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Ar t i s t i cI nt e r pr e t a t i ons
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04.02.15 VOL. XLVI, NO. 18 CONTENTS
The Indy is hoping to avoid April Showers.
04.02.15
Artistic Interpretations
Cover design by Anna Papp
Inside: Kendrick Lamar, Dance, and Men’s Hockey
NEWS 3 A Controversial Debate ARTS 4 Protest Music 5 Breaking out of the Cocoon 6 Moving Moments 7 Moving Moments 8 Quenched SPORTS 9 Field of Dreams 10 Unmet Goals 11 Unmet Goals
As Harvard College's weekly undergraduate newsmagazine, the Harvard Independent provides in-depth, critical coverage of issues and events of interest to the Harvard College community. The Independent has no political affiliation, instead offering diverse commentary on news, arts, sports, and student life. For publication information and general inquiries, contact President Albert Murzakhanov (president@harvardindependent.com). Letters to the Editor and comments regarding the content of the publication should be addressed to Editor-in-Chief Shaquilla Harrigan (editorinchief@harvardindependent.com). For email subscriptions please email president@harvardindependent.com. The Harvard Independent is published weekly during the academic year, except during vacations, by The Harvard Independent, Inc., Student Organization Center at Hilles, Box 201, 59 Shepard Street, Cambridge, MA 02138. Copyright Š 2015 by The Harvard Independent. All rights reserved.
President Vice Presdient Editor-in-Chief Director of Production News Editor Forum Editor Arts Editor Sports Editor Design Editor Associate Forum Editor Associate Arts Editor Illustrator Designers
Staff Writers
Albert Murzakhanov '16 Farhana Nabi '16 Shaquilla Harrigan '16 Sean Frazzette '16 Aditya Agrawal '17 Ritchey Howe '17 Michael Luo '16 Caroline Cronin '18 Anna Papp '16 Caroline Gentile '17 Andrew Lin '17 Yaara Yacoby '17 Alice Linder '17 Abigail Parker '17 Whitney Gao '16 Manik Bhatia '16 Terilyn Chen '16 Yuqi Hou '15 Chloe Li '16 Dominique Luongo '17 Orlea Miller '16 Carlos Schmidt '15 Frank Tamberino '16 Jackie Leong '16 Madi Taylor '16 Shreya Vardhan '17 Peyton Fine '17 Eloise Lynton '17 Hannah Kates '18 Chris Riley '17 Andrew Adler '17
News
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Israel and Palestine:
A Plan Toward Negotiation? Mohammad Shtayyeh speaks at Harvard Law. By ALBERT MURZAKHANOV
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he Program of Negotiation at Harvard Law School hosted Mohammad Shtayyeh, Minister of the Palestinian Economic Council for Development and Reconstruction, on March 25, 2015. Shtayyeh delivered a speech titled, “A Paradigm Shift for Israeli-Palestinian Negotiations.” The talk came only one week after Israeli Prime Minister Benjamin Netanyahu was re-elected and focused on the ongoing negotiations from the Palestinian perspective. After briefly providing historical context for the conflict, Mohammad Shtayyeh switched to the present, stating “The Palestinian-Israeli relationship is very asymmetrical; Israelis did not want to negotiate but just wanted to dictate. There was a set agenda, and they wanted us to accept it.” He gave a list of terms Palestine would have to agree to, among which he included: the demilitarization of Palestine, acceptance to bring NATO forces into the Jordan Valley, and the idea of Jerusalem as an open city. He also added that in making a border decision, Israel had to make two considerations, taking into account the security concerns of the nation and looking at the demographic realities on the ground (the Jewish settlements). Shtayyeh added, “Israel wanted to annex the settlement blocks, which would lead to it owning 45% of the West Bank.” Shtayyeh then outlined five key factors that are essential for any good deal to be made in regards to demilitarization: The Harvard Independent • 04.02.15
1. You need clear agreed upon terms of reference. There were no agreed upon terms of reference in the last round of negotiations. 2. Negotiations need confidence spending measures. He said the best way to empower Palestine is to stop settlements. What is the point of building Jewish settlements in an area that is supposed to be Palestine?
the conflict,” stating that on April 1, 2015 the Palestine Authority will become a member of the International Criminal Court and will submit two charges against Israel: “A charge against Israel’s last aggression in which 60,000 people were displaced” and a charge against the settlements.
