Allegiant falls flat, leaves viewers uncertain

It’s a shame that many popular young adult film series’ finales are adapted into two separate films these days—the result is usually an unevenly distributed plot, which only makes the finale of an epic storyline fall flat. Unfortunately for Divergent fans, the third film of the series—Allegiant—falls into that very trap. At one point, protagonist Tris—played by Shailene Woodley—boasts to the council of The Bureau of Genetic Warfare that they keep making the “same mistakes.” It’s a startling coincidence, actually, since director Robert Schwentke and his fellow filmmakers seem to be having the same exact problem.

Allegiant’s preceding film Insurgent ended with the downfall of Kate Winslet’s dictatorial character, Jeanine, and the citizens of a futuristic Chicago ready to cross the wall that divides them from the rest of the post-apocalyptic world. In Allegiant, however, it seems like the characters forgot all of what has happened, as they allow a new tyrannical leader to rise: Evelyn. Portrayed by Naomi Watts, Evelyn forbids anyone to go to the other side.

Naturally, this doesn’t stop Tris and her strong-willed boyfriend Four—played by Theo James—from going over the walls with their friends Christina—played by Zoë Kravitz—and Tori—played by Maggie Q. Tris’ brother Caleb—played by Ansel Elgort—and their “frenemy” Peter—played by Miles Teller—accompany the four to the other side.

What ensues after this rebellion is an exploration of a new landscape and civilization that seems very anticlimactic based on the actors’ reactions and dialogue. Their response to encountering so many new things is underwhelming, making the film more unbelievable than it already is. For instance, their initial reactions to both a Mars-esque world and a high tech bunker are as simple and boring as, “Wow.”

That’s not to belittle some of the solid acting from the leading stars, however. Woodley and James shared a pleasant chemistry and had independent moments in which their characters showed determination and power. Unfortunately, the same doesn’t go for the rest of the character dynamics.

Teller’s character cracks out-of-place jokes as comic relief—jokes that are unoriginal and almost annoying. Jeff Daniels—who plays David—brings no spark to a very unoriginal character. As time goes on, the interest in all of the characters diminishes and all we’re left with are explanations of the plot and non-thrilling action.

The twists in the film were only anticipated by the audience and Four because Tris chooses to believe that this new society—the Bureau of Genetic Warfare—doesn’t have any flaws, regardless of the fact that they’re the ones that created the chaotic and divided city in the first place in order to create a pure genetic race.

The problem with Allegiant stems from the struggle to split Veronica Roth’s novel into two adequate and entertaining parts. This has been a trend among popular franchises ever since the last of the Harry Potter films were made. But because Allegiant was clumped into this group, the audience is left with as many questions coming out as they had going into the movie.

The characters’ dialogue was mainly based on exposition and the conflicts were quite similar to the other films, such as the issue between Johanna’s—played by Octavia Spencer—allegiant group and Evelyn’s faction-less group. Overall, nothing felt accomplished. Sure, we may know more about this world, but it feels as if one of the two hours could have taken care of this story.

Maybe the final film will be better and the questions as to what will happen to Tris, Chicago and the rest of the world will become clearer. But for now, Allegiant stands as a disappointing lull amongst the Divergent films.

Insomnia Film Festival fosters creative strategizing, collaboration

Many Geneseo students spent their weekend staying up late watching Netflix or hanging out with friends. But for the 72 students involved in the Geneseo Insomnia Film Festival from Friday April 1–Saturday April 2, they devoted their weekend to expressing their passion for creativity. Created by Computing and Information Technology’s instructional support specialist Joe Dolce in 2012, Insomnia encourages students to ignite their creative juices by creating a short film in a 24-hour time period. Dolce was inspired to start the festival because of Apple’s similar film program; he gathered a couple of students from the theater department and spent a weekend making a film. He then proposed the idea of the film festival to Geneseo Director for Computing & Information Technology and Chief Information Officer Susan Chichester and the event has been a huge success ever since.

Beginning at 5 p.m. on Friday April 1, participants and faculty gathered in South Hall, where students flowed in and out to plan and edit their films. Students had to choose at least three elements to incorporate into their film from a list of 20. A list of funny and artistic elements for the film was also released at 5 p.m., and so commenced the fast-paced, innovative 24 hours. On top of the three elements, Insomnia also includes the condition that the film must be under three minutes long.

Dolce noted that there were 22 registered teams this year. Most of the students present at the kickoff seemed both eager and nervous to start their 24-hour project. Senior McKenna Miller, juniors Michael MacDonald and Shannon Hayes and sophomore Con Kieran Roche made up one of the participating teams.

“To become a team, we all just recognized that we had a unique set of skills that would be good for this competition,” MacDonald said. “We all have a background in either video, producing or editing, photography—all kinds of things—so we thought we had a good shot at it and it would be, at the least, very fun.” MacDonald is in the photography club at Geneseo and noted that filming is a hobby for him.

“Making films has always been an interest of mine,” Roche added. He noted that he has pursued his love of film since elementary school.

Miller explained that she writes scripts online as a freelance writer.

“We’ve got a very good mix of skills here. I’m just excited to see what we can come up with,” MacDonald said. “I think, when four creative minds get together, what they can come up with in 24 hours could be crap or could be amazing. So, I’m excited to see how it turns out.”

Alongside aids and Geneseo employees Senior Desktop Services Analyst Steve Praino, Assistant Director & Manager for Systems & Networking Kirk Anne and Web Developer Jack Bechdol, Dolce helps students expand their creativity and create something amazing under immense pressure and time constraints.

“I’m a big believer in education through play,” he said. “[The students] learn things about time management, project management, video editing … [and] interpersonal dynamics.”

Dolce explained that he is passionate not only about the event, but about seeing the students’ collaboration and creative energy. He said that he looks forward to having a special bond with the participants each year, and that he also looks forward to seeing their finished product.

“This is my favorite holiday,” Dolce said. “There’s no hyperbole involved in that. I look forward to seeing what videos these students produce. Some of them are really funny ... some of them tell a really good story ... I’ve had a couple that have actually brought a tear to my eye.”

The films from Insomnia will be shown on April 19 at Geneseo Recognizing Excellence, Achievement and Talent Day during a special awards ceremony in Wadsworth Auditorium at 6:30 p.m. Currently, the films are available to stream on the Insomnia website.

Piano duo expresses how music shatters cultural barriers with lively performance

In its final show of the season, Geneseo’s Limelight and Accents presented the piano duo Duo Amal on Saturday March 26 in Wadsworth Auditorium. The two pianists—Yaron Kohlberg and Bishara Haroni—collaborated to evoke emotional music that also promoted a unified spirit.

The duo’s name derives from the Arabic word for hope: “amal.” Kohlberg and Haroni met in Jerusalem and after performing their first concert together in 2008, they decided to form a permanent Israeli-Palestinian piano duo.

Kohlberg is from Israel and has been awarded many international prizes, including first prize in the Shostakovich Competition in Hanover and the Parnassos International Competition in Monterrey. He has performed in many prestigious venues including New York City’s Carnegie Hall and Moscow’s Kremlin. Kohlberg has also appeared as a soloist in groups such as the Jerusalem and Haifa Symphony Orchestras.

Haroni hails from Palestine and has also performed as a soloist, most recently as a member of the London Philharmonic Orchestra. Haroni plays in many international chamber music festivals and has played with concertmasters Guy Braunstein and Daishin Kashimoto of the Berlin Philharmonic Orchestra.

