not religious — roughly 59 percent of the student body — also attend the university.

But if only a quarter of married Hoyas meet their future spouses at O’Donovan Hall or on their freshman floor, where do the majority find their partners?

According to one study conducted by researchers at the University of Chicago, 35 percent of married couples meet online. Dating sites and apps broaden the pool of potential matches beyond the front gates and the alumni network.

However, most college students do not marry outside their education level. In one respect, the 70 percent statistic holds true — 71 percent of married college graduates under age 50 have a spouse with a college degree. These couples did not necessarily meet in college or attend the same school.

Rather, college graduates are increasingly likely to live in cities, where they date and marry the other educated people who live near them, one study from the National Bureau of Economic Research concluded.

So while you may not marry another Hoya, odds are you will marry someone with an

educational background similar to yours.

Education is not the only respect in which people tend to marry those who are similar to them. The first installment of “Testing Truisms” explained that, when it comes to marriage, opposites do not attract. While the marriage rate between people of different religions has increased over the past few decades, 61 percent of people still marry within their religion.

Likewise, though the overall rate of interracial marriage is more than five times what it was 50 years ago, only 17 percent of newlyweds overall and 19 percent of newlywed college graduates marry outside their race, according to Pew Research Center.

Regardless of the demographic makeup of Georgetown’s alumni couples, the rumor that 70 percent of Hoyas marry Hoyas is just that — a rumor.

Perhaps you will be among the one in four married Hoyas who finds “the one” on the Hilltop, but overall, Georgetown’s alumni marriage statistics parallel rather than exceed those of other universities. While Georgetown’s alumni network may open doors in the professional world, Hoyas should not rely on those connections to find spouses.

Vera Mastrorilli is a junior in the College. This is the final installment of TESTING TRUISMS.

the music on my playlist

Emerson Liu’s Top Picks ‘Blue Bossa’

by Dexter Gordon

Emerson Liu (SFS ’20) DJs and produces music.

‘Mona Lisa’

by Monte Booker and Naji Monte Booker is a hip-hop and electronic music producer best known for co-founding Zero Fatigue, a Chicago-based rap group. Blending soul, rhythm and blues and electronic sounds, Booker never fails to deliver. “Mona Lisa” exhibits his killer production skills, dropping a punchy 808 bass line while a quietly confident organ synth creates a laid-back sense of motion in the background. Over the synth, American singer and songwriter Naji spills out a beautifully casual melody. His signature mix of indie, rhythm and blues and electro-pop styles perfectly complement Booker’s vocals, resulting in a fresh and dynamic track.

MONTE BOOKER AND NAJI

MOUNIKA

‘Smoking With Her’

by Mounika The origin of Mounika’s eclectic mix of sounds is unknown, but he is nothing short of genius to pair French soundbites with a chilledout drum loop. Though cleaner than the classic intentionally low-fidelity, unpolished sound, the detailed distortion of guitar strums and crisp rim shots are reminiscent of a lazy, late Sunday afternoon. “What’s the difference between smoking and drinking?” the song asks at one point, in between full-bodied kicks. The question lingers at the back of your mind as a poignant atmosphere emanates from your speakers.

A jazz standard, “Blue Bossa” has been masterfully handled by various legends of the genre.

However, something about Dexter Gordon’s rendition of the iconic bossa nova-inspired piece by Kenny Dorham is especially striking.

Gordon’s tenor saxophone bops its way through pentatonic riffs all while singing richly and regally. Meanwhile, Barry Harris’ dexterous piano solo features staggered chord hits that exemplify his talent. The reserved richness of Sam Jones’ bass plucks, tempering the powerful mellow voice of his instrument, round out the distinct sound of Gordon’s rendition. The song’s myriad elements make it the perfect introductory piece for those who typically prefer other genres, and a great tune for jamming out or watching the autumn leaves fall.

DEXTER GORDON

NIKI

‘I Like U’ by niki NIKI’s label, 88rising, is not just boasting when it presents its “Double Happiness” motto.

The record label and management company has brought a number of great tracks to the table.

While its stars Rich Chigga and Keith Ape will be familiar to fans of the emerging Asian rap scene, 88rising’s lesser-known members are no less talented. NIKI is one of these quiet superstars. I instantly fell in love with “I Like U” the first time I heard it. The song’s music video description describes NIKI as the “next R&B princess straight out of Indonesia,” and her powerhouse vocals on this track prove that she is not to be taken lightly. She sings of a boy she developed feelings for despite their “just physical” relationship, effortlessly radiating both ease and desire.