Shtayyeh ended his talk with the following analogy, “There are three people (Palestinian, Jordani3. A time frame. When will the ans, and Israelis) for two chairs… settlements end? Instead of trying to cancel one of the three; the solution is to bring 4. To have an honest broker. a third chair. What we are fighting Any negotiations need an honest for today is the third chair.” broker. (Broker, facilitator, mediaHarvard Law School profestor). sor, Professor Robert H. Mnookin thanked Shtayyeh for his “con5. Good intentions. There is no troversial talk.” In the questions way to reach a peaceful agreement that followed, Shtayyeh was asked without good intentions. We never about Hamas and their role in the believed Netanyahu believed in 2 conflict and whether the Palestinstates. ian government would be able to control what is recognized as a He also explained his frustration “terrorist organization.” Shtayyeh with negotiations, emphasizing provided no clear answer but emthat they have been in the works phasized that he does not think for twenty-four years. He feels as Hamas will remain influential in though there has been no prog- the region and that Hamas would ress. In particular, he mentioned be in favor of the negotiations. that Netanyahu and the current Israeli leadership is “not interest- Albert Murzakhanov ‘16 (amurzakhanov@ ed in making real negotiations.” college.harvard.edu) is still trying to unpack Shtayyeh proclaims, “The only way what is a complicated and sensitive issue. to make Netanyahu drink is to make him thirsty, and the American government never made him thirsty.” Right now, he claims there is a Palestinian authority that has no authority whatsoever because of Israel’s limitation of it. Shtayyeh concluded by stating that in the hopes of achieving some progress, the Palestinians have decided to “internationalize harvardindependent.com
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The Point of Protest Wilco and other bands stand up to discriminatory legislation. By ANDREW ADLER
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lternative-rock band Wilco cancelled their performance in Indianapolis to protest the “thinly disguised legal discrimination” of the state’s Religious Freedom Restoration Act, which permits discrimination of sexual minorities under the guise of the protection of religious freedom. Fans who bought tickets for the show, slated for May 7th at the Murat Theatre, will be entitled to a full refund. If you have any doubts about the discrimination inherent in this law, put this article aside and go do some more research on the subject. If you see the law for what it is and want to make more sense of Wilco’s boycott decision, continue reading. Wilco joins a trend of musicians boycotting performances in response to controversial laws. Stevie Wonder organized a boycott of major musicians from Florida in response to its “Stand Your Ground” law, which George Zimmerman cowered behind after attacking, and ultimately shooting, Trayvon Martin. Sound Strike, an effort started by Rage Against the Machine frontman Zak De La Rocha, organized a boycott of performances in Arizona in response to SB 1070, the law “that requires police to determine the immigration status of someone arrested or detained when there is ‘reasonable suspicion.’” Admirably, Wilco is taking a clear stance against a gross, anachronistic, injustice. Perhaps their boycott will galvanize their fans into putting more effort into repealing this act. Perhaps their boycott will inspire other artists and institutions to follow suit in expressing their disgust with the act until it gets repealed. The NCAA, the NBA, the WNBA, the Indianapolis Colts, and even NASCAR, yes, I repeat, NASCAR, have already expressed their discontent with the law and in some cases issued the threat of 4 harvardindependent.com
boycott. All of these institutions wield far more power, and have much more at stake, than Wilco. Is there a reason why shouldn’t Wilco boycott? But I start to think about Wilco’s fan base; liberal, relatively young, the kind of people who would certainly agree with Wilco in opposing Indiana’s law. “Hell, my first introduction to the band was through the sweet, bumbling comedians in Funny People.” In 2013, (the incredible) electronic artist Grimes took criticism for performing in Russia because of its harsh anti-gay laws. Her response:
“Yes, I am playing in Moscow in 2 days and no, I do not feel bad about it. I don’t think that denying and ignoring the gay community in Russia is cool. I have gay friends in Russia and the only straight person on the Grimes team is James as far as I know, lol.
view the situation. How performance cancellations help bring about the end of discriminatory laws is a more appropriate way. But so often, it’s nearly impossible to gauge the actual efficacy of these boycotts. While both Florida and Arizona’s blatantly misguided laws still stand today, it’s hard to discount the role of these artists in changing public perception of these laws. After all, the Supreme Court isn’t the court of public opinion. So while I sympathize with the fans that will miss out on an excellent show, to discount Wilco’s boycott would be to discount the entire point of protest. Andrew Adler ‘17 (andrewadler@college. harvard.edu) respects artists for using their fame to bring light to injustices.