The pair has performed together in many locations all over the world. Their purpose in playing is to show their audiences that music can surpass any political or national differences between countries.

For Geneseo’s show, the duo performed five songs, all with different meanings, intensity levels and from different time periods. They began with Franz Schubert’s “Fantasie in F minor D. 940.” As Kohlberg explained before the piece, “Fantasie in F minor” is meant to be played by both musicians on one piano, allowing the players to mirror the connectedness of the music.

Avner Dorman’s “Karsilama” followed Schubert’s piece. The duo played on separate pianos in a rhythm of 9/8, which made the piece fast-paced. The key changes throughout also kept the audience on their toes.

Next was Sergey Prokofiev’s “Symphony No.1 in D, Op. 25, ‘Classical.’” Kohlberg and Haroni were visibly emotionally invested in the graceful and majestic symphony, with their hands mirroring each other with each stroke of a piano key.

The duo commissioned a friend of theirs—Samir Odde Tamimi—for the next piece, “Amal.” The two pianists changed the look and sound to a classic piano piece by plucking the strings of the instrument for parts of the song, adding a lot of mystery and excitement to the piece.

The concert concluded with one of Kohlberg and Haroni’s favorites: Sergei Rachmaninoff’s “Suite No. 1 Op. 5.” Kohlberg compared the first movement to a peaceful boat on the water and described the second movement as a deeper and more dramatic story. 

It was incredible seeing how the two musicians could play with such passion and force in one moment and such peace and tranquility in the next. In times of intensity, they would practically jump out of their seats as they played, whereas they would move their bodies in tune and in rhythm with the music in the more relaxed parts.

Kohlberg and Haroni have palpable chemistry that is clearly demonstrated through their interactions during their impressive performance. Together, they transcend not only the limits of musical talent, but of friendship and partnership as well.

Lederer Gallery exhibit fuses subject matter, uses different mediums

The Bertha V.B. Lederer Gallery held an opening reception for its “Carving Through Borders” exhibit on March 23. “Art/Artist/Immigrant” also debuted in Gallery B2—a smaller space located within the Lederer Gallery. Though the subject matter of the two exhibits largely converges around immigration, the pieces and the messages they convey differ in several—sometimes surprising—ways.

“Carving Through Borders” is a collection of striking, large-scale wood prints, most of which are done entirely in black and white. These high-contrast prints were created by a group of California-based artists. While their overarching subject matter is the deportation of Mexican immigrants, the pieces also address LGBTQ+ issues, women’s rights and concepts of justice and liberty.

According to Director of the Galleries Cynthia Hawkins, the social justice themes inherent in the prints are especially relevant in light of current events. “People are always saying it’s too soon and that change will happen over time, but it’s just to maintain the status quo and find workarounds and eventually people stop talking about it,” she said. “That’s what the hope is anyway, but I don’t think people stop talking about it the way they used to.”

One particular print by lead Oakland, California-based artist and activist Favianna Rodriguez virtually shouts in huge block letters, “Rise up for justice/Rise up for women & young girls/Down with machismo.” Another by D.J. Agana depicts a stylized Statue of Liberty with the words “Move Freely” printed underneath.

Clearly, the floor-to-ceiling size of the prints is integral to their bold social impact. “The size makes it so much more powerful,” Hawkins said. “You have to engage with it because it’s so big.”

English major senior Michelle Nitto observed that the print making process is labor intensive. “I’ve only carved wood once and it wasn’t the right kind of wood, but it was small and it took hours, so I can’t imagine how long these must take,” she said.

Whereas “Carving Through Borders” is relatively uniform in style and subject, the works exhibited in “Art/Artist/Immigrant” largely diverge from the prints—as well as from each other—in terms of both their formal and cultural qualities.

Each of the pieces featured in “Art/Artist/Immigrant” are by a Rochester-based immigrant. Jose Portas’ painting “Calling the Archangels” blends Latino culture, mysticism and religious symbolism through a variety of different textures and media. In contrast, Russian immigrant Eva Davidova uses a different medium altogether: video. Manipulating space and form in abstract and unexpected ways, two of these videos are looped and projected on the gallery walls in between the paintings.

“I think it’s interesting that [the pieces exhibited in “Carving Through Borders”] are wood prints and [those in “Art/Artist/Immigrant”] are paintings because wood prints are much more reproducible, and with the kind of art that it is I feel like being able to reproduce it is really important,” gallery coordinator senior Britina Cheng said. “Whereas it’s really important that the paintings are sort of a unique thing that exist in their own time and space.”

Junior Laura Brown noted that she found the diverse pieces to be similarly impactful. “I want to support underrepresented artists in America because they are underrepresented and they deserve to be represented,” she said. “When we don’t have a representative form in all realms of media, I feel like we’re really missing out on really cool and artistic, new things … so I’m just really excited to be here and to explore.”

SPOTLIGHT ON: Joshua Shabshis

Theater major junior Joshua Shabshis has led a life surrounded by fascinating live performance. Born and raised in Forest Hills, New York, Shabshis first started studying theater at City Lights Theater School when he was five years old.

Shabshis is currently directing a main stage production for the theater and dance department entitled “The Forced Marriage,” written by 17th century French playwright and actor Molière. Shabshis also directed Noah Haidle’s “Mr. Marmalade” as part of the department’s staged reading series and starred as Cal in Tina Howe’s “The Art of Dining,” directed by professor of theater and dance Randy Kapplan. Shabshis has a concentration in acting in his major.

Despite his immersion in the theatrical arts, Shabshis noted that he came out of his high school—Fiorello H. LaGuardia High School of Music & Art and Performing Arts—fairly disillusioned by the teachers’ cynicism.

“Even though I’ve done theater my whole life, [LaGuardia High School] kind of turned me off due to the way the school was run,” Shabshis said. “They would basically tell you that you were going to fail and there was nothing that you could do.”

Instead of taking this discouraging attitude to heart, Shabshis used it as motivation to succeed in his passions and look at theater in a much more open and optimistic way.

“I think it’s so important to be on the same level as your actors. I believe theater is an ‘us’—a ‘we’ art form. Painting is an ‘I’ art form,” Shabshis said. “Theater is collaborative, from the designers to the dramaturges to the actors to the directors. Everyone involved is equally as important and I don’t think there is any hierarchy. I think it’s a communal experience.”

Apart from his formal education, Shabshis draws much of his influence in his directing and acting from his Russian heritage. Shabshis is a first generation American with his parents hailing from the Soviet Union and his first language being Russian.

“I was brought up in a traditional Soviet household—growing up with all my parents’ Russian friends hanging around the house, drinking a lot of vodka with clouds of cigarette smoke in the air,” Shabshis said. “I started learning English around the age of three.”

In addition to his uniquely Russian upbringing, Shabshis comes from a long line of relatives that were intimately involved in the Soviet world. Shabshis noted that his great grandmother was a ballerina for the Bolshoi Ballet and his great grandfather was part of the Soviet Writer’s Union, where former Soviet Union leader Joseph Stalin censored much of his work for being too “cosmopolitan.” Shabshis’ great-great uncle was a successful Soviet theater set maker and costume designer and his great aunt was also involved with Soviet costume design. For Shabshis, theater is in his blood.

Shabshis’ Russian heritage not only plays a huge part in his life, but in his directing and acting. For “The Forced Marriage,” Shabshis explained that he is using an experimental and collaborative technique in his directing—something that comes from studying the world of Soviet directing.