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theater review

‘Twelfth Night’ Lands at Sidney Harman Hall kathryn baker Hoya Staff Writer

Set in a modern airport terminal, the Shakespeare Theatre Company’s performance of the romantic comedy “Twelfth Night” by William Shakespeare takes the audience members on a fantastical flight, encouraging them to leave their worries behind and travel with the actors to the faraway world of Illyria.

Full of fools, mayhem and unrequited love, the Shakespeare Theatre’s interpretation of this Shakespearian classic explores the longings of the human heart, reminding the audience that although love is worth the chase, not every story has a happy ending.

The play follows Viola, played by Antoinette Robinson, who has just survived a terrible plane crash. Believing her brother to have died in the wreck, Viola decides to disguise herself as a man and join the court of the foolishly lovesick Count Orsino, played by Bhavesh Patel.

Elsewhere in Illyria, the Lady Olivia, played by Hannah Yelland, mourns her recently deceased brother. When Viola, disguised as Cesario, woos Olivia on Orsino’s behalf, Olivia falls instantly in love with her. Consequently, Viola, who has fallen in love with Orsino, finds herself at the center of an awkward love triangle. From here, the play examines the pain of unrequited love, while juxtaposing this sadness against clever pranks and drunken melodies to create a tone that is equal parts melancholy and merry.

In his director’s note, Ethan McSweeny calls “Twelfth Night” “one of the most perfect comedies, ever written, the mid-career work of masterful dramatist.”

McSweeny’s admiration for the source material is evident in the artistic liberties he takes. Before the plane crash, the actors don modern, casual clothing as they wait for their plane to arrive at the terminal.

After the crash, the costumes, designed by Jennifer Moeller, are colorful and exuberant, reflecting the chaotic nature of the show and Viola’s rich fantasies.

McSweeny’s creativity is further reflected in the show’s intentionally anachronistic aesthetic. Orsino, Viola and Sebastian wear loud, bell-bottom suits reminiscent of the 70s, while Sir Andrew Aguecheek, played by Jim Lichtscheidl,dons outfits resembling the tacky trends of the late 1980’s and early 1990’s.

The music also ranges widely in style.

Music director Matthew Deitchman takes the drunken songs Shakespeare wrote and elevates them with modern instrumentation. While some are metallic electric guitar numbers, others are folk-rock acoustic melodies.

For those unfamiliar with the plot, it may be hard to keep up with the dense Shakespearian language, but McSweeny combats this problem with a modern setting and prop pieces. From the tickets to the signage to the stage, McSweeny creates

the feeling that both the audience and the characters are at the airport. Subtle additions, like Aguecheek’s karaoke session and scooters for Orsino’s men, succeed in adapting “Twelfth Night’s” plot to a modern context.

While McSweeny’s vision for “Twelfth Night” is generally successful, a few choices fall flat. Fabian, played by Koral Kent and typically one of Olivia’s gentlemen, is instead depicted as a young girl, which only serves to distract from the plot, rather than heighten its comedic elements.

Additionally, Emily Townley’s portrayal of Maria as overly flirtatious, combined with her revealing costume, unnecessarily sexualize her role and diminishes her character’s motivations.

Moreover, Orsino — traditionally an overbearing character — was over the top in the Shakespeare Theatre’s rendition of the play. Through Orsino’s character, it often seems like McSweeny is using homoeroticism as a comedic device, insinuating that Orsino is more in love with Cesario, Viola’s alter ego, than he is with Viola herself. As a result, the ending is confusing, and the excitement of Viola getting to be with the man she loves is overshadowed by the suggestion that Orsino is gay.

While the cast of “Twelfth Night” is, for the most part, exceptional, Robinson’s Viola undoubtedly carries the show from start to finish. Having starred as Celia in Folger Theatre’s “As You Like It” last February, Robinson is no stranger to the Shakespearian spotlight. She masterfully conveys Viola’s emotion, whether she is distressed, heartbroken, confused or overjoyed.