We are entering safely and it means the world to me to be returning to Russia. It doesn’t hurt the government if I refuse to tour there. Just regular people. So I don’t think it’s wrong to be doing this. Refusing to go to Russia would only hurt fans” In all likeliness, some of Wilco’s fans are gay and will miss an opportunity to see them perform. Anyone who has listened to their live album, Kicking the Television, knows that for those fans, this sucks. But the quality of the performance or even missing a performance itself is a shortsighted way to 04.02.15 • The Harvard Independent
Hood Politics A Review of Kendrick Lamar’s Newest Album. By HANNAH KATES
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o Pimp a Butterfly is good, to say the least. So good that it prompted an all-caps tweet from Taylor Swift. So good that “i”, its fifteenth track, won two Grammy awards before the rest of the album was even released. So good that many listeners couldn’t handle the pressure and had to listen to this complicated album many times before stating their opinions on it. It’s impossible to define what this album is, really, but we can begin to define what it’s not. It’s syncopated, it’s difficult, and it’s not the kind of album you can walk away from without thinking of everything that is wrong with our society. It’s not background music. It’s not easy listening. It’s not just rap, either; “there’s half a jazz band present at all times,” notes reviewer Craig Jenkins in Pitchfork, and guest artists including Thundercat and Anna Wise lend soul and substance to music that is as much about experimentation with sound as it is about controversial lyrics. It’s not just Kendrick’s life story anymore, either, though it is introspective at times; if there is a narrative here, it’s of race politics, or society at large, and the place of recent racially charged murders in national debate is evident. Both Trayvon Martin and the Ferguson protests are explicitly mentioned in “The Blacker the Berry.” The social commentary isn’t quelled for the sake of a happy ending, either, but the album’s finale, a conversation with the ghost of Tupac, is conclusive and even inspiring. Eerily self-referential, Tupac conludes, “We ain’t even really rappin’. We just letting out dead homies tell stories for us.” “Every n****r is a star,” proclaims the first clip of “Wesley’s Theory,” a The Harvard Independent • 04.02.15
brassy sample from the eponymous Boris Gardiner track. Kendrick doesn’t speak until after George Clinton has a verse (and, three lines in, urges us to “take a deep look inside,” which might give those still unsuspecting a taste of this album’s serious tone). “At first I did love you,” K muses, “but now I just want to fuck.” This track is not really about women, though; it’s about industry, and money. “Anybody can get it,” says Dre, “the hard part is keeping it, motherf*cker.” In “For Free,” we are again reminded that every relationship is a commercial venture; the woman character in this song turns out, again, to be “America, you bad b*tch.” “I picked the cotton that made you rich,” intones a self-defensive Kendrick, “now this dick ain’t free.” Kunta, made king in Kendrick’s third track, is most famous because of Alex Haley’s Roots series, a slave who chose a foot amputation over castration as punishment for repeated escape –a “black man taking no losses,” and this is really why he is the track’s main character. “Institutionalized” explores the butterfly motif –and, of course, the cocoon is Compton. “You can take your boy out the hood but you can’t take the hood out the homie,” concludes guest Snoop Dogg. “u” is dark, sad, and desperate; “Alright” gets spiritual. Where “For Free?” criticizes ostentatiousness, “For Sale?” describes its allure, personified in Lucy, whom we realize is an iteration of the devil. “I remember you was conflicted, misusing your influence,” begins Kendrick for the third time, adding to this increasingly more central refrain. There is a bit of personal narrative at this point in the album—Kendrick returns home, to Compton, to “Momma,”
and in a long second verse, he recites what he knows, beginning with everything and ending with nothing. He certainly knows the duality of racially motivated pride and self-loathing, the latter explored in “The Blacker the Berry” and the former in “i”. “The Blacker the Berry” doesn’t only convey anger, though; it is at once an expression of shame and a call for solidarity. Meanwhile, “i”, the model child and Grammy-winner of the album, is so upbeat it seems to come from an entirely different universe than “u.” It, too, acknowledges depression, though, and behind that bright guitar is an etymological examination of the ubiquitous noun/pronoun used gratuitously throughout the album. “Mortal Man” is a message from K to his fans and a beautiful conclusion to the album. He recites his poem—which gives this song its name—in full. It is obviously a realization of morality, but it’s also a chance for Kendrick to place himself in the historical narrative of black leaders. He expresses the urgency of limited time to a more recent predecessor in an exchange with Tupac, masterfully constructed from clips of a 1994 interview. They discuss the plight of the modern black man and retaliation against injustice. Tupac assures us, “ain’t gonna be no playin’. It’s gonna be murder, you know what I’m saying.” Weaving in this newly gained wisdom as well as his own introspective discoveries, Kendrick finally realizes, out loud, the narrative of the caterpillar and butterfly. By then, though, Tupac is gone. Hannah Kates ’18 (hkates@college.harvard. edu) is a speck of dust in Kendrick’s universe. harvardindependent.com