Shabshis’ passion for theater can be seen in almost every aspect of his life. He currently works for the Genesee Sun, where he writes press releases focusing on art events in Livingston County. Shabshis will also be working as an intern this summer for the Bohemian National Hall, working with Czech and Slovak artists and studying their creative process.

When asked about his post college plans, Shabshis maintained the same kind of determination and humor that is so evident in his creative works. “I’ve half-joked to my friends about this: I really want to start my own theater company when I graduate and I’m making my friends sign five-year contracts to my theater company,” he said.

“Love” attempts realistic portrayal of dating scene

By now, almost everyone is familiar with Netflix’s success with original content. Most of the acclaim comes from highly raved-about dramas like “Orange is the New Black” and “House of Cards,” but the streaming site has also had recent hits in comedy with “Unbreakable Kimmy Schmidt” and “Master of None”—both of which star well known comedians Ellie Kemper and Aziz Ansari respectively. But how does one of Netflix’s more recent original comedies—“Love”—stand up to the precedents of clever plotlines and hilarity?

Created by comedy expert Judd Apatow, “Love” is a “down-to-earth look at dating” that “explor[es] male and female perspectives on romantic relationships.” The series stars co-creator Paul Rust and actress Gillian Jacobs as its two main characters: Gus Cruikshank and Mickey Dobbs. Their lives are woven together by a chance encounter at a time when both are down in the dumps.

The show is supposed to be a relatable look at love. And it is—to an extent. As far as the actual relationship between the two main characters, everything is fairly true to life. We see the characters struggle independently as they make decisions about their relationship and their own lives, with a large emphasis on technology and social media. While Gus continually contemplates how he should phrase his texts to Mickey, she worries about her rocky track record with relationships.

Keeping with the trend of staying relatable for audiences, the show does a great job of characterizing new relationships. The two start out as just friends with increasing intimacy as the show goes on, but always with bumps in the road—far from your classic romantic comedy. Since it is not attached to any television network, “Love” is able to make bolder choices as well, thus resulting in rawer, more realistic characters.

Other elements of the show, however, are somewhat hard to imagine happening in real life. This may just be characteristic of all TV shows, though. After all, would we even watch TV if it was exactly like our own lives? Mickey can be a bit too outspoken toward strangers and Gus’ job as an on-set tutor for child actors may be a bit too unrealistic. That being said, these instances are easy to overlook as part of the show’s funny and quirky charm.

Although the show was funny and different than other network TV shows such as “New Girl” and “Modern Family,” it does lack a certain amount of diversity. We only meet two black characters: one of whom holds a very minor role and who is used for pure comedy, having no true emotional value. To the show’s credit, the other is a black woman in a position of power, but she still holds a minor role. There is also a lack of diversity in sexual orientation, with only two instances in which we meet homosexual characters—characters who are only used for their stereotypical humor and are problematic representatives of the entire LGBTQ+ community.

With the lack of diversity in “Love” being the only real problem—combined with its quirky characters and humor—it is hard to tell if Netflix has another hit under its belt, but this new comedy is definitely worth checking out if you’re looking for something to binge watch over the weekend.

March of Dimes Benefit Concert showcases local artists, supports good cause

The Zeta Iota Chapter of Zeta Phi Beta Sorority held its annual “Blue Expressions March of Dimes Benefit Concert” on Friday March 25 at the Knight Spot.

The evening began with president junior Rebecca Mirville and vice president junior Emonnie Bennett giving a brief introduction to the event and explaining that ZPB is the only historically black sorority on campus.

Mirville and Bennett also spoke about March of Dimes before the show began, attesting to just how important of a cause it is within their organization. Founded by former President Franklin D. Roosevelt, March for Dimes is a nonprofit organization whose goal is to prevent birth defects, premature births and infant mortality throughout the country.

Once the show began, a palpable enthusiasm emanated from both the performers and hosts senior Nana Yaw and junior Christina Alli. The duo kept the audience engaged between and during the performances; encouraging applause and commending performers on jobs well done.

The first act of the night was Sláinte Irish Dance. They performed two dances: the first in soft shoes and the second in hard shoes. The group’s fervor set the mood for the rest of the evening’s performances. 

Next was a performance by Michael Mirville—Rebecca Mirville’s younger brother—singing a soulful rendition of Musiq Souldchild’s “Dontchange.” Although not a member of the Geneseo community, he was still welcomed with thunderous applause.

The next act slowed things down with junior Tiphereth Hassan and sophomore Simone Louie performing a moving acoustic cover of Switchfoot’s “Dare You to Move.” After that, the Ghana Gala dance team performed to a high-energy medley of songs, including Rihanna’s “Work.” The dance acts continued with freshman Sherray Brown performing a solo piece to Machel Montano’s “Temperature.”

After Brown came Geneseo Gospel Choir director senior Geneviva Dodoo performing an emotional cover of Alicia Keys’ “If I Ain’t Got You.” Geneseo Bhangra kept the evening moving in an energetic direction when they performed an upbeat medley to a track that included recognizable songs such as David Guetta’s “Hey Mama” featuring Nicki Minaj and Afrojack.

Freshmen Alexa Rosario and Danielle Soto-Binns followed the dance troupe, singing a somber acoustic cover of Beyoncé’s “Mine,” and finishing with a rendition of Rihanna’s “Consideration.”

Next up on the repertoire was the first act of the night that wasn’t strictly musical. Pierreson Fils-Aime performed a unique and original poem titled “Love Don’t Exist Here.” Dispersed throughout were sung references to popular love songs.

After that, previous performers began to take the stage for encore performances. Dodoo stepped up to the mic again for a more impromptu, bubbly performance of Erykah Badu’s “Tyrone.” Hassan also returned to the stage, this time performing one of her own choreographed works. She introduced her piece by saying that the message she hoped to convey was that “your GPA and grades don’t define you.” She then launched into an emotional and expressive dance set to Andy Mineo’s “Pressure.”

The night began to wind to a close when Andre Doeman ‘15 read an original poem. This was a perfect end to the show, reflecting the artistry, emotion and passion seen in every performance throughout the evening. 

Once the show had drawn to a close, Rebecca Mirville and Bennett took the stage again to invite everyone to stay for the after party, which ran from 10 p.m.–2 a.m. The Blue Expressions March of Dimes Benefit Concert truly showcased the diverse talent at Geneseo while simultaneously raising money for a good cause.

Indie rock artist channels 90s grunge sound

Freddie’s Extra Teeth is a new album from South Dakota native and indie rock artist Von Zimmer. The album’s title is an allusion to a story about Queen lead singer Freddie Mercury and his unwillingness to have his extra teeth removed for fear of losing his ability to hit his trademark high notes.

Though the album’s title would imply a musical connection to the Queen front man, Zimmer’s coarse vocals and lo-fi sound on Freddie’s Extra Teeth seem to have been inspired more by artists such as Nirvana’s Kurt Cobain, who helped cultivate the famously grungy, lo-fi sound.

Accompanying Zimmer’s vocals are an electric guitar and drums, with pianos and strings occasionally peppered into songs. The guitars and drums often seemed muffled and distorted, almost feeling un-mastered and mixed at times. This allows the pianos and strings to really shine during their parts in the songs, however. Along with Zimmer’s raw vocals, this gives songs a garage-like rock feeling.