In the last number, Feste the Fool, played

by Heath Saunders, sings the words, “But that’s all one, our play is done / And we’ll strive to please you every day,” while Viola makes her way to center stage, where she lies down as snow gently falls on her from the sky above.

By ending the show this way, McSweeny reinforces the dreamlike nature of “Twelfth Night,” leaving the audience to question whether the show was all a figment of Viola’s romantic fantasies.

While the show begins with the bang of the plane crash, Robinson ends it with a whisper. Though she does not speak, as she stands quietly looking up at the snow, the actress subtly conveys Viola’s newfound sense of peace to the audience.

With “Twelfth Night,” Shakespeare Theatre provides a valuable commentary on love and love lost. It transports to the audience to the magical land of Illyria, where people are compelled by their hearts and not their minds. To echo Orsino’s words, Shakespeare Theatre’s “Twelfth Night” is the “food of love,” and Shakespeare admirers will enjoy feasting their eyes on it.

The Shakespeare Theatre Company’s “Twelfth Night” is at Sidney Harman Hall until Dec. 20.

The show is about two hours and 45 minutes long and tickets range from $25 to $118.

Shakespeare theatre company

Shakespeare Theatre Company’s “Twelfth Night” takes the audience on a fantastical flight and encourages the audience to leave their worries behind as they enter the faraway land of Illyria.

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friDAY, december 8, 2017

exhibition

Examining the Human Experience at the Hirshhorn maddie finn Hoya Staff Writer

Known for pushing the boundaries of artistic expression, the Hirshhorn Museum and Sculpture Garden’s latest exhibit, “The Message: New Media Works,” challenges its viewers to re-examine their human experiences. Composed of five unique film installations that each portrays a different aspect of modern life, the exhibit speaks to the challenges that arise with new forms of communication and the complexities of modern life.

“The Message” is the first project at the Hirshhorn for the hired Mark Beasley, the museum’s first curator of media and performance art. In the future, Beasley hopes to bring more performance-based works to the Hirshhorn, which currently houses several exhibits that play with concepts of space and structure; he also plans to draw inspiration specifically from his musical roots. The exhibit marks a new direction for institutionalized art but is an exciting possibility for future Hirshhorn installations.

Walking into “The Message,” the first installation to view is “Grosse Fatigue” by Camille Henrot. Intended as a brief history of the universe, Henrot uses footage from her 2013 fellowship at the Smithsonian Institution. The piece also features poetry written by Henrot and American poet Jacob Bromberg. A groovy beat by disc jockey Joakim plays low enough in the background

that the poetry, read by artist Akwetey Orraca-Tetteh, can still be heard.

The video also employs images of ordinary objects and moving hands, opened as computer windows over one another, to show the complicated overlapping history of our world. The clips vary in subject matter and are sometimes disturbing, sometimes provocative and sometimes calming, yet there is a common thread of liveliness that runs through them all, creating a cohesive but eerie story.

Of the five pieces, “How Not to be Seen: A F- - -ing Didactic Educational.MOV File,”

by Hito Steyerl is the most outlandish. The film depicts a dystopian world controlled by technology, while a monotone voice instructs viewers on how to disappear in such a society.

Droll, funny and at moments just plain weird, Steyerl’s video captures the fear and confusion that such a society can elicit. Looking past the strange imagery, the underlying message of “How Not to be Seen” is clear: There is nowhere to hide in the age of information.

“HALKA/HAITI 18°48’05″N 72°23’01″W,”

by C.T. Jasper and Joanna Malinowska features a Polish opera being performed on a Haitian street. The depicted Haitian community has Polish heritage, but little else is shared between the classic opera setting and the setting of this film. As motorcycles drive past and goats mingle in the streets, the opera that the performers sing is just

as captivating, if not more so, than a traditional opera hall performance.

The camera in this film does not move, allowing the raw emotions of the scene to take center stage. The organic nature of the filmed audience is equally as important as the opera itself, as it brings a level of humanity to a typically elite art form.

Arthur Jafa’s masterful film, “Love is the Message: The Message is Death,” is a montage of black culture throughout history.

Set to the song “Ultralight Beam” by Kanye West, the film appears more like a music video than a typical art exhibit. It powerfully exposes the violence and triumphs that black people have experienced since coming to the United States, while celebrating the mundane moments of living in the face of constant oppression.