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{Excerpts}
Harvard-Radcliffe Modern Dance Company’s Spring Show. By CAROLINE CRONIN
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ance is meant to move you, body and soul. Some kinds of dance have you itching to jump out of your seat and bust a move no matter who is watching or where you are. That dance is a celebration of life and happiness that can strike it without a moment’s notice if the song is compelling and your heart is open. I have always considered myself prey to this form of movement. Not being a serious dancer myself (my closet mirror might disagree), I imagine that song and words speak to the soul more deeply. But I realize I have overlooked the subtleties that movements of the physical body can intimate. I saw my mistake while watching The Harvard-Radcliffe Modern Dance Company perform the spring show “Excerpts” put on last Friday and Saturday evenings at Farkas Hall. Composed of ten different performances featuring different styles, choreographers, music and dancers, “Excerpts” featured everything from light-hearted satire and comedy to a heart-wrenching love story. The quality of each dance was exceptional and showcased a broad range of storytelling techniques and messages. All the dances were able to tell their stories with the theme of “words” in mind: one dance was set to a reading of a poem, while another
took place while a dancer carried on a phone conversation. Choreographers had a unique approach to this theme and it was a pleasure to watch them all. I asked freshman dancer Greta Wong how she felt about the production and its diverse performances—her response gives us some insight into the making of such a complex show. Wong states, “It’s always neat to see how different
choreographers are able to create such vastly different pieces under one theme, this semester’s show having the theme of words, some being inspired by a certain text and others including spoken words during performance or in the music. Both pieces I was in were different—different in style, how the choreographers taught, how they were inspired
by the texts and how they incorporated the texts. It was fascinating to see how the processes differed, but still resulted in amazing pieces that were so fun perform.” The dancers clearly worked together to make sure the dances flowed smoothly between each other and that each one managed to capture the essence of the theme while still exhibiting each choreographer’s individual style. Wong continues, “In particular, I remember at the halfway to the point to the show when all the choreographers showed their dances in the stage they were in, then received feedback from the rest of the company. It was the first time we had seen the other dances, and I was so amazed at the creativity each choreographer had inspired their dancers with. It was also cool to hear the other company members give their reactions to and thoughts about the unfinished pieces, giving the choreographers feedback to work off of. I loved seeing all the dances again in their final form and united under the one program during the rehearsals leading up the finished show.” Harvard is unique among colleges in many ways, and not being a connoisseur of modern dance myself, I wondered if there is any particular aspect of this dance company that stands out. - continued on next page
Photo courtesy of Caroline Cronin. 6 harvardindependent.com
04.02.15 • The Harvard Independent
continued from last page - Wong responds, “I think all dance is special since it is art translated onto a very unique medium—our bodies! Specifically, I like modern because it is much more grounded and allows for people’s individuality to really come out. HRMDC is so great because it takes people with such varying backgrounds, creating a unique at-
mosphere that I always look forward to being a part of. Everyone has their own crazy stuff going on, and dance can be a way to mediate other aspects of life.” That is for sure! As a member of the audience that night, I received a little piece of each choreographers and dancer’s heart and soul that they translated through dance and words. Being a part
Get Artsy
Harvard’s art scene is fashionably dramatic this week. By SHAQUILLA HARRIGAN Shakespeare’s Hamlet| Loeb Iolanthe; or, the Peer and the Peri| Agassiz Theatre