Where Freddie’s Extra Teeth lacks, however, is in the repetitiveness of the songs. For instance, the guitar riffs often repeat over the length of any song. Furthermore, the drums and vocals feel flat at times, causing some of the songs to become stale and boring very quickly.

Despite this, there are a number of bright spots on Freddie’s Extra Teeth, including “The End of the World” and “Where Were You”—two tracks that benefit from the raw sound. Zimmer’s vocals blend well with catchy guitar riffs and the solid percussion is very audible on these two songs.

John Golden—a respected producer who has worked with industry elites—mastered Freddie’s Extra Teeth. Golden’s experience in the industry leads one to believe that it was a conscious decision on his part to keep the songs sounding lo-fi and demo-like, perhaps in an attempt to give the album a grungier personality and sound.

Where Freddie’s Extra Teeth succeeds is also where it unfortunately fails. The album attempts to channel its inner Cobain—and it does achieve this at times. It doesn’t achieve this consistently, however, which can create a disjointed listening experience.

Despite this, Von Zimmer is an undeniably talented young artist who delivers a few solid tracks with this album, making it worth a listen.

Freddie’s Extra Teeth is available for listening through Facebook, Twitter, SoundCloud and YouTube. Rough mixes and demo versions of the songs are also available at Von Zimmer’s SoundCloud page, which offers listeners some insight into the creative process behind the music and how the songs came to fruition.

It will be very interesting to see where Von Zimmer goes from here—and it’s always fun to brag to your friends that you heard an artist first.

“House of Cards” returns with more drama, corruption

The Netflix series “House of Cards” released its fourth season on March 4 after over a year of unadulterated suspense from last season’s cliffhanger. The binge-worthy political thriller does not fail to disappoint, with 13 episodes full of multi-faceted drama.

Season four brought back many characters that were seemingly forgotten during the tumultuous campaign season, such as journalist Lucas Goodwin, Russian president Viktor Petrov and novelist Thomas Yates. In addition to the old characters, “House of Cards” brought in new, intriguing ones such as Claire Underwood’s mother Elizabeth Hale and Republican presidential candidate Will Conway. The season had a perfect balance of recurring characters and new ones.

First and foremost, the female representation in this show—especially in season four—is phenomenal. First Lady of the United States Claire Underwood is an obvious example, exemplifying her strength and independence by not backing down from anyone—even from her husband U.S. President Frank Underwood. Frank Underwood—who always seems to dismiss his wife’s needs as secondary—has underappreciated Claire throughout much of the series.

Claire Underwood has also been undermined by much of the White House staff due to the fact that her husband helped her become the U.S. Ambassador to the United Nations. In the past and the present, Claire Underwood is constantly correcting people who refer to her as First Lady rather than Ambassador. She also will refer to Frank Underwood as “her husband,” rather than President. Comments on her beauty also seem to trouble her; people seem to think of her as just a pretty face, rather than a mastermind.

The power struggle between the two Underwoods plays a very prominent role in this season. Claire Underwood’s disappearance at the end of last season has proven to be the biggest obstacle Frank Underwood has ever faced, as it makes him realize that he is nothing without his wife.

Claire Underwood’s needs are finally addressed, with demands to be on the ticket as Vice President with her husband. Through manipulating and sabotaging Frank Underwood’s campaign to get what she wants, Claire Underwood finally shows how ruthless and dangerous she really is.

The avenging of journalist Zoe Barnes’ death continues in the fourth season, as well. Lucas Goodwin—who everyone thought was going to be locked up in jail for the next decade—is released and works to expose Frank Underwood’s bloody path to presidency.

Tom Hammerschmidt—former editor of the Washington Herald and Goodwin’s boss—makes efforts to carry out Goodwin’s wishes with an article making claims about all of Frank Underwood’s corrupt practices, dating back to the death of Congressman Peter Russo.

Presidential candidate Heather Dunbar—another powerful woman—ends up suspending her campaign this season. Dunbar is a very special character in “House of Cards” due to the fact that she is one of the only characters who has integrity and plays by the rules. While the event was made out to be trifling, Dunbar’s resignation exhibits the idea that corruption is the only path to power.

“House of Cards” was able to make up for the lack of action in the third season. The show came together beautifully to portray the corrupt dynamics of the White House and the crooked path to presidency.

Rochester Gay Men’s Chorus pays tribute to iconic female performers

The Geneseo community was in for a treat when the Rochester Gay Men’s Chorus performed in the MacVittie College Union Ballroom on Monday March 21. The RGMC performed a sample of their larger show “I’m the Greatest Star: The Fabulous Female Singers,” celebrating women such as Ella Fitzgerald, Barbra Streisand and Billie Holliday who broke ground in the music industry by overcoming various societal issues. Offering more than what a regular concert usually does, the RGMC’s performance was accompanied by tributes to “fabulous female singers” by artistic director Robert Strauss as a way to honor these women.

Strauss explained that the RGMC chose to put together this set of songs—made famous by iconic women—because it “spoke to us in the LGBTQ+ community and issues we face.” The actions of these women very much reflect the actions of those who pioneered the creation of RGMC in 1982. During the height of the AIDS crisis in America, the RGMC was created by five homosexual men whose desire was to help “make the world a better place for their brothers and sisters in the LGBTQ+ community.”

Now made up of about 50-60 singers, the RGMC is still striving to meet that goal. By performing such songs such as “My Man”—a controversial song that speaks about abuse popularized by Diana Ross—Strauss explained that the RGMC works to “be part of the solution … and part of the conversation” by “tell[ing] a story through song.” This encourages others to do so, as well.

Accompanied by pianist Mark Brennan, the group sang a total of 13 numbers, including hits such as Fitgerald’s “A-Tisket, A-Tasket,” a rendition of Judy Garland’s duet with a young Streisand “Happy Days Are Here Again” and “Get Happy” and “Over the Rainbow,” which was first sang by Garland in The Wizard of Oz.

Some of the numbers were particularly meaningful, showcasing the way that these certain female performers broke barriers in their time. One such song was Mamie Smith’s “Crazy Blues,” which was the first ever song to be recorded by an African-American woman. Bessie Smith was also honored for “I Need A Little Sugar in My Bowl” for its unapologetic demand by a woman to have the same freedoms as men do when it comes to talking openly about sexual desire.

The RGMC praised Barbara Cook as well—who stuck it to the man by renting Carnegie Hall for her own very successful solo concerts when Broadway told her she was too heavy to star on stage—by singing “Here’s To Your Illusions.”

The chorus also chose to give credit to female vocalists from the 1940s big brass bands, which often went unrecognized and unnamed during their time. Strauss explained to the audience that singing “I Had the Craziest Dream” and “And The Angels Sing” was the group’s way of putting emphasis on the vocals and the women who sang them, instead of on the big bands, as is the norm with such songs.

The RGMC will hold another performance on June 18 entitled “Premiere!” This show will feature new theatrical numbers written for the RGMC, as well as other related numbers. Things are being kept under wraps for now in terms of theme, but there’s no doubt this performance will be as charming and inviting as the last.

Book-making workshop provides hands-on outlet for creative expression

The Genesee Valley Cooperative hosted a bookmaking workshop with professional bookbinder, photographer and printer Rebecca Lomuto on March 6. Lomuto’s goal is to “break the barrier between photography and other media, specifically print and book arts.” Based in Rochester, Lomuto teaches at The Genesee Center for the Arts & Education, which offers a wide variety of programs and classes for both adults and kids, as well as facilities and galleries for artists.

