The Hoya: The Guide: January 22, 2016

the guide FRIDAY, JANUARY 22, 2016

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‘We Could Be Heroes’

DC Remembers David Bowie JOHN MILLER Hoya Staff Writer

T

o music fans across the world, British rock legend David Bowie was known as a range of different personas — Ziggy Stardust, Aladdin Sane and the Man Who Fell to Earth, to name a few.

Bowie, who passed away from liver cancer Jan. 10 at the age of 69 — two days after the release of his album “Blackstar” — had an enormous impact on the global music scene.

His influence is felt from the recording studios of major record labels to the music practice rooms in Reynolds Hall. His catalogue is rife with themes of isolation and alienation, as well as fusions of rock, cabaret and jazz that moved avant-garde music into the mainstream. What many may not know is that the singer, songwriter, producer, painter, playwright and actor had a special connection to the city of Washington, D.C. See BOWIE, B2

PHOTO ILLUSTRATION BY NAAZ MODAN/THE HOYA

THIS WEEK ARTS FEATURE

ARTS & ENTERTAINMENT

Th e Metal Children Nomadic Theatre blends tragedy and comedy in new play Top 20 Albums of 2015

Our top picks for 2015’s defining albums include releases by Bob Dylan, Kendrick Lamar and Tame Impala. B5

FOOD & DRINK

Chaia Tacos

The earth-conscious Taco startup is making waves in D.C. for its locally sourced ingredients. B4

ARTS & ENTERTAINMENT

Hinds

Spanish rock group breaks into the international market with its latest album. B6

THEHOYA.COM/ GUIDE @thehoyaguide

STANLEY DAI/THE HOYA

In the Nomadic Theatre’s new play, Andrew Walker (SFS ’16), left, plays Bruto, a quirky literary agent who persuades his client Tobin Falmouth, played by Greg Keiser (COL ’16), to travel to a small town to defend his controversial book, “The Metal Children.”

KATE KIM

Hoya Staff Writer

No young adult novelist predicts that tragic events in his fictional story will actually become reality. American playwright Adam Rapp’s “The Metal Children” tells the tale of one such novelist, as the events of

his fictional story involving an abortion, disappearance and suicide begin to occur in a small town called Midlothia after the publication of his book.

The Nomadic Theatre’s production of Rapp’s play premiered yesterday in the Davis Performing Arts Center, and will continue to run tonight, Satur-

day and from Jan. 27 to Jan. 30.

Encompassing dramatic, comedic and chilling elements, it is difficult to categorize the play in one neat genre. The events unfold through the perspective of a struggling author, Tobin Falmouth, played by Gregory Keiser (COL ’16), the writer of the eponymous young adult novel,

“The Metal Children.” The book causes a stir in the town, prompting a religious local high school to ban it for its appalling scenes of violence and teen pregnancy.

The opening scene is comedic, set in a slovenly New York City apartment branded with Jack See METAL, B3

B2

the guide

THE HOYA

friday, January 22, 2016

FEATURE

The Legacy of David Bowie Artist, Rock Star, Revolutionary BOWIE, from B1 The Rise of Ziggy Stardust The eccentric, chameleon-like British musician was born David Robert Jones in 1947, and adopted the surname “Bowie” just prior to his ascension into the public spotlight. He found his first mainstream success in 1969 with the release of “Space Oddity,” a ballad about a fictional astronaut exploring new frontiers released just 10 days before the Apollo 11 moon landing.

Bowie re-emerged three years later as Ziggy Stardust, an androgynous alien rock star on a mission to save the world. This persona was instrumental in the genre of glam rock and his 1972 release, “The Rise and Fall of Ziggy Stardust and the Spiders from Mars,” is widely considered to be one of the greatest albums of all time.

Music professor Benjamin Harbert, who teaches a course on the history of rock at Georgetown, said Bowie reinvigorated the world of music.

“He reminded us that rock is a performance, that it is role playing,” Harbert wrote in an email to The Hoya. “In a sense, it’s a critique of the authentic rock star. Pretending to be an alien rock star is a perfect antidote to the cult of authenticity.”

Still, “The Rise and Fall of Ziggy Stardust and the Spiders From Mars,” together with 1973’s “Aladdin Sane,” are widely identified as classic-rock masterpieces rather than glam-rock novelties. Bowie’s lasting appeal and universal acclaim continues 30 years after the death of the glam-rock movement he helped to animate. Bowie’s transgressive metamorphoses, as well as his flamboyant sense of theatricality and fashion, are impossible to categorize.

“Bowie opened up possibility during a time of mainstream constriction,” Harbert wrote. “I was always baffled when coming upon him.”

Space Oddity Bowie’s experience in the greater Washington, D.C., area spans his entire career, with the city almost serving as a home away from home.

In the early 1970s, a time when Britain’s greatest gift to the world was rock ’n’ roll, Bowie’s creativity redirected attention away from concerns about a glum economy and war to another world entirely

Columbia, Virgin, RCA, ARista, EMI

Over the course of his shapeshifting career as a musician, the late David Bowie recorded 27 studio albums starting in 1967 up to the 2016 release of “Blackstar,” recorded just before the singer’s death. of his own creation, filled with fantastical imagery and infinite possibilities.

Following the poor reception of Bowie’s 1970 album “The Man Who Sold the World” in England, music label Mercury Records sent the young artist to America in hopes of inspiring a breakthrough.

In 1971, Bowie conquered his phobia of flying and arrived at Dulles International Airport, just outside of Washington, D.C., on his first trip across the Atlantic.

According to Paul Trynka’s 2011 biography of the rock star, Bowie was held up by immigration officers for nearly four hours, and even denied a work visa — likely the result of his bright purple coat, long hair and suitcase full of dresses.

Bowie’s first truly American experience was a meeting with Meteor Records publicist Ron Oberman

at a steakhouse in nearby Silver Spring. Opting to sit in a corner booth to avoid catching undue attention, Bowie displayed the understated brilliance that set him apart from the attention-grabbing antics typical of his rock ’n’ roll contemporaries. He preferred to hold a private conversation over drinks rather than tantalize the tabloids.

Afterward, Bowie played his first major concert in the country at the Capital Center in Largo, Md. He would go on to return to the venue many times in the future. In 1996, he played four shows in a row at D.C.’s Capitol Ballroom. Later, in 2004, he played his final local show in nearby Fairfax, Va. The greater D.C. music community has had a profound and visible reaction to the passing of one of contemporary music’s biggest names, with tributes hosted following his

CREATIVE COMMONS

Always an influential performer and songwriter, Bowie’s artistry is frequently referred to as an inspiration by the likes of Madonna and Lady Gaga as well as newcomers Charli XCX and Lorde.

death at local establishments such as local JR’s Bar and Grill, the Rock and Roll Hotel and the Birchmere Music Hall.

Bowie’s lasting influence can also be seen in the Washington Ballet company’s upcoming performance of “Dancing in the Street.” This production explores the iconic reinventions of Bowie’s persona. Music by Gabriel Gaffney Smith is interwoven with selections from Bowie’s catalogue, with choreography by Edward Liang bringing excitement and daring into a celebration of rock’s fallen hero.

“Time may change me, but I can’t trace time.”

Rebel Rebel Bowie’s far-reaching impact is evidenced by the reactions of Georgetown students and artists to his death. Michael White (COL ’19), a member of the WGTB Georgetown Radio board and creator of his own music blog, said Bowie left an indelible mark on the world.