The Harvard-Radcliffe Gilbert & Sullivan Players bring audiences another classic from the Victorian musical theatre duo W.S. Gilbert and Arthur Sullivan in the show Iolanthe. Director Chiemeka Ezie ‘15 and his cast share a story about the love between a halffairy man and his mortal fiancée. The lovers must overcome the antics of fairies and the House of Peers to come together. Unlike other G&S shows, this one more directly takes comedic aim at British parliament. This musical is highly recommended and is a blast to watch. Tickets can be purchased at the Harvard Box Office. Tickets are $5 with a Harvard College ID. Show Times: • Thursday, April 2nd at 8:00 PM • Friday, April 3rd at 8: 00PM • Saturday, April 4th at 6:00 PM • Sunday, April 5th at 2:00 PM The Harvard Independent • 04.02.15
Main Stage Perhaps one of the most complicated Shakespeare texts, Hamlet is brought to the Loeb Main Stage in a new way. Director Leilana Vogel ‘15 and her cast take the burden off of Horatio to retell Hamlet’s story alone — the rest of the characters each take their turn as the Melancholy Prince. With a run-time of two and a half hours, this poignant play will allow each of us to find our inner Hamlet’s. Tickets can be purchased the Harvard Box Office for $8 with a Harvard College ID. Show Times: • Friday, April 3rd at 8:00 PM • Saturday, April 4th at 8:00 PM • Sunday, April 5th at 2:00 PM • Thursday, April 9th at 8:00 PM • Saturday, April 11th at 8:00 PM
of such communication was an experience to remember, and I look forward to future productions by the Harvard-Radcliffe Modern Dance Company. Caroline C. Cronin ’18 (ccronin01@college. harvard.edu) will from now on be found communicating solely through interpretive dance.
ion relevant to academia. Identities is all about representing different voices and perspectives in every part of the show; from the designers to the models to the board, Identities brings together people of different racial and ethnic backgrounds. Tickets are $15 and can be purchased at the Harvard Box Office Show Times: •
Saturday, April 4th at 9:00 P
The Jungle Book| Loeb Experi-
mental Theatre Directed by Catherine Qin ‘17 and Illeana Riveron ‘17, the Harvard Ballet Company breathes new life into Rudyard Kipling’s classic children’s tale The Jungle Book. Viewers have the opportunity to re-hear the tale of Mowgli through dance and music. If you would like to attend, email thejunglebooktickets@gmail.com for free tickets. Show Times: • Friday, April 3rd at 7:30 PM • Saturday, April 4th at 2:00 PM, 7:30PM • Friday, April 10th at 7:30 PM • Saturday, April 11th at 2:00 PM, 7:30 PM
Identities Fashion Show|
Northwest Labs This student-run fashion show that features over 500 students makes fash-
Shaquilla Harrigan ‘16 (sharrigan01@college. harvard.edu) hopes Shaqspeare will become a national musical. harvardindependent.com
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Welcome to Drink
The Indy reviews the restaurant Drink.
By JOHN HWANG
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idden underneath Sportello, this gastropub is a must-visit gem. Barbara Lynch’s Drink doesn’t fail to seamlessly provide an incredibly open and relaxing milieu to make conversation and laugh with friends. But, the wait was long. Our party of five showed up at 6 o’clock and had to wait 30 to 45 minutes to get to a table. But once you’re in, it’s hard to imagine that you’d ever want to leave, especially after being a drink or two deep (or more). Drink’s specialties are its drinks (obviously), but don’t get distracted. The food they serve is absolutely exquisite, yet simple in construct. As almost all their dishes are finger food. Drink’s food is great to share and is a social interaction unto itself. From its abnormally large French fries, served with a side of malt vinegar aioli, to its eclectic mix of House Made Charcuterie, Drink’s cuisines gave me the sense that they weren’t trying too hard or too little. Other delicacies on the menu I’d recommend you try are the Maine Trout Rillette, the Steak Tartare with truffle aioli and the Rhode Island Calamari. In each dish, it was easy to tell that the chef wanted to balance the flows of different flavors exhibited by the selection of a specific type of bread or aioli to compliment the salty and bitter tastes coming from the selection of Charcuterie. And don’t let me forget their burgers. At 6pm, a message board on the wall reads: four burgers remaining, and I couldn’t resist tasting one. These burgers are limited but they are unquestionably worth having—it tasted completely of itself. Now, onto the bar –walk in and you might think you’ve stumbled on an ordinary bar, but you’d be wrong. What makes Drink such a unique place is that it, ironically, doesn’t have a drinks menu. Instead, bartenders are on call to help craft the drinks of your dreams. It’s simple, tell the waiter what kind of flavors or tastes you prefer, and they’ll be sure to make you a drink worth sipping on. The words that best resonate with the culture of Drink are written on a board behind the bar: “Dedicated to those merry souls, who make drinking a pleasure, who achieve contentedness long before capacity and whenever they drink prove able to carry it, enjoy 8 harvardindependent.com
it and remain Ladies and Gentlemen.” And I agree.