At the workshop, attendees learned the step-by-step process of creating a softcover, long stitch journal. In the process of creating their very own journal to bring home with them, participants also learned some finer points and tips for bookmaking.

Lomuto guided students on the different professional and household tools that are used, a few technical bookmaking terms—for instance, a “signature” is a group of pages that go inside the book, whereas a “book block” is a stack of signatures—as well as tips like the more you crease the pages, the better they will sit inside the binding.

Lomuto emphasized the fact that personal preference is an imperative aspect of bookmaking. She noted that imperfection is OK; sometimes it even gives your book or journal character—or as Lomuto called it, a “cute aesthetic.” Second, the journals made in the workshop can be used for any purpose the creator wants and thus, they can design it to fit their needs.

What was so special about this workshop was the mere fact that it has been offered here at Geneseo. Attendee senior Angelica Hadley expressed her belief that the college does not typically offer many creative opportunities such as this workshop on campus. She heard about this particular opportunity through GVC’s Facebook page and was very interested in the event because she holds a certain fascination with handmade books.

Geneseo does have various art galleries on campus and around the community such as the Kinetic Gallery in the MacVittie College Union, the Lederer Gallery in the Brodie Fine Arts Building and the Lockhart Gallery in the McClellan House on Main Street, but they typically focus on the student as an observer, not a creator. Of course, galleries such as these are fantastic for young adults to have access to, but students also crave the opportunity to create for themselves.

Lomuto’s bookmaking workshop did give students that important creative outlet in a very hands-on and interactive class. In order to teach her eager students, Lomuto first described the appropriate steps and then quickly circulated the room, closely guiding students when needed and explaining details along the way. She mentioned that some of the paper being used was hand-made and went on to explain how it is made at Saint-Armand Papermill.

This bookmaking workshop is just one of the “hands-on” activities that GVC offers. Earlier that week, they invited members of the Geneseo community to join them at a dinner which had a variety of vegan-friendly options and they also hosted a composting workshop last month.

Not only does GVC enrich the Geneseo arts scene, but it also actively contributes to bettering the community as a whole through unique opportunities.

Zootopia encapsulates Disney wit, charm

Zootopia—Disney’s newest solo animated film—continues the franchise’s legacy of spectacular animations through the use of creativity and relatable situations. Zootopia seems to do something those other films haven’t, though: create its own unique world for its inhabitants to live in. In Zootopia, directors Byron Howard, Rich Moore and Jared Bush create a world similar to Disney Pixar’s Cars and Monster’s Inc.: one purely based on the creator’s imagination. The city of Zootopia is divided into multiple districts for the myriad of different animals in the world, including the Sahara Square, Tundratown, Little Rodentia and the Rainforest District. Each district has its own little quirks that fit to the inhabited animals’ lifestyles.

The film follows rabbit Judy Hopps—voiced by Ginnifer Goodwin—who dreams of becoming a cop in the city of Zootopia. Zootopia is a place where animals of all kind—prey and predator alike—coexist and have the opportunity to be whoever they want to be, regardless of their own natural instincts that pit them against each other.

Even though Hopps passes through the ranks and becomes a cop at the choice of Mayor Lionheart—voiced by J.K. Simmons—she struggles to gain respect from her superior Chief Bogo—voiced by Idris Elba—and the rest of her community because of her identity as a rabbit.

While attempting to prove herself as more than just a bunny and a “meter maid,” Judy meets the charming con-artist fox Nick Wilde—voiced by Jason Bateman—and eventually blackmails him into helping her with her case. Together, the duo attempts to solve the case of a missing otter, who is among 13 missing ex-predators from Zootopia.

The film started with a fairly corny opening, as the young animals boasted about individuality and being able to surpass the fictional universe’s limits and expectations. It seemed as if the film was going to be strictly for children, but as Disney usually proves, the film’s intended audience extended beyond adolescents.

The film steps up from its initial impression by dropping in bits of humor that will resonate for people of all ages, making the film enjoyable for everyone. Whether it’s the animal version of Shakira—Gazelle—or the extremely slow-working sloths at the Department of Motor Vehicles, the film’s clever and subtle humor sparks plenty of laughs.

Without giving away any spoilers, the ending was a bit too trite. It was a conventional, “surprise” ending with the villain who you’d least expect, but with an obvious motive that was perhaps foreshadowed too obviously. For a children’s movie, however, the plot was a bit more substantial than usual.

Regardless of any trite moments, the film was filled with entertainment from start to finish. The actors were perfectly casted, as the always sweet Goodwin—known for her role as the “goodie” Snow White on ABC’s “Once Upon a Time”—proved to be the perfect opposite for the usually snappy Bateman. I personally enjoyed the dynamic between the duo.

Although it doesn’t contain catchy musical numbers like Frozen and it doesn’t tug at your heartstrings like Big Hero 6, Zootopia is a must see for all Disney lovers.

Van Gogh’s legacy honored in groundbreaking film

Vincent van Gogh’s famous paintings are coming to life this year—quite literally. BreakThru Production and Trademark Films have given viewers a chance to experience the Dutch painter’s works like never before through the world’s first fully hand-painted animated film entitled Loving Vincent. Focusing on “the life and controversial death of Vincent Van Gogh,” the film uses live actors who are then rendered in oil paintings, which are subsequently animated. There are notable actors in the film, including Saoirse Ronan—from the 2016 Academy Award nominated Brooklyn—and Aidan Turner—best known as the dwarf Kili in The Hobbit trilogy. Chris O’Dowd—known for playing Irish cop Nathan Rhodes in Bridesmaids—and Jerome Flynn—known for his role in “Game of Thrones” as Bronn—are featured as well.

The film tells its story by recreating some of Van Gogh’s most well known works such as “Portrait of Dr. Gachet,” “Portrait of Joseph Roulin,” “Portrait of Adeline Ravoux” and “Portrait of Armand Roulin.” Drawn exclusively from 120 of Van Gogh’s paintings and over 800 of his letters to various family and friends, the plot “unfolds through interviews with the characters closest to Vincent and through dramatic reconstructions of the events leading up to his death.”

Essentially, the subjects of his paintings—as well as his family and friends—will be reading Van Gogh’s letters and talking to him, yet Van Gogh himself is unseen throughout; there is no actor portraying him. In order to effectively heighten the sense of mystery that surrounds his death, others speak his quotes. Van Gogh is a man whom many are familiar with, but few truly know.

The film is the brainchild of Polish painter and director Dorota Kobiela and Oscar-winning producer Hugh Welchman. Both wrote and directed the movie, as well as recruited artists and painters who worked with them via their website lovingvincent.com.

Though the film is being released this year, the project began back in 2011. The result of the five years of hard work is an innovative film that truly feels like a moving painting. The painters successfully recreated Van Gogh’s style; immediately recognizable to viewers with all of the bright colors and flowing lines.

Van Gogh’s signature wavy backgrounds that evoke so much movement—the ones seen in “Starry Night”—are actually moving in this film. Viewers also see characters in the moment that they were painted by Van Gogh. Unlike a regular film where the audience is a bystander and observer to the events happening on the screen, this film really achieves what all successful movies strive to do: make the audience feel as though they are experiencing the movie in real life.