“He reaffirmed that music is art.

Not all art has to follow a struck formula, especially popular music.

His style can’t be pinpointed and was never stagnant for his entire career,” White wrote in an email to The Hoya.

Stephen Yaeger (SFS ’18), the drummer of student band Liberal Leave and Instructional Continuity and host of “Collateral Jammage” on WGTB, said Bowie’s ability to excel at so many different genres serves as a testament to his greatness.

“I like to think that the music I listen to and make myself isn’t dependent on a certain genre or style … which is a concept that he really pioneered,” Yaeger wrote in an email to The Hoya. “His constant reinvention was more than a novelty.

It was revolutionary to the world of music, and he was one of the best artists to change their style from project to project.”

Ethan Beaman (COL ’15), a member of the student band Faces for Radio, was particularly influenced by the revolutionary sound and lyricism of “Life on Mars” from Bowie’s 1971 album, “Hunky Dory.”

“The instrumentation behind it … gave me a lot of ideas for how to use dissonance in my musical work, lyrically and melodically,” Beaman said. He also found Bowie’s lyrics particularly poignant during a personal struggle.

Bowie is perhaps best known for his edgy alter egos that pushed not only the boundaries of musical innovation, but also inspired a generation to explore and celebrate their own subconscious.

“My policy has been that as soon as a system or process works, it’s out of date,” said Bowie in a 1977 interview with Melody Maker. Known for his tireless work ethic, Bowie was in constant pursuit of new possibilities, never content to rest on

his laurels.

“Good music can come in any form,” Yaeger said of Bowie’s philosophy. “Not [innovating] can cause a good artist to get stale pretty quickly.”

This insight may explain the frequent adoption of new styles or characters altogether following his enormous success from the late ’60s to the mid 1980s. The transition was often abrupt, even for those closest to him. For instance, members of his band The Spiders from Mars were fired onstage immediately following the conclusion of their highly successful 1973 glitter-rock tour.

In one five-year stretch, fans saw Bowie as a curly haired folky, evening gown-draped siren, vampire and drug-fueled haberdasher. Fashion designer Kansai Yamamoto refigured kabuki theater designs, intended for female clients, to the needs of Bowie at various times.

Bowie’s appeal was not only in his prolific musical production, but also in his raw sexual energy and theatrical persona. Influenced by the likes of Elvis Presley and Andy Warhol, he was driven to succeed at a young age. Bowie’s disregard for convention was evident in his pursuit of formal mime training, for instance. His impact can be seen in the innumerable musicians he influenced including Queen frontman Freddie Mercury, Lady Gaga and Prince.

BlackStar Bowie’s legacy will live on across every genre in Western music. No style escaped Bowie’s reach, nor would any be the same without innumerable artists drawing on aspects from any one of his 27 studio albums. His forays into electronic, jazz, classical, folk and alternative music affirm Bowie as one of the most influential musicians of all time.

Few would describe David Bowie as a forefather of hard rock or metal in the same way they would Led Zeppelin. Insofar as Ozzy Osbourne and Alice Cooper were inspired by Bowie’s dark theatrics, an essence of glam also became the identifying feature of such diverse artists as Def Leppard, Guns N’ Roses, Twisted Sister and Ratt.

Even grunge, the genre that sought above all to escape tradition and establish itself independent of defined mainstream influence, found Bowie inescapable. Tellingly, the king of grunge, Nirvana’s Kurt Cobain, famously covered Bowie’s “The Man Who Sold the World” during the band’s legendary performance on “MTV Unplugged” in 1994.

One of Bowie’s most underrated accomplishments, 1977’s “Low,” paved the way for bands such as Radiohead to fuse the rock and electronic genres into such works as “Kid A” and “OK Computer.”

While hip-hop may seem to lack any hint of Bowie, in the 1970s, no R&B or funk artist was bigger than George Clinton, a longtime admirer of Bowie’s experimentalism. On his band Parliament’s immortal sing along “Give Up the Funk (Tear the Roof Off the Sucker),” Bowie not only gets a shout-out, but also reportedly served, at least in part, as an inspiration for the entire song. Even Bowie’s collaboration with Queen on “Under Pressure” has been sampled by countless hiphop artists.

The release of Bowie’s final album, “Blackstar,” an experimental jazz album inspired by Kendrick Lamar’s “To Pimp a Butterfly,” has been met with widespread critical acclaim and immense commercial success. The album is already No. 1 in many countries and is the first Bowie album to reach No. 1 on the US Billboard 200 chart. This album will surely come to define Bowie’s late legacy and serve as a defining capstone to an unparalleled body of work.

Bowie’s thinking was remarkably forward during his time, to say the least. This clairvoyance was evident in his progressive views concerning sexual identity and celebrity during the 1970s. As White described, “He pushed boundaries with sounds and imagery. His idiosyncratic presence is unrivaled and historic. That will be his legacy.”

Bowie’s ability to encapsulate both a particular moment in his life and communal human emotion in his songs has contributed to his widespread popularity and artistic immortality, both of which continue on the Hilltop, in D.C. and across the world.

Hoya Staff Writer Tom Garzillo contributed reporting.

See B6 for a review of Bowie’s last album, “Blackstar.”

the guide

FRIDAY, JANUARY 22, 2016

CULTURE WARPED

THE HOYA

B3

ARTS FEATURE

Jack Bennett

Redefining Sex in the 21st Century

I

t has been said that an intellectual is someone who has found something better to think about than sex, so call me a proud philistine. Not only does thinking about sex matter, but it matters more to humanity than sex in itself. There are many instances of the damage wrought by bad thinking about sex and they are not difficult to identify. Rape culture, homophobia, slut-shaming and, in my opinion, anti-contraceptive religious beliefs, trigger warnings and extreme political correctness are all examples of bad thinking about sex.

Questions about how we think about things are often referred to as hermeneutic — so here is my horny hermeneutic. The question of how to approach sex in the 21st century is really a question of how we think about sex. To interrogate our sexual ideology we must start at the most basic level and ask: What does sex mean today? This question may seem ridiculous at first; sex is a resolutely physical act and is not traditionally an apparent symbolic one. But the truth of the matter is that sex is fraught with social and cultural significance even if it is, at its core, meaningless.

Wait, you might be thinking, how can sex be fraught with symbolism, but actually be meaningless? It is because sex must be made to mean.

There are so many different interpretations of sex, from Oscar Wilde’s oft-quoted adage “Sex is about power” to Woody Allen’s “Sex is the most fun you can have without laughing.” But what is sex about? Power, love, fun, pleasure, pain, health, religion, reproduction? Is it political, is it moral, is it art? Is it for money, partnership, community? Is it freeing, or oppressing? What does it mean?

Sex is, at base, physical acts. But what this signifies, what these acts are for us, is all interpretation. When you performed oral sex, was it an act of love or just a drunk hookup? Was it because he’s your teaching assistant and promised to raise your grade, or because he was Sheila’s boyfriend and Sheila’s been such a pain lately? When you lost your virginity, was that a sin, or the pleasurable beginning of a new and exciting dimension to your social life? When you decided to have sex without a condom, was the sex intended for procreation, or did this choice stem from a lack of education about safe sex? This is how sex is made to mean.

In some ways, thinking about the ideology of sex is a relatively new phenomenon. Modern relationships, from the period roughly between 1900 and 1950 were much simpler.

Religiosity, firm moral and national standards such as the nuclear family, made clear the purpose and meaning of sex. Sex was intended to be with someone you loved, to whom you were committed, for the purpose of having kids.