If you plan to visit the gastropub, I would highly recommend getting there early to get your first Drink.
Location: 348 Congress St., Boston, MA 02228 Drink of the night: Moscow Mule Recommended dish: House Made Charcuterie John Hwang ‘17 (jhwang01@college.harvard.edu) has quenched his thirst. Photo courtesy of John Hwang.
04.02.15 • The Harvard Independent
Sports
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Going, Going, Gone!
Softball season comes into full swing with this week’s doubleheader sweep. By CAROLINE CRONIN
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his week not only brought warmer weather to all the winter-worn Cantabrigians, but also the home opening games for the Harvard women’s softball team. Nothing says spring is here like the crack of a bat or the calls of an angry ump! Whose childhood is complete without Saturdays at the ballpark? All those clumsy swings at t-ball while your dad shouted encouragement were finally worth it when the whole team went out for ice cream. Well, these were the images conjured up in my mind as I watched our Crimson women defeat the University of Rhode Island on Tuesday afternoon in not one, but two clear victories. So while the weather may still be questionable, the strength of this year’ team is not. This past weekend the team opened Ivy League play by traveling to Columbia and Penn. In game one against Columbia, Harvard won 3-2. However, Columbia came back in the second game to win 3-0. On Sunday, the Crimson lost to Penn in two high scoring games, one of which was 8 innings long with a final score of 15-14. But the team did not allow any of these losses to distract them from preparing for and focusing in the games this week. Thus Harvard came into Tuesday’s game with an overall record of 8-15. Rhode Island came with an overall record of 1-18. Their one victory is from the March 16th match up against Lafayette. The team has lost six games since that win, and all in five innings. Harvard was also able to defeat Rhode Island The Harvard Independent • 04.02.15
within five innings in both games. The series was a particularly successful one as the Crimson were able to amass 29 runs off of 25 hits. In the first game against the
then on. The final score of the first game was 15-0 and is the team’s third shutout of the season (so far). The second game of the doubleheader began with the Harvard team down by one. But the team quickly got back into gear and rebounded with Gusse, Catherine Callaway ‘17 and Giana Panariello ‘17 bringing in a total of seven runs. Crimson continued with that determination to come to a total of 11 runs in the bottom of the second. In the third inning, Gusse hit one over the left center wall with Andrea Del Conte ‘15 and Panariello on base to make three more runs and knock Harvard’s total up to 14. Rhode Island did their best to leave it all on the field despite the heavy deficit. They scored two runs in the top of the fifth but it was not enough to soften the defeat of 14-3. Harvard will play again at their home field this Friday. The game against visiting Cornell will begin at 2:00 pm. The current record for the Crimson is now 10-15. Cornell’s current record is 8-10. They are coming off of a three game winning streak in this week alone. Cornell plays George Washington University in D.C. before coming to Cambridge University of Rhode Island Rams that began at 3:00 pm at Soldiers to take on the Crimson women. The Field, the Crimson came out strong weather promises to be warm but and excelled in offense. Shortstop threatens rain. Emily Gusse ‘15 hit two homeruns! Neither pitchers of the first game, Caroline Cronin ’18 (ccronin01@college. Laura Ricciardone ‘15 and Morgan harvard.edu) hopes to cheer on the softGroom ‘16, allowed a single walk. ball team in the games to come! In the bottom of the first inning Harvard scored nine runs and took Photo courtesy of Mindmatrix on Wikimecomplete control of the game from dia Commons. harvardindependent.com
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Sports
Melted Dreams
The Crimson fall to Nebraska-Omaha in NCAA tournament play. By PEYTON FINE
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arvard entered the NCAA tournament on a roll. They had just won the grueling ECAC tournament to earn a spot in the tournament and were poised to make another run in the NCAA tournament. The road before them looked easy as the Crimson watched the first seed in their region lose just minutes before the puck dropped in their first NCAA t o u r n a m e n t game since 2006. Standing in front of Harvard’s trip to the quarterfinals was the University of Nebraska-Omaha, a team that had only won two of their last ten games and had not played a game in over two weeks. However, in postseason hockey, conventional wisdom goes out the window. Hot streaks and time between games takes a backseat to good goaltending and timely penalties. Harvard had neither in its favor. Two minutes into the first period, the importance of goaltending shone bright. A seemingly harmless shot from just across the blue line was easily stopped by Harvard netminder Steve Michalek ‘15. However, Michalek did not cover the puck for a faceoff in Harvard’s defensive zone or turn it away to the boards. Unbeknownst to Mickalek, the puck remained just in front of his left leg pad. The Maverick front line charged in, and in the ensuing mess of bodies the puck was poked into the back of the net to put the Crimson behind early.