This movie is the first of its kind and its artistic focus serves the platform well, but one can only hope that more fully painted animated films are to come. This style of moviemaking not only brings professional artists further into the world of media, but it also enriches its audience’s entertainment. At a time when there are only two basic types of movies—those that use live actors and those that are animated—and at a time when media is the primary form of entertainment, it’s vital that the fine arts world is further integrated into the movie industry.

The film’s title Loving Vincent is Van Gogh’s closing signature on one of his letters. The same letter, in fact, in which he reveals, “Well, the truth is, we cannot speak other than by our paintings.” And this is exactly what the film itself gracefully achieves.

Coffee House event offers unique Friday option

I honestly didn’t know what to expect as I walked up to the MacVittie College Union’s Kinetic Gallery for Geneseo Late Knight and Geneseo Campus Activities Board’s Coffee House event on March 4 from 9–11 p.m. I was drawn in by the promise of free coffee and acoustic music, but I really didn’t know much about the performers or how much fun I would actually have at a school-sanctioned Friday night event. My uncertainties were replaced with contentment, however, as the Coffee House event provided the perfect blend of engaging entertainment and a welcoming atmosphere. Any trepidation that I had about attending the event seemed to dissipate when I saw—to my surprise—a line of students waiting to go into the Gallery, stretching from its opening to the front doors of the Union itself. My friend and I were intrigued; we both thought that we would be two of a small number of attendees.

We then realized why so many people arrived so promptly: GLK was giving out free travel mugs to the first 50 people in attendance. To say I was thrilled was an understatement; I desperately wanted a good travel mug, but was too cheap to buy one and this wonderful freebie put me in just the right mood to enjoy the upbeat music of performers Meg Williams and Sara Rogers.

While attendees settled in with their selections of free coffee, teas and cookies, Williams and Rogers introduced themselves, noting how excited they were to be playing. They apologized in advance for their “awkwardness” in making conversation, as the guitar-playing duo typically only plays together in bars or restaurants. Williams and Rogers also play in Meg Williams Band, featuring Williams as the songwriter and lead vocalist and Rogers as the trumpeter. The band’s first album Troubles to the Wind was released in May 2014 and is available for purchase on iTunes.

Both recent graduates of Nazareth College—where Williams studied music therapy and Rogers studied both jazz and classical trumpet—the duo beamed at the audience before starting their set, sporting similar T-shirts, jeans, messy buns and acoustic guitars. This laidback, cheerful vibe that Williams and Rogers exuded carried through in the music that they played.

I was immediately impressed by the vocal prowess and strong guitar skills that both women demonstrated. The pair’s singing abilities complemented the other greatly, allowing both to uniquely shine in each song. They rotated through a solid set of upbeat, carefree tunes that had the audience members singing and swaying happily along in their seats. Even though the duo made performing with such passion and precision look effortless, there was no denying the immense technical control present in both their instrumental and vocal exhibitions.

Williams and Rogers played a few original tracks, such as the sultry “Take Some Time,” but their undeniably catchy and well-executed covers seemed to resonate the most with the audience. I particularly enjoyed their cover of Mark Ronson and Bruno Mars’ “Uptown Funk,” highlighting Rogers’ soulful vocals and impressive range in an innovative way. Other notable covers included the Jackson’s 5’s feel-good “I Want You Back,” Amy Winehouse’s jazzy “Tears Dry On Their Own” and Pharrell Williams’ radio hit “Happy.”

Like myself, attendee freshman Jessica Lisi noted that she “didn’t know what she was getting herself into,” but was ultimately glad with her decision to come to the event. “It’s just something nice to chill to,” she said. “I really like it; they’re really talented.”

Not only should Williams and Rogers be commended for their warmth and musical aptitude, but GCAB and GLK should also pat themselves on the back for arranging such a fun and relaxed Friday night event for the campus community to enjoy.

Livingston shares story, advice for young writers

Milne Library and the Geneseo Literary Forum hosted author Sonja Livingston on March 7 for a reading of excerpts from her memoir Queen of the Fall: A Memoir of Girls and Goddesses. Livingston shared her own personal stories and offered thoughtful insight to the attendees about writing nonfiction and other genres. Livingston is a winner of the Association of Writers & Writing Programs Book of Nonfiction Prize for her first book Ghostbread. Her writing has appeared in literary journals like Iowa Review and Brevity and she is also an assistant professor of English at the University of Memphis.

Queen of the Fall explores the lives of women from a range of generations and impersonal and personal experiences. Based on Livingston’s own memories, the stories help the reader to better understand women in all walks of life.

Livingston read an essay from Queen of the Fall titled “Mock Orange,” which is based on the story of her 16-year-old niece telling her that she is pregnant. In her essay, Livingston uses beautiful imagery of the mock orange shrub and a soft and caring attitude toward her niece during this turbulent time in her life.

Livingston’s creative nonfiction blended reality with art, specifically when she described her thoughts on meeting her niece after she received the news. “What will I see when I visit?” she wrote. “Will I be funny? My humor making little shelters in which to hide?” She later continued, “I cannot know how it will go, because I have not yet brought myself to see her and so this is the moment suspended—the space between imagination and reality.”

The author’s piece spoke on multiple levels, which is what made it so moving and relatable. It not only dealt with the problem at face value, but it also brought up ideas of the unknown, the path to maturity and familial relationships.

During the talkback after the reading, Livingston claimed that the main point in writing “Mock Orange” was to show that “children are gifts, no matter what.” She added, however, that there are more meanings to be derived from the work.

“By making myself continue and push beyond what I thought I needed to, I realized that maybe [“Mock Orange”] is about the grief of my not having children and just that complicated question of what it means to have a child,” she said.

Livingston is currently working on a novel and although she admitted that non-fiction is what she knows best and has more confidence in writing, she claims fiction is “fun in a different way.”

“[I’m] more comfortable with nonfiction, but I love trying my hand at fiction and poetry, and I think each genre offers opportunities,” she said.

Livingston also offered advice to writers wanting to try nonfiction. “My tip is to trust what you notice. Trust that [your idea] means something and trust in the process of writing to help you uncover what [the meaning] is, and if you approach it with that openness and honesty, you might even create ... an invitation to your readers to go on a similar kind of journey,” she said. “Trust yourself and what you care about, because that’s what matters.”

Hopefully, Livingston will continue to inspire readers and writers with her words of wisdom and emotional stories with her new fiction novel.