But of course you would be sorely mistaken to reminisce about this period when LGBTQ relationships were forbidden, interracial relationships shunned, black and minority love devalued and sex-negative cultural practices like slut-shaming and emphasizing abstinence were prominent.

Postmodern sex, conceptions of sexuality starting roughly in the late 1960s and continuing through today, is very different. We have all heard the oft-used liberal-feminist refrain of “Gender is a social construct, sex is a biological one,” but sex is in fact a social construct.

Now, of course I know that sex here is referring to the genital distinction of men, women and intersex persons, but the point stands.

Sex no longer means one thing and no longer holds the same weight for many Americans.

Postmodern sex leaves everything kind of … well, gray. Here, I am decidedly not referring to lines between consensual sex and rape, a clear and increasingly well-defined boundary, nor am I referring to any E.L. James book. I am referring to the fact that the onus of interpreting sex, understanding what sex means, has rapidly shifted from society to the individual, or individuals, having sex.

The Sexual Revolution from the ’60s to ’80s that brought us remarkable benefits like third-wave feminism, more nuanced sexual education, wider contraceptive care, greater STD prevention and opened the door to gay rights has also left our sex lives with a new emptiness, one that we are ill-prepared to fill without proper thought. The recalibration of our sexualities has created a New Hedonism which has culminated in the so-called hookup culture. Again, this is not necessarily a bad thing, as many an undergraduate can tell you: Having a fling with no attachments can be really fun. It just means we have to give a substantially greater amount of thought to sex. And we’re doing it — no pun intended.

Our generation is more open to discussions of things like female masturbation and orgasm, friends with benefits, social constructions and sexual identities.

Going forward we need to consider how we reify — that is, create concrete meaning for — our sexual norms, practices and culture. This is the first column in a series I will be writing on contemporary culture war. This column will cover issues from contraception as a social good to using Wikipedia as a source. Thinking about cultural issues, such as sexual ideology, in the 21st century could be more fruitful than ever before if we don’t refrain from shutting out alternative narratives of sexuality. And better thinking now will mean better sex later.

Jack Bennett is a junior in the College. CULTURE WARPED appears every other Friday.

STANLEY DAI/THE HOYA

In Nomadic Theatre’s adaptation of Adam Rapp’s “The Metal Children,” Amanda Weise (COL ’16) plays Vera, a leader of the petition in support of the controversial novel by Falmouth and female power in an intensely patriachal society.

Heavy Material

Theatre group brings provocative play to life METAL, from B1 Daniels littering the shelves and a toothbrush in a cup of orange juice resting on the corner. With some convincing from his flamboyant, quirky agent, Bruto, played by Andrew Walker (SFS ’16), Falmouth makes a spontaneous decision to travel to Midlothia to defend his young adult novel, thus beginning his dramatic search to regain his center as both a writer and a human being in entirely unexpected ways.

Maddie Kelley (COL ’16), the show’s director, said the play is a thought-provoking meditation on modern feminism, exploring the town’s varying responses to abortion.

“I’m less interested in engaging with the politics of this play than I am the people — here, feminism is what endures in and between the politically divided characters,” Kelley said. “The most enduring message for me is that all young women need feminism, whether they reject the word or worship it.”

The production also marks Kelley’s debut as a director. Having previously acted in the troupe’s plays, Kelley said that she was attracted to “The Metal Children” because of its captivating characters.

“My initial response to the play was as an actor, as that is my background, so I was drawn to Rapp’s playful use of language and the specificity of his characters’ voices,” Kelley said.

In the play, each character has a distinct persona. Yet, despite their eccentricities, their multidimensional identities add a level of raw authenticity to their personalities, making it difficult to divide them into “good” and “bad.” In this manner, despite the radical nature of the players, the audience is able to empathize with each and every character. For instance, Falmouth is initially characterized as disheveled and lazy — his apartment is a mess, he has a certain fondness for drug and alcohol cocktails, and he can barely pay his rent.

Yet, he later explains and almost justifies his slump when he tells the gripping story of his series of unfortunate events: the banning of his book, the decline of sales and, finally, the departure of his wife for her young editor. Bad luck seems to follow him even after he arrives in Midlothia, as he is tormented by invasive pranksters and even assaulted by violent youth.

Keiser, who plays Tobin, said that he enjoyed playing a multifaceted character who is deserving of the audience’s sympathy.

STANLEY DAI/THE HOYA

Vanessa Chapoy (COL ’18) takes on the role of Edith, a motel owner whose niece serves as the leader of a petition in support of the protagonist’s controversial novel.

“Tobin is definitely a character that is easy to feel sorry for,” Keiser said. “He has gone through a lot of difficulties, but he is also self-pitying and sarcastic. … When Tobin eventually opens up to the other characters who are so raw in their emotional expression, it really pays off as the audience sees him finally taking things seriously.”

Full of unexpected twists and turns, the plot travels in entirely unpredictable directions that will no doubt leave the audience mesmerized. After he arrives at Midlothia, Falmouth is greeted and taken aback by motel owner, Edith, played by Vanessa Chapoy (COL ’18), who represents the stark contrast between the simplicity of small towns and the more modern New York City life. Her fiery, passionate niece, Vera, played by Amanda Weise (COL ’16), is the leader of a petition in support of Falmouth’s novel. In a particularly notable scene, she delivers a gripping monologue that highlights teenage pregnancy as a form of feminine expression, a method of controlling one’s destiny in a patriarchal world.

Conor Canning (COL ’16) takes on the role of Stacey Kinsella, an English teacher who was profoundly touched by the novel’s drastic challenging of norms. Kinsella’s character in the play represents the powerful potential of the written word, offering another experience and response to “The Metal Children.” As he so passionately declares to Falmouth in the play, “I did not read the book; the book read me.”

Yet another powerful performance is Emily Lett’s (COL ’17) role as Roberta Cupp, a devout member of the Christian coalition, the religious opposition to the novel’s acceptance. Cupp argues strongly against the normalization of the sins of abortion and teenage pregnancy. Quickly departing from the light-hearted ambiance present in the initial New York apartment scene, Falmouth finds himself amidst a flurry of violent beatings, stunning hospital visits and tragic suicides in this small town of Midlothia, leaving him gasping for breath at the end of the hurdle.

In addition to the cast’s strong acting, the visuals are memorable, highlighting the Nomadic Theatre’s impeccable attention to detail. From its costumes to the precise, calculated actions of its characters, “The Metal Children” is the kind of production that requires multiple viewings to completely absorb and appreciate every detail. The play immaculately balances the equilibrium of different emotions, providing comedic relief in the midst of provoking scenes of violence or sorrow.

With the numerous themes presented in this play, Keiser hopes it will raise dialogue on campus regarding the relation between religion and feminist issues.

“I think that Georgetown and the Jesuit community, as opposed to the fictional Good Church of Christ [in the play], are known for engaging in dialogue with every idea or viewpoint,” Keiser said. “I think that the Georgetown community … would find a productive conversation around this show.”

B4

the guide

THE HOYA

FRIDAY, JANUARY 22, 2016

RESTAURANT FEATURE

Sustainability, in a Taco Shell CHAIA TACOS 3207 Grace St. NW | Cuisine: Mexican | $$ AUSTIN HONG Hoya Staff Writer

Chaia Tacos, which opened on Grace Street in mid-November, is more than just a hip, trendy taco eatery — it’s a thoughtful, wellexecuted and delicious advancement in the way that we do food, putting an emphasis on fresh, local produce and sustainability.