In a moment of silence, a girl asks, “What would America be like if we loved black people as much as we love black culture?”

Her question is followed by quick cuts of iconic moments: simple home videos and police footage. With his film, Jafa — who has become a modern master in filmmaking because of his work with musical legends such as Beyoncé and JayZ — highlights the experiences of both black people and their culture and allows viewers to feel the joy and trauma of the black narrative.

The final piece in the exhibit is more lighthearted but nonetheless meaningful. “My Best Thing” is a transcript of cre-

ator Frances Stark’s experience in online sex chatrooms. An automatic voice reads out her words as she struggles to define intimacy and closeness and to understand how her struggles connect with her art.

Autobiographical works are not unfamiliar to Stark, who has a history of writing highly personal prose and poetry. The lack of intimacy in “My Best Thing,” with its frozen cartoon characters speaking in monotone voices, is fascinatingly applicable to the disconnect between partners in modern relationships.

At first glance, the history of the universe, the age of information, crosscultural interaction, black identity and distanced intimacy seem to have little in common. Yet all these topics are reflections on our lives, told through different lenses to appeal to the diverse group of individuals that make up modern society.

The theme of communication is fitting for this exhibit. There is no one way to experience the world, just as there is no one way to experience these films. Whether through sermon, music video or online sex chatroom, “The Message” highlights the pluralities and contradictions inherent in humanity and the powerful art that comes from them.

“The Message: New Media Works” is at the Hirshhorn Museum and Sculpture Garden until April 22, 2018. Admission to the Hirshhorn is free of charge.

COURTESY CAROLINE KENNEALLY

The Hirshhorn Museum and Sculpture Garden’s latest exhibit, “The Message: New Media Works,” which opened Nov. 18, challenges viewers to re-examine their experiences with technology. The exhibit speaks to the challenges that arise with new forms of communication and the complexities of modern life.

the guide

friday, december 8, 2017

THE HOYA

B9

MoVIE review

WARNER BROTHERS

“The Disaster Artist,” directed by and starring James Franco, chronicles the ill-starred conception and making of “The Room,” which has been called the worst movie of all time, through the sometimes bizarre, sometimes insipirational, story of the eccentric Tommy Wiseau as he struggled to get a feature film made with all the odds stacked against him.

The Disaster Artist

Starring: James Franco, Dave Franco, Seth Rogen Directed by: James Franco AlexandRA Brunjes Writer for The Hoya

“The Disaster Artist,” released Dec. 1, delves deeply into the quirky backstory of “The Room,” arguably the worst movie of all time. “The Room,” described by one of its lead actors, Greg Sestero, as “a disastrous specimen of cinematic hubris,” has turned into a cult classic that has fascinated its loyal fan base since its release in 2003. In 2013, Sestero released his account of the creation of “The Room” as the memoir “The Disaster Artist.” Now the story is coming to the big screen as a laugh-out-loud comedy depicting the artistic history of the cinematic oddball Tommy Wiseau.

A comedic biopic starring James and Dave Franco, “The Disaster Artist,” based on Sestero’s eponymous memoir, provides viewers with a humorous glimpse behind the scenes of the film, and is driven by Franco’s colorful portrayal of Wiseau. “The Room” was the brainchild of Wiseau, who fully financed, wrote, directed, produced and starred in the 2003 film. An enig-

matic, artistic mind, Wiseau could not achieve mainstream success and attempted to create his own amateur film. “The Room” has a nearly incomprehensible plot and a poorly written script; it has grown famous for its spectacular failure.

“The Disaster Artist” starts when Wiseau and Sestero meet in acting class in San Francisco.

A quiet stage presence, 19-year-old Sestero approaches Wiseau, a fearless performer, about becoming acting partners. The two move to Wiseau’s apartment in Los Angeles to pursue acting careers, and after months of rejection, Wiseau launches his own haphazard and hilarious film production with Sestero.

The primary strength of “The Disaster Artist” lies in the incredible performances of the leads, especially James Franco. Wiseau is an extremely eccentric character — he has strange mannerisms, an unidentifiable accent and is of indeterminate age — and Franco portrays him with admirable flair. In fact, Franco performs so well that Wiseau himself has admitted to being a fan of “The Disaster Artist.” Another strong

appearance is Seth Rogen as Sandy Schklair, the script supervisor and uncredited director of “The Room,” as he constantly expresses confusion about the film’s legitimacy.