GENtrai honors Irish history in black comedy

Geneseo’s Irish-American Performance Ensemble—colloquially known as GENtrai—presented “The Lieutenant of Inishmore” from March 3–5. Directed by senior Dennis Caughlin, this is GENtrai’s first fully staged production.Martin McDonagh wrote the black comedy “The Lieutenant of Inishmore”—which received numerous awards—in 2001. The play is set in the popular tourist destination of Inishmore—the largest of the three Aran Islands in Galway Bay—and attracts its visitors primarily because the island successfully preserves Irish language and traditional culture and has avoided the encroachment of modernity. This play is historically-influenced; written as a protest through what McDonagh called a “pacifist rage” toward the senseless violence of the 30-year period called “The Troubles.” This period consisted of an ethno-nationalist conflict over territory in Northern Ireland in which two mutually exclusive visions of national identity and national belonging clashed. This period spanned from a civil rights protest in 1968 to the signing of the Good Friday Agreement in 1998. By 1993, peace was being negotiated, but there were still republican paramilitary groups like the Provisional Irish Republican Army and the Irish National Liberation Army which sought to liberate Northern Ireland from British occupation. Like its playwright, “The Lieutenant of Inishmore” is very unique in that it carries its message of protest against this violence in a story revolving around a murdered cat named Wee Thomas. In this performance, senior Paige Gordon narrated this story. In the first scene, 17-year-old Davey—played by sophomore Noah Mazer—brings a dead black cat to his neighbor, Donny—played by senior Michael Vecchio—who was watching the cat for his son Padraic—played by senior Aidan Fullerton. Davey insists that he didn’t kill the cat, even as Donny accuses him of hitting Wee Thomas with his mother’s bike. Upon learning that the cat was Padraic’s, Davey pleads with Donny to keep him uninvolved because Padraic was known to have a wild temper; in the following scene, he’s depicted torturing a man for selling marijuana. Donny agrees not to tell Padraic about Davey’s involvement if Davey confesses to killing Wee Thomas, which he does—even though it wasn’t true. Knowing the affection that Padraic holds for Wee Thomas, Donny decides to tell his son in stages. First, he tells him that the cat was sick and that the cat had died, rather than admitting that the cat had been murdered. But even simply telling Padraic that the cat was sick causes him to rush home. Donny then sends Davey on the hunt for another black cat and as Davey is preparing his mother’s bike, his sister Mairead—played by senior Lea Pandoliano—accuses him of killing Wee Thomas, with Davey learning that this rumor has spread. When Padraic returns home and realizes that the cat Donny and Davey tried to pass as Wee Thomas is an impostor posing as his now dead cat, he kills the replacement and prepares to kill his father and Davey, but other characters step in and take Padraic away to kill him instead In the final scene, Wee Thomas is found alive and Donny and Davey marvel at how four men and two cats were dead for no real reason at all. The GENtraí Ensemble performed their parts marvelously and their hard work certainly paid off. Their execution of dialogue in Irish accents aided their accurate depiction of Irish humor and—more importantly—the tension that exists between the two sides of the conflict, which inspired McDonagh to write this play.

Macklemore’s album haphazard, disappointing

Macklemore & Ryan Lewis released their unforgettable, number one Billboard Hot 100 hit “Thrift Shop” over four years ago. Fast forward to 2016: when the hip-hop duo released their fourth album This Unruly Mess I’ve Made on Feb. 26. Among other notable artists, Ed Sheeran and Chance The Rapper are featured on this album.

“Thrift Shop” jumpstarted Macklemore and Lewis’ careers. With his succeeding albums, however, Macklemore proved to the world that he was not a one-hit wonder. The Heist was a hugely successful album with hits like “White Walls” and “Can’t Hold Us.” In contrast, This Unruly Mess I’ve Made turned out to be a complete flop.

“Try-hard” is the only phrase that can accurately describe this album. It’s apparent that Macklemore was merely trying to stay relevant after The Heist’s huge success—a plan that completely backfired.

Successful music reaches its listeners through its messages and artistic quality. In this album, however, the messages did not translate and the music was lost. At times, it felt as if Macklemore were talking in a conversational setting rather than rapping in a studio.

It’s tough to say which was worse: the music or the lyrics. “Downtown” raps about mopeds to the beat of funk music—a true tragedy of a song, in my opinion. The song itself is a gag inducing, peppy version of “Uptown Funk,” and it’s hard for me to see how this song could appeal to any demographic.

“Brad Pitt’s Cousin” was arguably the least understandable song on the album. In the song, Macklemore jokes that he’s Brad Pitt’s “ugly” cousin, calling out to all his “Angelinas.” What was supposed to be a lighthearted, funny song only worked to reveal Macklemore’s completely bizarre, unsympathetic sense of humor.

“Let’s Eat” is a track that centers on dieting, in which Macklemore raps, “My girl shaped like a bottle of Coke/ Me? I’m shaped like a bottle of nope.” This song was embarrassingly terrible, highlighting Macklemore’s declining songwriting abilities.

Lastly, “Buckshot” focuses on how Macklemore grew up in a poor and vandalized property with graffiti—a song which directly contradicts his persona. In “Buckshot,” Macklemore identifies with the poverty-stricken population that many rappers come from and use as inspiration in their music. In “White Privilege II,” though—and seemingly the rest of his music—he identifies with a more privileged population that has never had to overcome hardships. If a rapper does not know who they are, how is their music supposed to be understood, let alone appreciated?

In the past, Macklemore & Ryan Lewis have been known for cleverly bringing social justice issues to light through their music, as seen in “Same Love” featuring Mary Lambert. “White Privilege II,” however, is just short of a disaster. Macklemore raps for nearly nine minutes about the different opinions surrounding the current racial climate, addressing issues from culturally appropriated rap to marching as a white man in Ferguson protests. 

“Black Lives Matter” is chanted throughout “White Privilege II,” along with people voicing their opinions about the movement. Miley Cyrus, Elvis Presley, Iggy Azalea and Mike Brown are all somehow mentioned in the same verse. While dissing other artists through a song is not a new phenomenon, it can be tasteless—especially when done in a song that deals with such heavy topics as the shooting of Michael Brown. The track comes off as tacky and Macklemore seems like another white male trying to convince others of his understanding of the black struggle.

This Unruly Mess I’ve Made was exactly what the title implies—a complete and utter mess. Connecting with listeners seemed to be the main struggle of Macklemore & Ryan Lewis’ album, with bad songwriting and poor musicality not helping their cause. While there may be a few tolerable songs off this album, overall, it gives white rap a bad name.

GDE combines movement, spoken word for compelling spring showcase

In its 48th year of productions, the Geneseo Dance Ensemble celebrated cultural diversity in their performance of “48Live: New Vistas,” which ran from Thursday Feb. 25–Saturday Feb. 28 in the Alice Austin Theater. Under the direction of professor of theater and dance Jonette Lancos and assistant professor of theater and dance Mark Broomfield ’94—as well as guest artists Mariposa Fernández and Garth Fagan Dance company member Norwood Pennewell ’80—the students put on a moving and thought-provoking production. The performance opened with “First Flame”—a work created by spoken word artist Fernández—and was directly followed by “Journey into Space and Sounds.” These numbers, as well as “Self Disclosures,” “This Story Is Gonna Burn” and “Rebel Realness,” were created by Fernández and written and performed by senior Jenny Soudachanh, juniors Seung Kim, Nana Boakye, Elizabeth Boateng, Jawad Tazari and sophomore Skyler Susnick. In this interactive performance, each student spoke to the audience as adjunct lecturer in English Glenn McClure played instrumental music on a hand drum in rhythm with their speeches.

These students appeared between each major dance number to discuss their own personal issues and development involving self-acceptance in areas aof race, gender and sexuality. According to Broomfield, these students created the speeches with the help of Real World Geneseo—a program in which students are provided with an academic course, a four-day retreat and an opportunity to take part in a service-learning project. Fernández was at the retreat and spent a week on campus to help the students create the best product.

“[These] students have given their heart and soul,” Broomfield said. “The courage to share their stories in the way that they did without having the background [in performing] and to be sharing it in this platform ... on the stage.”

McClure played music during each speech as the students discussed challenging social conventions and discrimination through their personal stories through monologues.

The four main dance numbers were also incredibly compelling. “Jam Jive and Everything”—a 1920s-inspired dance choreographed by Broomfield—included tap dancing and women in flapper dresses dancing, twirling and jumping energetically. The number began with junior Tiphereth Hassan reciting Langston Hughes’ poem “Midnight Dancer” while Archibald Motley Jr.’s painting “Saturday Night” was projected behind the dancers.