After years of working together on their cooking blog, “Loulies,” Suzanne Simon and Bettina Stern began developing an idea for a taco business with a farm-to-table philoso-

COURTESY ARIEL PASTERNAK

The interior of Chaia Tacos features tall windows and is brightly lit by natural skylight.

phy in spring 2013. Acting on their mutual passion for seasonal vegetables, the two visited Union Kitchen, the District’s own kitchen incubator, and received advice throughout the startup period. From this, the two created Chaia, which the owners explain is a mix between chaya, a Mayan leafy green, and the name chaia, which means life.

Soon later, Chaia Tacos began setting up stalls at farmers’ markets in D.C., including at Georgetown.

At Georgetown, the Chaia concept faced the ultimate test, where it truly had to hone its menu. The strict sourcing standards of farmers markets, combined with the diverse set of customers, challenged Chaia’s premise.

Could Chaia source local, seasonal vegetables year-round and provide a delicious product while still turning a profit?

Of course Chaia can, and Chaia did. The company ultimately built a storefront in Georgetown. According to Ariel Pasternark, a member of the Chaia team, the company chose the neighborhood for a variety of reasons.

Ariel Pasternak, a 2012 graduate of the University of Pennsylvania, met Simon and Stern at a farmers market, and after originally flirting with a stint in government consulting, has been with the company since and now is responsible for branding and business development.

“We love Georgetown,” Pasternak said. “It’s a neighborhood which is so beautiful and historic. There’s a confluence of people here, from the students to the professionals to the residents to the tourists.”

In an interview with THE HOYA, Pasternak spoke with a marked conviction about the company’s philosophy, which is rooted in “being on the right side of change” and “creating a better food system.”

These values present themselves most tangibly in the detailed attention to local sourcing. The drinks on tap at Chaia Tacos consist of juices from Misfit Juicery, a startup from Georgetown students Philip Wong (SFS ’15) and Ann Yang (SFS ’15), and beers from local breweries. The tacos served are from local farms that source Chaia Tacos’ produce and grains. As local store owners wandered in, Ariel greeted them affably by name and they responded in turn.

COURTESY ARIEL PASTERNAK

A farm-to-table concept restaurant, Chaia Tacos uses freshly sourced, seasonal vegetables to make its vegetarian tacos, including the mushroom, creamy kale and potato tacos.

The interior of the restaurant boasts a beautiful space, naturally lit by a skylight and tall windows. The full-time menu, painstakingly field-tested, is lean and efficient, with five tacos and a short list of seasonal toppings and sides. Three of the tacos, the mushroom, the creamy kale and potato, and the garlicky green, are available year-round. The other two rotate depending on local availability of ingredients. Currently available are the winter squash and Moroccan carrot. For the indecisive, the “Market Trio” lets you pick three of the five taco options.

As many Georgetown students will attest, the tacos are absolutely delicious. The mushroom, the kale and potato and the winter squash are all excellent. The vegetarian taco concept truly works — each taco boasts a unique and delicious blend of flavor. Extra points go to the mushroom taco, topped with feta cheese, red sauce and cilantro, which, when combined with the cilantrolime jalapenos as a topping, taste surprisingly hearty and strong, while still feeling light and fresh on the palate. All tacos are served on corn tortillas, which are phenomenally thick and tasty. If the beer and wine

on tap are uninviting, the “shrubs,” which are different syrups added to sparkling water over ice, can be a tempting alternative.

Helena Vaughan (COL ’18), who has experienced both the market stall and the new store, said she enjoyed products from both.

“The storefront has been a great success — the charm, good service and aesthetic are all still there, but with the benefit of their tacos now being available all week,” Vaughan said.

In addition to the progressive and sustainable food and drinks, all of the food containers are compostable. Chaia’s organic waste goes to the same compositing location as Georgetown food services’ waste does, Maryland Environmental Service in King George County. Furthermore, Chaia Tacos’ employees enjoy a starting wage of $13 per hour as a show of commitment to sustainable labor practices.

Chaia Tacos’ food is top-notch, but the mission is truly noble. Simon and Stern have combined local sourcing, sustainability and great food in a way that both innovates and takes a huge step forward in the way the food industry works.

RESTAURANT FEATURE

LUPITA HUMBERT

A Preview of Restaurant Week in DC

Hoya Staff Writer

Broke, hungry students, rejoice: Washington, D.C.’s biannual Restaurant Week is here. From Jan. 25 to Jan. 31, over 250 restaurants in the District will offer special fixed price deals during the week, allowing students to scratch off all those restaurants that have sat on their bucket lists since freshman year.

Participating restaurants will be offering a three-course lunch menu for $22 and a two-course dinner menu for $35 including the famous ramen joint Daikaya, tapas eatery Jaleo and Georgetown favorites Cafe Mi-

CENTRAL MICHEL RICHARD

Central Michel Richard Famed French chef Michel Richard has made a name for himself with Central Michel Richard, an American restaurant with a twist of French cuisine. Central Michel Richard was ranked No. 15 on the Washingtonian’s 2014 list of the District’s best restaurants. For Restaurant Week, CMR is offering the same menu for both lunch and dinner, featuring its signature flaky and crispy fried chicken. In April 2015, The Washington Post included the dish on its list of D.C.’s best fried chicken, describing it as “KFC-inspired crispy breast and thigh [that] come stacked atop a pool of the butteriest mashed potatoes you’ll ever taste.”

On the normal a la carte menu, the fried chicken typically costs $25. During Restaurant Week, diners will be able to order their choice of an entree — such as the fried chicken, a burger with fries or a vegetable pearl risotto — and a lava cake or a cranberry-almond pudding, among other dessert options, for $22 during lunch or $35 during dinner.

lano and Clyde’s.

Restaurant Association of Metropolitan Washington Director of Operations and Administration I-Shi Patterson said that despite the cold weather, Restaurant Week is a good chance for students to go out to the city with friends.

“It is the perfect opportunity to get together with friends and reconnect after the New Year, and have a great time,” Patterson said.

Patterson also said the group chose the dates for Restaurant Week, which happens twice a year, strategically, targeting months when restaurants see fewer patrons than usual.

In addition to January, a second Restaurant Week takes place in August.

“We look at the calendar to see what’s happening at the region, and we pick dates that make sense for the participating restaurants,” Patterson said. “The two months that we chose are the slower months of the year for the restaurants involved.”

This year, RAMW has also partnered with various corporations to promote Restaurant Week. Customers who order an entree from 10 select restaurants between 11 a.m. and 2 p.m. during Restaurant Week and post a picture on Instagram with the hashtags #RWDMW and #UberEATS will be eligible to win a free dinner for two.

In addition, from Jan. 18 to 22, listeners who call in live to The Tommy Show on 94.7 Fresh FM and The Joe Clair Morning Show on 95.5 WPGC-FM will be eligible to win a free lunch during Restaurant Week with the members of the team of the respective shows, plus three friends.

Customers who make their restaurant reservations on the official Restaurant Week website at RWDMV.com will also be eligible to win a series of prizes, from a weekend getaway in the DMV area with dining included, to gift certificates for local restaurants.