Additionally, the chemistry between the Franco brothers is exceptional: They successfully depict the way friendship can be simultaneously supportive and aggravating, as well as the frustrations and sacrifices that accompany artistic creation. However, one weak aspect of the film is that Wiseau’s character seems to be the butt of the joke too often. While the character’s eccentricity is laughable at times, his oddness unnecessarily overshadows his hard work and determination.

In conjunction with the Franco brothers’ superb acting, numerous celebrated actors, including Kristen Bell, Adam Scott and Bryan Cranston, make cameos. Wiseau even has a brief appearance during a scene at a Hollywood party. The combination of star power and talent make for a thoughtfully crafted and exceptionally presented film.

The film’s inherently amusing subject mat-

 ter is another strong point. “The Disaster Artist” successfully leads viewers through various aspects of the creation of “The Room,” providing insight into what life was like on the set of the film and how it affected those who worked there. Although Wiseau funds the production and is fully committed to “The Room,” he is constantly met with doubt and disbelief, even from those whom he is paying to work on the film.

A surprisingly nuanced and poignant film about a dreadful artistic venture, “The Disaster Artist” beautifully leads viewers through the story of “The Room,” from the humble acting roots of Wiseau and Sestero to the film’s production process and final cinematic premiere.

It is a true homage to the passion underlying such an artistic endeavor, even one that fails as spectacularly as “The Room.”

“This is my movie and this is my life,” Wiseau says upon presenting the film to its first audience. A cinematic masterpiece about a cinematic failure, “The Disaster Artist” tells a story that you would not believe if it were not true.

B10

the guide

THE HOYA

MUSIC

FRIDAY, DECEMBER 8, 2017

THIS WEEK’S TOP FIVE

NEW RELEASES

1

Holiday Shows in DC NSO POPS: A HOLIDAY POPS

The National Symphony Orchestra is continuing a heartwarming holiday tradition with its 2017 Holiday Pops show. It will be playing America’s favorite holiday songs this Friday and Saturday, Dec. 8 and 9, respectively. Take a break from school with some warm music that will wash away the winter gloom. On Dec. 20, the orchestra will be putting on another show at which they will play Handel’s Messiah.

JADU HEART AND MURA MASA

JAMES HOLDEN

JADU HEART AND MURA MASA ‘U NEVER CALL ME’

DENIRO FARRAR FT. TRENT THE HOOLIGAN ‘F--K IT’

A departure from EDM artist Mura Musa’s usual dancefloor s tyle, “U Never Call Me” is a subtler yet still groovy tune that bemoans a lover’s absence, repeatedly asking, “Tell me why you ain’t been calling / Tell me why you waste my time.”

The smooth rhythms provide a soothing background for a brisk evening stroll.

Raspy-voiced underground rapper Deniro Farrar may hail from Charlotte, N.C., but his latest single, “F--k It,” fits in more with the devilishly evil raps of the South Florida rap scene. The track is laced with clever wordplay and rapidfire flows, with hard-hitting lines like “Body on me they never gonna capture me / Catch ‘em slippin’ they gon’ wind up a casualty.”

2

THE NUTCRACKER

The Washington Ballet is putting on a production of Tchaikovsky’s beloved holiday classic “The Nutcracker” this holiday season at the Warner Theatre downtown. The ballet will also feature live music from Tchaikovsky’s original composition. This perennial favorite will also play with live music at the THEARC Theater.

WASHINGTON BALLET

3

AN IRISH CAROL

The historic Keegan Theatre is known for staging classic Irish plays with a modern twist. This winter, the theater is putting on a production of “An Irish Carol,” a play inspired by Charles Dickens’ classic tale, “A Christmas Carol.” The play tells the story of a wealthy Irish pub owner who has lost touch with his humanity in his pursuit of financial success. The production premieres Dec. 16 and is the original work of company member Matthew Keenan.

4

MOANING

AGENT SASCO ‘GYAL A MAD MI’

MOANING ‘DON’T GO’

The latest single from Jamaican dancehall MC Agent Sasco, also known as Assassin, blends a softer, sweet hook with a feverish delivery style. Heavy drums supplemented by a minimal synth lead the sex-themed banger, while Assassin mixes Patois, French and Spanish into a multilingual mix.