Choreographed by lecturer in theater and dance Deborah Scodese-French, the graceful “Aegean Odyssey” was inspired by her travels to Turkey. Scodese-French strove to honor Turkey’s sea, land and people in the piece. The performance was elegant and engaging; the students interpretively danced while wearing bangles on their wrists to play with the rhythm of the song.

Lancos’ “Beyond the Horizon” was a beautiful and sophisticated ballet that aimed to appreciate and to recognize the diversity of other cultures. The dance ended with a single spotlight closing in on the dancers, as they ended in the same position they began in—bringing the performance full circle.

The night ended with “Rising”—choreographed by Pennewell—which began with a single dancer silhouetted by a bluely lit scrim, who was later joined by other dancers running in sporadic movements across the stage.

Lancos expressed pride in her dancers. “What I experienced was the amazing growth in the dancers,” she said. “And then the rehearsal on Sunday [Feb. 28] to tonight ... it’s just such a transformation. That’s why we do four performances, because that’s how you learn to perform—by performing.”

Broomfield emphasized his desire to see the audience emotionally and mentally stimulated by the performance. “[I hope the audience is able] to appreciate that dance and performance can come in many ways. It can challenge us, it can elevate us, it can inspire us, it can do many things,” he said. “And so that’s my hope—that it’s not just about beauty, it can also challenge us to see differently, think differently, feel differently.”

Broomfield’s hope seemed to come true, as GDE’s brilliant performance was an all-around special and commemorative performance of cultures and people everywhere.

SPOTLIGHT ON: Michael Carlin

During his appearance in Geneseo Pride Alliance’s Drag Ball last year, business administration major sophomore Michael Carlin discovered a hidden talent: his expertise in makeup. Known to many by the pseudonym “Kai Vanguard,” Carlin has embraced his ability to create his unique artwork, using cosmetics to contour cheeks instead of carving clay and using powder instead of paint. An advocate for social justice, he has combined art and activism to produce works rooted in cultural diversity. Carlin explained that his interest in makeup developed when he was a child, foreshadowing the natural skill that emerged during his freshman year of college. “I remember times when I would sneak into my mom’s makeup bag and play with the products,” he said. “I had a natural inclination for it.”

His connection with the craft, however, did not spark until his participation in Drag Ball. With encouragement from friends, Carlin transformed his look using cosmetics, fully experiencing the power of makeup for the first time and discovering another side of himself that had yet to be seen.

“I fell in love right then and there,” he said.

A self-proclaimed “self-portrait artist,” Carlin’s style centers on androgyny. Although he gathers inspiration from a variety of sources such as New York City photographer Ryan Burke and YouTube vlogger Patrick Simondac—also known as PatrickStarrr—Carlin strives for originality in all of his creations. He emphasized his pride in being self-taught, with his creative eye acting as an intrinsic gift.

“Some of the best advice that I’ve heard is that you can’t take someone else’s ideas and thoughts and incorporate them into your own because then it will never actually be your own art,” he said. “I want people to perceive me as I perceive me.”

Carlin added that he thoroughly appreciates the work done by Burke and Simondac, complimenting their thought-provoking, “over-the-top” designs. These artists have inspired him to push boundaries, specifically those regarding gender fluidity.

“Kai Vanguard” is an emulation of this androgyny, providing Carlin with a persona that is even more extravagant than “Michael”—a persona that does not have to align with a gender.

Alongside juniors Sarah Simon and Thomas Magnus, Carlin is currently working on a studio project in Sturges Hall that will exemplify his advocacy for social justice and gender equality. The project will be a series of photographed looks that represent different diverse cultures and minority groups on campus, such as blacks, Hispanics, Asian-Americans and LGBTQ+ students.

In addition to creative projects and artistic looks, Carlin does simpler makeup across campus for people attending date parties or special occasions. “Simplicity can be so amazing,” he said. “My favorite thing is seeing all the little things add up and the confidence I can instill.”

Carlin explained that he hopes to pursue a career in makeup artistry by attending the New York City campus of Make-Up Designory following his graduation from Geneseo, aspiring to enter the nightlife entertainment industry or to become a potential business owner.

“I would like to be an artist; not in the sense that I’m going around doing wedding makeup, but that I’m going around doing what I like to do,” Carlin said.

“Express Yaself” gives students positive, judgment-free platform

Students Against Social Injustice hosted their second annual “Express Yaself” event on Thursday Feb. 25 in the MacVittie College Union Ballroom. The purpose of “Express Yaself” is to get students talking about social injustices they’ve experienced in their lives and in media through creative expression. It’s an event focused on both education and fun, with students presenting their own poetic pieces and songs. At the beginning of the night, the SASI executive board made it known that they wanted everyone to feel comfortable—there would be warnings for poems and songs including socially offensive words. They emphasized the notion that the event was a no-judgment space and that participants could temporarily leave if they became uncomfortable.

During the event, students performed songs and slam poetry on the subject of social injustice beginning with a wonderful rendition of “Oh Freedom” by juniors Sandi Imayeguahi and Krystal Osei. Together, Imayeguahi and Osei are the Dynamic Duo—a jazz, R&B and gospel singing group.

Crowd favorite Andre Doeman ‘15—who is originally from the Caribbean—performed a slam poem entitled “Loaded Gun, Six Rounds.” Doeman noted that he was surprised at what he has seen in terms of race relations since living in the United States. The poem revolved around racial inequalities, with an emphasis on statistics and the power of education to change them. Using phrases such as “open hearts, open minds” and “pierce the mentality,” Doeman’s poem was extremely well-received by the room.

Other issues such as feminism and body acceptance were also big themes of the night. Junior Pam Haas’ “The New Beholder” was a beautifully personal slam poem describing how “scars become stories instead of flaws,” while freshman Alexa Rosario impressed the crowd with her bold “Untitled,” described as “a poem about girls trying to find love the wrong way.”

Rochester-based artist Shawn Dunwoody was the guest of the night, providing attendees with a hands-on visual experience. Dunwoody specializes in public artwork—particularly mural work and communal art—which focuses on how we can empower using words.

Dunwoody gave a talk on campus centered on graffiti art on Feb. 23. Drawing inspiration from his presentation, Dunwoody worked on a large-scale painting of a spray can during “Express Yaself.” He invited attendees to use paint markers to embellish the painting with words that they personally associate with social injustice and making a change. Students seemed eager to add their own personal touch to the work with words such as “awareness,” “speak,” “stand up” and “human.”

During the intermission, attendees mingled in the ballroom and visited with the handful of student-run clubs who were tabling at the event. Groups like Women’s Action Coalition, Geneseo Pride Alliance, Black Student Union and Environmental Impacts provided students with information and support throughout the evening.

After the intermission, there was a second round of performances. Sophomore William Antonelli performed his slam poetry piece “Glass Slipper Ceiling,” giving a creative reinterpretation of the classic “Cinderella” fairytale. The piece reworked the idealistic narrative by including current social themes such as feminism and LQBTQ+ acceptance. With a defiant and independent heroine and a prince fighting his own sexual orientation, Antonelli successfully makes “Cinderella” accessible to today’s audiences.

Altogether, the night was a remarkably positive one. As a relatively new organization on campus, SASI should be commended for not only addressing social issues in Geneseo, but also for providing an inviting platform for students to have their voices heard.