Here are four selected restaurants to check out during Restaurant Week:

FOUNDING FARMERS

FILOMENA RISTORANTE

LA TABERNA DEL ALABARDERO

Founding Farmers Driven by a farm-to-table philosophy, Founding Farmers, which only serves food produced by American family farms, will be offering a myriad of options from its normal menu, from appetizers such as blue cheese bacon dates or a fig, mascarpone, balsamic and proscuitto farm bread as an appetizer, to chicken and waff les or steak and enchiladas as an entree.

The casual and lively restaurant on Pennsylvania Avenue also offers healthier options for those who are still trying to recover from their holiday overindulgence.

A glazed cedar plank salmon, shrimp and sun-dried tomato bucatini or an interesting meatless cauliflower steak and risotto order should please those looking for something on the lighter side.

The restaurant’s wide selection, sustainable philosophy and unique beverages earned it a place on the Washingtonian’s 2009 list of the top 100 restaurants in the District.

Filomena La Taberna Ristorante del Alabardero This Italian restaurant was born from JoAnna Filomena’s inspiration from her mother’s food and her constant desire to share it with others.

Filomena is regularly frequented by politicians from Joe Biden to Bill Clinton to George H.W. Bush. As the famous stories go, Clinton met with former German Chancellor Helmut Kohl multiple times at the restaurant to discuss diplomatic affairs during his presidential term.

This cozy, intimate restaurant on Wisconsin Avenue also features a warm decor, with plenty of artwork and marble statues. The restaurant is a favorite go-to for Georgetown students during Parents’ Weekend, as its a la carte menu is typically on the pricey side.

Now, students on a budget will be able to enjoy the restaurant’s signature Black Angus meatballs along with quick-fried Italian rice balls stuffed with mozzarella cheese and Bolognese, as well as other delicious pastas.

For the week, Spanish eatery La Taberna del Alabardero will be serving an array of traditional tapas, from cod meatballs to boneless pork ribs pancakes to Spanish rice pudding. There is also a variety of vegetarian and vegan options available.

This restaurant is famous in Spain, with locations in five different cities. The D.C. branch, which opened in 2005, is its only location outside of Spain. Headed by executive chef Javier Romero, who has won numerous awards for his restaurants back in Spain, La Taberna is sure to please those who crave an authentic taste of Spanish cuisine.

In addition to the extensive menu offerings for Restaurant Week, the restaurant is also famous for its wine and cocktail list and its beautiful decor, which includes a large outdoor patio.

the guide

friday, January 22, 2016

THE HOYA

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TOP 20 ALBUMS OF 2015

Sean Davey, Tom Garzillo, Toby Hung, John Miller Hoya Staff Writers

From widely anticipated albums from legendary artists to unexpected gems by up-and-comers to the triumphant comeback of a certain misbehaving pop star, the music scene of 2015 was definitely unpredictable. Here are 20 of our favorite album releases from last year, listed in alphabetical order by artist.

1

ADele “25”

No year-end list would be replete without including “25,” the album that single-handedly broke just about every digital sales record in music history. Adele reflects wistfully on her past with a refreshingly modern touch, satisfying fans and critics alike with a combination of her signature ballads and more experimental, upbeat tracks. Arriving after the singer’s nearly five-year hiatus from the music industry, “25” proves well worth the wait.

2

Beach House “Depression cherry”

After a three-year silence, Baltimore-based dream pop duo Beach House emerged with the release of “Depression Cherry” in August. The album can be best described as the soundtrack to a daydream: smooth and clean, with tranceinducing instrumentals, while lead singer Victoria Legrand’s ethereal vocals dance between themes of euphoria and sadness. Following a period with an uncertain future, Beach House reasserted its place atop

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bob dylan “shadows in the night”

2015 saw the release of Bob Dylan’s 36th album. “Shadows in the Night” is a distinct addition to Dylan’s uniquely extensive catalogue and features his interpretation of numerous traditional standards made famous

by Frank Sinatra. “Shadows in

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the Night” is beautifully arranged and oddly mesmerizing given a generally melancholic tone. Fifty-three years after his first release, Dylan’s stunning performance reinvigorates both his continued relevance and that of the songs he covers.

anybody with an ear for top-notch production and addictively catchy hooks.

Grimes pushes the boundaries of pop music, effortlessly switching between club-ready bangers like “Venus Fly” and lighter, bubblegum tracks like “California.”

13 JEFF LYNNE

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of 2015. From the righteous anger of “The Blacker the Berry” to the triumphant resilience of the anthem “Alright,” Lamar channels the hopes, fears and frustrations of black Americans with the finesse of a true poet.

This is an album that will remain impactful for years to come.

hamilton: original broadway soundtrack

A nearly three-hour hip-hop and R&B musical about the life of Alexander Hamilton, comprised almost entirely of black and Hispanic actors playing the Founding Fathers sounds as though it could never work, but the genius of writer and lead actor Lin-Manuel Miranda makes it look easy. With songs as technically intricate as they are enjoyable and informative, “Hamilton” is a historical and cultural

halsey “badlands”

HAMILTON

marvel. Good luck getting a ticket, though; it’s the hottest show right now on Broadway.

is a welcome recovery from the band’s late work, which was seemingly bogged down in the ’70s.

While the album does not rekindle the glory of “Out of the Blue” or “A New World Record,” the album in itself is nearly flawless.

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Jamie xx, transported listeners into an ocean of electronica on his critically acclaimed debut solo effort, bucking cliched EDM sounds in favor of an eclectic collection of immersive tracks. Against a backdrop of shimmering disco, garage and

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house, the use of sampling in the album — culled from British television and radio — creates a blend of mood and memory.

“In Colour” abandons the pounding rave archetype and zeroes in on the emotional intimacy of the dance floor.

keith richards “crosseyed heart”

“Crosseyed Heart” is Rolling Stones guitarist Keith Richards’ third solo album and first in 23 years. Richards links up with the X-Pensive Winos, and some 20 other credited musicians including Norah Jones, in an enthralling amalgam of rock, blues and reggae. The album’s leading single, “Trouble,” captures the spirit of the Stones, while “Love Overdue” moves with a slinking dub groove.

One of the greatest guitarists of all time, Richards proves he can still write and per-

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KEITH RICHARDS

form at the highest level with a swagger uniquely his own.

travis scott “rodeo”

TAME IMPALA

easily the most mature and contemplative breakup album of the year.

vince staples “summertime ‘06”

Long Beach, Calif. rapper Vince Staples has garnered praise from hip-hop aficionados since 2010, but it wasn’t until 2015 that he released his debut studio album on the historic Def Jam label. “Summertime ’06” may be considered a gangster

on his personal life and marriage while simultaneously satirizing modern society. The follow-up to 2012’s “Fear Fun,” “Honeybear” features a captivating blend of passion, disillusionment and apathy over folk, blues and jazz arrangements.

jamie xx “in colour”

tame impala “currents”

After 2010’s “Innerspeaker” and 2012’s “Lonerism” solidified Tame Impala as a household name in psychedelic rock, the Australian five-piece shocked fans and critics alike with its third album, “Currents,” which features a synth-laden, electronic sound. What hasn’t changed is the band’s mastery of melding profound, emotional lyrics with contagious melodies. With a genre-bending retro vibe, this is

DR. DRE

the eponymous city. An added bonus: Compton’s own Kendrick Lamar delivers three jaw-dropping guest verses.

father john misty “i love you honeybear”

Under his pseudonym Father John Misty, eccentric indie-folk artist Josh Tillman released his sophomore album “I Love You Honeybear” this year to universal acclaim. In this autobiographical, lovethemed concept album, Tillman reflects

DRAKE

trademark infectious energy, but “Surf” gives plenty of other artists room to shine as well: J. Cole, Busta Rhymes, Erykah Badu, Big Sean and many more. Drawing together elements of jazz, soul and dance music, “Surf” is the sonic embodiment of summer.

dr. dre “compton”

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jeff lynne’s electric light orchestra “alone in the universe”

“Alone in the Universe” is the product of Electric Light Orchestra founder Jeff Lynne’s attempt to reform the group following its disbandment in 1986. Musically, the album is a departure from what one expects to hear from ELO, but

Rather than release a proper solo follow-up to 2013’s hugely popular mixtape “Acid Rap,” Chance the Rapper teamed up with aptly named trumpeter Donnie Trumpet and the rest of his band to make the year’s most carefree, optimistic record. Chance comes through with his

7

in Peacetime Want to Dance,” is a reminder of this phenomenon.