Layered, growling guitars and distorted, resigned vocals make “Don’t Go” seem chaotic on first listen, but there’s a method behind the madness. Alternating between heavy riffs and muted whispers, the rock track is masterfully constructed to drive home a feeling of dread.

5

KEEGAN THEATRE

O, HOLY NIGHT

At this Christmas event for visitors of all ages, Workhouse Arts Center’s cadre of carolers will perform your favorite holiday songs Sunday, Dec. 10 in a 90-minute show. Tickets are $10 to $15.

Bring your family and friends and enjoy these Christmas classics.

AGENT SASCO

KENNEDY CENTER

WORKHOUSE ARTS

HOLIDAY FOLLIES CABARET

Seasonal tunes and hot toddies abound at the Signature Theatre in Arlington, Va. Come through to listen to seasonal tunes sung by the Follies Cabaret, and let your holiday cheer ring. The Cabaret will be bringing its jolliest renditions of holiday classics evenings and afternoons from Friday, Dec. 8 to Saturday, Dec. 16.

SIGNATURE THEATRE TWITTER

the guide

friday, december 8, 2017

War & Leisure Hoya Staff Writer

Rhythm and blues star Miguel may be the only singer charismatic enough to release a sunny radio jam centered on the M16 assault rifle and make it feel sexy rather than ignorant.

“War & Leisure” features a confident Miguel who infuses vibrant party music with subversive references to political turmoil.

Since the release of his debut album “All I Want Is You” in 2010, Miguel has been steadily climbing toward stardom. Though his first project peaked at only No. 37 on the Billboard 200, his 2012 sophomore effort “Kaleidoscope Dream” reached No. 3, aided by the success of the single “Adorn” and significant critical acclaim.

“Wildheart,” Miguel’s third album, explored a more psychedelic and dusky sound, earning a No. 2 chart position in 2015 and solidifying the singer as an important fixture in the R&B world.

With “War & Leisure,” Miguel is at the peak of his career, stepping into the sunlight with a collection of beachy pop hits.

Each song on “War & Leisure” showcases Miguel’s immense vocal talent and knack for catchy hooks. The singer needs no auto-tune to hold a steady note, a factor that will appeal to more traditional audiences who value an unadulterated voice and raw ability.

Miguel’s singing chops shine especially

Say Less

 bright on “Pineapple Skies,” anchored by a soaring chorus that recalls purple sunrises viewed from sandy shores. “Harem” takes a more seductive approach with equally impressive results, featuring crescendos as the singer entices listeners into the shadowy corners of his love life.

These powerful melodies are occasionally overshadowed by corny lyrics like “I’m Luke Skywalkin’ on these haters” on “Sky Walker,” which elicits eyerolls rather than smiles. Miguel also struggles to fit the word “anointed” into the track bearing the same name; the more the term is repeated, the more out of place it sounds.

However, these are minor critiques rather than major flaws, and the disconcerting lyrical themes are hidden beneath the album’s colorful veneer. Miguel subverts the romantic and carefree tone of the music with references to destruction and apocalypse, as on “City of Angels,” in which he describes how he “stayed behind when everyone left for Nevada” to search for a lover in the rubble of a destroyed Los Angeles.

To explore current issues in more detail, Miguel enlists rapper J. Cole on the track “Come Through and Chill.” Although most of the song is about a lazy night at home with a lover, in his second verse J. Cole smoothly transitions to politics: “In case my lack of reply had you catchin’ them feelings / Know you’ve been on my mind

like Kaepernick kneelin’ / Or police killings, or Trump sayin’ slick s - - - / Manipulatin’ poor white folks because they ignant.”

The sudden shift from romance to politics mirrors the way political issues are often secondary to the joys of our personal lives until we turn on the news or are personally affected by an event. The relationship between war and leisure that Miguel highlights throughout the album reflects a society that is filled with entertainment and flashy diversions, yet contains the constantly lurking threats of police brutality, terrorism and nuclear war.

The lyrics of “War & Leisure” may address grave issues, but the message and tone of the album are hopeful. On the final track “Now,” Miguel urges the listener to act immediately and concludes on an uplifting note, singing, “We are the sound of freedom.”

The vibrant instrumentals are also a vital contribution to the project’s cheerful mood.