After the initial shock of falling behind early, Harvard began to pull the game back to even and grabbed the momentum. However, Omaha goalie Ryan Massa ‘15 was giving the Crimson a taste of what was to come, not making any mistakes. Massa kept rebounds to a minimum and turned numerous shots directly to the boards. However, at the end of the period, the second key to postseason hockey— timely penalties— reared its ugly head at the Crimson. W i t h t w o
“Hot streaks and time between games takes a backseat to good goaltending and timely penalties. Harvard had neither in its favor.”
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minutes left in the first period, Harvard Brayden Jaw ‘16 was called for a tight tripping call to put the Crimson a man down. Thirty seconds later, Harvard lost another man to a boarding call. With ninety seconds left in the opening period, Harvard found itself playing five-on-three and conceded a second goal. With Omaha having a two-goal lead in the second period, a slugfest of opposing styles was in order. Harvard, unwilling to go full bore on the offensive to score with so much time remaining, found Omaha already tucked into a defensive shell. The ensuing twenty minutes found the Crimson without enough men forward to trouble the shell of the Mavericks, and the Mavericks refusing to commit men forward in fear of conceding a goal. It led to a period with the fewest shots on goal, no penalties, and an unchanged score line. Continued on next page.
04.02.15 • The Harvard Independent
Sports
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Melted Dreams - continued The Crimson fall to Nebraska-Omaha in NCAA tournament play. By PEYTON FINE continued from last page - The third period saw the Crimson come out with fire in their eyes and an eye towards offense. Within five minutes, the Harvard had earned its first penalty. It seemed like the tide of postseason hockey necessities could be turning Harvard’s way. However, Omaha’s goalie Massa would follow up his appetizer from the first period with the main course of incredible goal tending. He made saves during Harvard’s first power play to both his glove side and stick side, made saves off the mask and blocker, and visibly frustrated the Crimson. Harvard kept up the pressure, and Jimmy Vesey ‘16 struck at the midway point with his nation leading 32nd goal of the year. The Crimson would bring the game to within one at that point and further ramp up the pressure. With twelve minutes elapsed in the
The Harvard Independent • 04.02.15
third period, Harvard had already amassed more shots on goal then in the first two period combined. Except for the Vesey goal, none found the back of the net. The game was played almost entirely in Omaha’s defensive zone and looked to continue that way when Harvard was again struck with an untimely penalty. Just after the thirteen minute mark, Harvard’s Colin Blackwell ‘16 was called for tripping. Harvard was forced onto the defensive for the next two minutes. After killing off Blackwell’s penalty, Harvard found itself with another penalty. This one on Luke Esposito ‘17. The Crimson found itself a goal down and a man down with two minutes remaining. Harvard was forced to go empty net, and they gave up two frivolous goals to take the final score to four to one. Harvard ends the season with twen-
ty-one wins, the most since 2006, which was also the year of its last trip to the NCAA tournament. Harvard graduates three key players including defensemen in Max Everson and Patrick McNally, and starting goaltender Steve Michalek. But the Crimson should be very strong again offensively especially if Vesey holds off on the NHL again and returns for his senior year. However, in the postseason, it’s more than talent and streaks that matter. Timely penalties and goaltending make the difference, and on this day, the Crimson simply did not have it. Peyton Fine ’17 (peytonfine@college.harvard.edu) found Harvard’s unceremonious exit tough to swallow, but looks for the Crimson to build on its success.
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