This time, the band tries its hand at a more dance-heavy sound, all the while retaining its witty poeticism and fun, upbeat style.

donnie trumpet “surf”

After years of unparalleled hype for Dr. Dre’s since-abandoned third album “Detox,” the legendary producer and rapper finally broke out from seclusion and released “Compton” in August.

Thankfully, despite his hermitic lifestyle, Dre is as fired up and relevant as ever. Over sweeping, cinematic production, he paints a vivid picture of life in

Edgy electropop artist Halsey released her studio debut “Badlands” to widespread acclaim, reaching the top spot on the Billboard Alternative chart. The album walks a fine line between the rock, synthpop and indie genres. This, together with Halsey’s eccentric and genuine persona, has lent to the album’s widespread appeal. Provocative singles “Ghost” and “New Americana” caught the attention of many, while the remainder of the album made them stay.

kendrick lamar “to pimp a butterfly”

Expansive, emotional and undeniably powerful, Kendrick Lamar’s genre-bending “To Pimp a Butterfly” was the year’s most ambitious and high-minded album. The sheer depth of the social and political messages put forward is staggering, and the project expertly captures the zeitgeist

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Considered by many music critics to be the best debut album of 2015, Australian singersongwriter Courtney Barnett’s “Sometimes I Sit …” was mostly recorded in just eight days. Barnett’s wry observations and biting humor make for an intriguing listen, while her insight into the melancholy of everyday life reveals a wisdom far beyond her 28 years. Described by Rolling Stone as a combination of Bob Dylan and Jerry Seinfeld, Barnett will surely remain an indierock fixture for years to come.

Swathed in hazy, icy beats, largely from OVO’s Boi-1da and 40, “If You’re Reading This …” is artfully constructed in both sound and substance. Stay tuned in 2016 for “Views From the 6,” Drizzy’s most anticipated album to date.

grimes “art angels”

Canadian singer, songwriter and producer Grimes’ fourth album was the year’s best pop album that never quite made it to mainstream radio. “Art Angels” is fiercely uncompromising and inventive, yet still universally accessible to

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BEACH HOUSE

the genre with tracks including “Space Song,” “Sparks” and “Levitation.”

drake “if you’re reading this, it’s too late”

The 6-God’s fourth studio album was one of 2015’s top-selling releases, and with good reason.

An impassioned ode to the city of Toronto and the trappings of fame, it solidified Drake’s place at the top of the hip-hop hierarchy.

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There is something about Belle and Sebastian’s tunes that gives them an air of nostalgia, regardless of the listener’s relation to the music. The Scottish indie band’s first album in five years, “Girls

courtney barnett “sometimes i sit AND think, and sometimes i just sit”

ADELE

3

Belle and Sebastian “Girls in Peacetime want to dance”

rap album, but it never glorifies the lifestyle. Rather, it is an unflinchingly raw, bleak look at grim realities. Over booming minimalist beats from No I.D., Staples shows off his impressive lyricism and storytelling on every track.

Houston native and Kanye West progeny Travis Scott may not be the most skilled lyricist, but “Rodeo” is so much fun to listen to that it doesn’t matter. Complete with sternum-rattling bass and soaring synths, the album is bolstered by fantastic features: Only La Flame could successfully pair Justin Bieber and Young Thug together — the standout track “Maria I’m Drunk.” This strong rookie effort bodes well for Scott’s future as both a rapper and producer.

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the weeknd “beauty behind the madness”

After Frank Ocean reneged on his promise to drop his highly anticipated sophomore album in July, R&B fans needed a savior: Enter Abel Tesfaye, better known as The Weeknd.

After a trio of well-received mixtapes and an underwhelming debut album, Tesfaye resurfaced with a winning combination of Top-40 grandeur and seductive crooning. Brimming with ’80s Michael Jackson style production, “Beauty Behind the Madness” is as eerie as it is alluring.

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the guide

THE HOYA

FRIDAY, JANUARY 22, 2016

ALBUM REVIEW

Blackstar David Bowie MADISON STINGRAY Hoya Staff Writer

David Bowie’s latest and greatest album, “Blackstar,” is haunting. Released Jan. 8, two days before the passing of the British rock legend, this poignant collection of songs bookends the singer’s life, both a tribute to his classic style and an introduction to a new cosmic musical world. With the fuzzy sounds of jazz and rock dancing with strange techno beats and wandering lyrics, the whole album is an experiment that nonetheless honors the familiar artistry that made Bowie such an innovative artist. The result is something not quite euphonious but especially satisfying.

DAVID BOWIE VEVO

With “Blackstar,” David Bowie offered fans one last masterpiece before his death.

MUSIC

NEW RELEASES

 “Blackstar,” the first track on the album, thrusts the listener into this incredibly personal album by pulling back the curtain to reveal what feels like Bowie’s own conscience.

In an alien and offbeat intro, Bowie repeats lines like “In the villa of Ormen / Stands a solitary candle in the center of it all,” eerily discussing execution and almost foreshadowing his own passing. The mood of the song changes to a softer and more ethereal sound, marked by images of death and falling angels.

With the verse “I’m a black star / I’m not a film star / I’m not a pop star,” Bowie constructs an autobiographical elegy, culminating in a dream or premonition of his own death. The cacophonous clash of instruments behind his vocals sounds heartbreaking, a celebration of life and noise and color for which Bowie is so well known.

The third track, “Lazarus,” which echoes the feel of the first track, is a dramatic and stellar song that marries melancholy and a distinct techno sound, capturing the altogether otherworldly existence that Bowie has found. The lyrics are key to making sense of the songs on “Blackstar,” but especially so on this track, as he directs the listener: “Look up here, I’m in heaven.” Through incredibly vivid and evocative language paired with long instrumental jazz solos, Bowie paints a picture of himself as a bluebird released into the sky, free and wildly peaceful as he leaves the earth behind. The coincidental parallels between his imagined art and reality are most noticeable here, yet the song is still accessible to a general audience as Bowie sings of escapism and happiness.

Be forewarned: while this album may be an incredibly intimate look into Bowie’s mind and person, it also features painfully avant-garde sounds. “Sue (Or In a Season Of Crime)” has familiar rock ’n’ roll elements urgently driving the song, but with an electronic and starry-eyed undertone. It feels like a very cinematic song, with almost sciencefiction-esque storytelling about clinics and x-rays. It produces a larger-than-life sound that challenges the boundaries of popular music and takes on the role of an experience rather than merely a track on an album.