Buzzing strokes of electric and acoustic guitar provide “Criminal” with a rich and layered texture, while the bouncy synths and quirky sound effects give “Told You So” strong chart-topping potential.

Musically, “War & Leisure” mimics current trends without much experimentation: Many songs sound as if they are straight off Calvin Harris’ June 2017 project “Funk Wav Bounces Vol. 1.” Miguel has an expressive voice, but the album falls short of achieving true greatness.

Hoya Staff Writer

Twenty-one-year-old singer and rapper Roy Woods blurs the lines between rhythm and blues and rap, though he leans more toward the former, producing atmospheric tracks across the emotional spectrum through the 16 tracks on his debut album. “Say Less” excels because of Woods’ slick vocal flow and abundant energy, but its excessive length holds it back. With fewer songs on the album, each could have packed a heavier punch and left the listener craving more.

Born Denzel Spencer in Brampton, Ontario, a suburb of Toronto, Woods is yet another young Canadian star signed to Drake’s label, OVO Sound, through which he has produced three small projects over the past two years. “Say Less” borrows heavily from R&B, presenting a unified project that captures Woods’ evolution as an artist.

The influences of his Torontonian contem-

MIGUEL

Despite its generally hopeful tone and frequent references to current issues, “War & Leisure” never reaches any profound emotional heights, fixating instead on shallow cheerfulness and desire.

Still, “War & Leisure” is a fun collection of energetic tracks propelled by Miguel’s charisma and bold melodies. The album is most effective when it combines sugary hooks with thumping bass on songs such as the Spanish-language “Caramelo Duro.” Bright and triumphant, but infused with an undercurrent of today’s political turmoil, “War & Leisure” is a testament to Miguel’s talent for exciting and creative pop music.

Album review

Roy Woods Noah HAWKE

B11

Album review

Miguel

MAC dressman

THE HOYA

 porary, The Weeknd, and artists like Bryson Tiller are prevalent in Woods’ tone and overall style, as he mixes their brooding melodies and sexual innuendos with an upbeat mood and his own instrumental backdrops. The niche Woods targets is clear: “baby-making music.”

Despite similarities between Woods and his contemporaries, the energy and rhythm that each artist brings to the table are very different. The Weeknd has more polished vocals, whereas Roy Woods is still finding his sound. He possesses a large appetite for instrumental experimentation and a good ear for beats, crossing from electronic to soulful R&B to reggae in the space of a few tracks.

The album begins with dark, thumping bass and soothing strumming on “Medusa.”

Woods’ voice comes in strong and is heavily assisted by producer Prezident Jeff’s glitchy instrumentals.

In his next song, “Little Bit of Lovin,” Woods emulates one of his idols, Michael

Jackson, with a similar cadence and mood over a clunky beat. This track falls short and does not stand out; the creativity is there, but Woods misses on the execution.

The eponymous track follows, showcasing the full extent of his vocal range with halfsung bars and wild falsettos over a sluggish, warped drum beat.

The entire album only contains three tracks with features, and the most notable of these comes on “Take Time,” which features 24hrs, an up-and-coming rapper and brother of American recording arist MadeinTYO. 24hrs’ saturated auto-tune and wispy outro steal the show as Woods guides the track along.

The best song on the album, “Something New,” sees Woods take a different approach over an electronic beat with a killer drop and catchy verses supplemented by withdrawn piano.

“Top Left” is the song that sounds most like rap, as it is filled with simple bars, ad-libs and

a fair amount of Beyoncé references. Brief moments of rap also appear on “In The Club,” as Woods delivers verses focused on getting rich and “posting with [his] thugs” but transitions back to silky croons moments later.

Fellow OVO artist, PARTYNEXTDOOR, contributes to Woods’ debut effort with a solid hook on “Back It Up.” In this instance, Woods outshines his collaborator, effectively blending falsettos with raspy yells. The two singers play off each other well, harmonizing and switching off with ease. The minimalistic production is their playground as they stretch their voices in concert with the wavy beat.

Together, the tracks on “Say Less” make the album an enjoyable listen and a good indicator of Woods’ potential as an artist. The talent of the young Toronto singer is clear, with soaring vocals and effortless charisma, but Woods must stretch his boundaries and further develop his own style to separate himself from the pack.

ILLUSTRATION BY: MINA LEE/THE HOYA