COLUMBIA RECORDS

On the other side, “Girl Loves Me” is stripped of the theatrical production and sound with its much darker and softer chorus and absolutely nonsensical lyrics. While the incoherence of the message lacks the sentimental value that past songs like “Heroes” and “Space Oddity” evoked, the projected sense of being lost in time and thought nonetheless fosters a strange kind of emotional attachment to the song.

The gem of the album, however, comes at the end. “I Can’t Give Everything Away” is the last song and by far the most tender and memorable in melody and story. The music seems to pull inspiration from the ’70s and ’80s, a throwback to the decades of Bowie’s peaking success. The entire song feels very honest, and while Bowie laments that although he can’t give everything in the lyrics, at least he could give us this last tribute to his work and his life. As a grand finale, the music builds up and slowly falls away at the end, jarring and lasting, and just like Bowie, as he stands laughing at our naive ears “with skull designs upon my shoes.”

With many of the tracks lacking a traditional and addictive hook, Bowie himself is the draw for listening. More so than any of his previous albums, “Blackstar” seems to speak to who he was and how we will remember him, full of surprising quirks, twists and innovative genius. Whether an old Bowie fan or new member of the audience, these songs are worth a listen as they relive Bowie’s glory days and take him out of this world.

ALBUM REVIEW

Leave Me Alone Hinds

MARINA TIAN Hoya Staff Writer

After taking the rock scene in Madrid by storm, Spanish girl group Hinds breaks into the international indie rock market with their long-awaited debut album, “Leave Me Alone.” The quartet, formerly known as Deers, keeps its lo-fi garage rock style endearingly rough around the edges, with frontwomen and founding members Ana Perrote and Carlotta Cosials backed by bassist Ade Martin and drummer Amber Grimbergen. Released Jan. 8, “Leave Me Alone” is a raw depiction of youth and love, and completely deserving of its recent hype.

The album opens with “Garden,” a beachy tune with a rambling electric guitar riff overlaid upon a stolid bass line. The instrumentals are loaded with reverberation as Hinds promises: “’Cause I can take you dancing / use me to feel home.”

The amusingly titled “Fat Calmed Kiddos” follows, featuring a groovy bass line, Perrote’s relaxed drawl and Cosial’s smoky croon singing in interplay with one another, begging an uninterested lover, “Please don’t leave me / I see you waving goodbye.”

The next track, “Warts,” begins with light guitar strums before melting into a catchy guitar line. The sunny guitar and bass play well under the wailing and raucous vocals as Cosials and Perrote sing the lyrics in unison. The album takes a slower turn with “Easy,” a slightly more sober ballad about a failed relationship.

The restrained sound persists on “Solar Gap,” a purely instrumental piece full of yearning and heartbreak, giving the listener a peek at Hinds’s greater musical depth.

Hinds amps up the energy for much of the remainder of the album, delivering a feel-good,

BEST BETS COUNTERING ISLAMOPHOBIA

Learn more about the destructive trend in our communities, nation and world. The three featured speakers are American public servants, international relations experts and Muslims. The discussion will focus on the danger that Islamophobia poses not just to American society in general, but to the present and future conduct of international relations. The discussion will be followed by a question and answer session.

WHERE: ICC 700 Executive Conference Room WHEN: January 25, 3:30p.m.-5:00p.m.

INFO: guevents.georgetown.edu PRICE: FREE

The latest installment in Kanye West’s relaunched G.O.O.D. Fridays series, “No More Parties in LA” harkens back to the Kanye that everyone first fell in love with on 2004’s “The College Dropout.”

Featuring soulful production courtesy of acclaimed underground producer Madlib, as well as a stellar verse from Kendrick Lamar, the track is rife with the blend of braggadocio and self-effacement that’s always made West so great.

SANTIGOLD “CHASING SHADOWS” After a fouryear hiatus, singer and producer Santigold is returning with her third studio album “99¢” next month. Her newest single, produced by Vampire Weekend’s Rostam Batmanglij, is a unbelievably catchy mix of the reggae-tinged singing and rapping that only Santigold can pull off. An added bonus: its stellar video, available on Tidal.

THE 1975 “THE SOUND”

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unflagging indie-rock soundtrack. “Castigadas En El Granero,” which translates to “punished in the barn,” is a contagiously energetic song replete with boisterous guitars, drums and lyrical oddities, such as “All I see is a big cow / I know you heard that and now I’m eating all your corn.” Hinds returns to the surf pop vibes with “Chili Town,” plodding through discordant harmonies to sing about a flirtation in the works: “All I’m asking for is you to make a move.” Next up is “Bamboo,” an ’80s-inspired track with fuzzy, overlapping vocals as Perrote and Cosials sing over the ends of one another’s lines.

The album continues its energetic momentum on the ninth song, “San Diego,” with jangly percussion and bouncy guitar chords, before slowing into “And I Will Send Your Flowers Back,” a gloomy ballad and angsty send-off to a dead relationship.

“I’ll Be Your Man,” the next track, features strumming acoustic guitar and tambourine under a cheerful electric guitar riff. The lyrics subvert gender roles as Perrote and Cosials sing, “I could be your baby, but I’ll be your man.”

“Leave Me Alone” finishes with “Walking Home,” a swaying surf rock track with cutesy lyrics like “Darling, you’re the rice of my bowl” and “Honey, you’re the lime of my coke,” closing the album with a sweet love song.

Hinds, in its rambunctious girl gang style, is reminiscent of other bands like The Runaways or contemporaries like Haim, but differentiates itself in its charmingly ramshackle production and quirky, straightforward writing.

True to their garage rock roots, the band possesses a kitschy, lo-fi style that is a refreshing contrast to today’s slickly produced and compressed radio hits. Hinds does not overwork the music, but rather offers up the musical equivalent of a pair of distressed, well-worn

KANYE WEST FT. KENDRICK LAMAR “NO MORE PARTIES IN LA”

BROOKLYN VEGAN

jeans: a raw portrayal of young love that feels and fits just right. The imperfections and inconsistencies are what make “Leave Me Alone” so convincing and real as an album, encapsulating and conveying the equal messiness and joyfulness of what it means to be young and in love.

In their debut, Hinds manages to build upon their existing style while also demonstrating potential for growth. Unlike past releases, which were strictly light-hearted and insatiably catchy, the band attempts a more well-balanced album with morose tunes, rather than creating a 12-track party. Far from being flawless, the album feels at times plodding and trudging through the lows, and frenetic and chaotic through the highs. Yet Hinds took the risk of tempering their sun-drenched, bubbly tunes with more reserved songs, showing that they are more than a one-dimensional band.

As evidenced by their album, Hinds isn’t concerned with perfection, in music or in love; rather, in “Leave Me Alone,” the women welcome the listener into a dysfunctional world of gritty honesty, riotous fun and the promise of greatness to come.

Offering a preview of their verbosely titled album “I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It,” The 1975 unveiled this week their newest song “The Sound.” The upbeat, catchy track bears resemblance to the group’s past hits like “Chocolate” with its pulsing synths and pop-oriented production. The disco-house feel of the song is also reminiscent of Daft Punk or Justice, and promises a more radio-friendly sound from the band than past records.

FLUME FT. KAI “NEVER BE LIKE YOU” Four years later, Flume is back and finally primed to release his sophomore effort, “Skin.”

The 24-yearold Australian producer has teamed with Canadian songstress and Rihanna songwriter Kai on the new single, “Never Be Like You.” Capturing the anguish of a budding but ill-fated romance, the track builds slowly on twinkling notes until the beat drops for the chorus. Kai provides sterling vocals atop a bed of stuttering synths and percussive flashes, lending an R&B vibe to the electronic track.

VISIT THE MARTIN LUTHER KING JR. MEMORIAL

WASHINGTON AUTO SHOW

PIXAR IN CONCERT

Join the MLK “Let Freedom Ring!” committee and the Center for Social Justice on a trip to the Martin Luther King Jr. memorial along the National Mall. The trip will last around two hours and is an opportunity to get off the Hilltop for an afternoon. Participants are invited to reflect, write, think or pray at the memorial alongside fellow Hoyas.

Don’t miss the chance to see more than 700 vehicles from around 40 manufacturers. The show will feature production, concept, luxury, electric, exotic and historic cars alike. This is an opportunity to take an exclusive look at some of the innovations that will transform everyday life, represent the pinnacle of engineering achievement or redefine luxury. Whether one prefers a 1915 Ford Model T or the new Aston Martin DB9, there is something for all tastes.

WHERE: Poulton Hall, Suite 130 Center for Social Justice WHEN: January 22, 9:00a.m. to 5:00p.m.

INFO: guevents.georgetown.edu

WHERE: Walter E. Washington Convention Center WHEN: January 22-31 INFO: washington.org PRICE: $12

WHERE: The Music Center at Strathmore WHEN: January 22-23 INFO: washingtonpost.com PRICE: $17.50

Relive the classic films that made your childhood great in a whole new way. Performed by the Baltimore Symphony Orchestra, this compilation of musical selections from Pixar’s 13 feature films is sure to bring back memories. The musical score is accompanied by a host of Pixar’s most memorable moments. Films featured include “Toy Story,” “Monster’s Inc.,” and “Up.”

the guide

FRIDAY, JANUARY 22, 2016

THE HOYA

MOVIE REVIEW

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ABROAD WITHDRAWAL

The Revenant

 Starring: Leonardo DiCaprio Directed by: Alejandro Iñárritu TOM GARZILLO Hoya Staff Writer

From “Amores Perros,” his debut feature film, to 2014’s critically acclaimed “Birdman,” director and screenwriter Alejandro Iñárritu has never shied away from intensity. That relentlessness reached new heights in “The Revenant,” his most visceral and ferocious film to date. Set in the stark, unforgiving wilderness of the Great Plains in 1823, the atmospheric epic is bolstered by the masterful cinematography of Emmanuel “Chivo” Lubezki and brutally committed performances from stars Leonardo DiCaprio and Tom Hardy. As beautiful as it is grueling, “The Revenant” is a monumental testament to the strength of both man and nature.

DiCaprio plays Hugh Glass, a real-life 19th-century frontiersman and fur trapper on an expedition led by Captain Andrew Henry (Domhnall Gleeson). While the movie begins with serene ethereality, it isn’t long before arrows, bullets and blood fly through the frigid air as members of the Arikara tribe decimate the hunting party. Only a lucky few survive, including Glass’ half-Pawnee son Hawk (Forrest Goodluck) and the treacherous John Fitzgerald (Hardy).

Still, the opening salvo of violence is merely an appetizer. Just a few scenes later, deep in the foreboding woods, Glass encounters an imposing grizzly bear and her cubs. What follows is the movie’s most stunning sequence: the hulking beast savagely mauls Glass, graphically ripping flesh and crushing bones. Shot in one uninterrupted take — a Lubezki signature — the staggering attack is gory, raw and unforgettable. The scene is a microcosm of everything that makes “The Revenant” so spectacular.

Convinced that Glass will soon die

from his injuries, Henry orders Fitzgerald and the young Jim Bridger (Will Poulter) to stay behind with Hawk and help him bury his father when the time comes. Fear and avarice win over honorability though, and Fitzgerald stabs Hawk and buries Glass alive in a shallow grave. In a feat of near-otherworldly physical and mental strength, Glass drags his mangled body out of the earth and embarks on a 200-mile pursuit fueled by vengeance.

Every actor’s performance is exceptional, from Poulter and his wide-eyed innocence to Hardy’s stone-faced menace. However, it is DiCaprio who pours his entire mind, body and soul into the film. Covered in blood and dirt, with his few lines of dialogue delivered in anguished groans, he is as much a force of nature as the raging waterways and snowy mountains he traverses. His portrayal of Glass is awe-inspiring and well deserving of the Academy Award for which it is nominated.

“The Revenant” was shot in chronological order in the subzero, pristine wilds of Canada and Argentina, a decision by Iñárritu that imbues the film with a sense of realism and elevates it high above any other man versus nature drama. DiCaprio equally devoted himself to the movie’s authenticity, and actually endured many of Glass’ tribulations: submerging himself in frozen rivers, sleeping inside animal carcasses and eating raw bison liver. If this dedication doesn’t finally win him an Oscar, what will?

Regarding the Oscars, Lubezki’s extraordinary work in “The Revenant” should make him the favorite to win his third award in a row for best cinematography following 2013’s “Gravity” and 2014’s Iñárritu-directed “Birdman”. Filming exclusively in natural light with minimal daylight hours, he expertly captures

Elizabeth Harvey

TWENTIETH CENTURY FOX

the grandeur and sheer scale of seemingly infinite expanses of unspoiled land.

Lubezki’s camerawork draws the viewer into the film and creates an immersive visual experience. In one scene, a character’s ragged breath fogs the lens.

In another, the camera plunges underwater to catch a close-up of a drowning man. The long takes are mesmerizingly dynamic. Lubezki perfected the extended tracking shot in “Birdman,” which appears as though it is filmed in one shot. “The Revenant” builds on this technique to remarkable effect.

The film isn’t without its flaws. Glass is arguably one-dimensional, characterized almost exclusively by his struggles, and the hints of magical realism that Iñárritu shoehorns in to further explain his protagonist’s backstory and experiences are undercooked. The scattering of subplots, especially one concerning a group of Arikara searching for a kidnapped daughter of the tribe, detracts from Glass’ solitary odyssey. If Iñárritu wanted to more potently expand the story’s scope, he should have instead given Hardy’s captivating performance more screen time.

Nonetheless, “The Revenant” is a must-see film. It boasts DiCaprio’s most impressive performance to date, set against unparalleled natural beauty. Iñárritu and Lubezki already proved to be a match made in cinematic heaven with “Birdman,” and they have just upped the ante with “The Revenant.”

MOVIE REVIEW

The Big Short



Starring: Ryan Gosling Directed by: Adam McKay MATEO GARNICA Hoya Staff Writer

An adaptation of Michael Lewis’ bestselling 2010 novel of the same name, “The Big Short” explores the inner workings of the 2007-2008 financial crisis and the few individuals who profited from it through the unique perspective of a handful of financial industry outsiders. The plot weaves the intricate beginnings of the crisis through an exploration of the home loan industry and the financial instruments that caused the crisis. Director Adam McKay, who recently received an Academy Award nomination for Best Director for the film, certainly does not mince words in a film that directly indicts the financial industry, and the result is a sharp, superbly acted drama that finds a balance between tragedy and comedy.

The film centers on four individuals who foresaw the crisis, all played with excellent skill by renowned actors. Steve Carrell and Ryan Gosling, building from their chemistry in the 2011 romantic comedy “Crazy, Stupid, Love,” deliver strong performances as a hedge fund manager and a Deutsche Bank trader who believe the financial industry is on the verge of collapse. Gosling also acts as the story’s narrator and provides the background and information necessary to understand the intricacies of a complicated system.

In the film’s most complex role,

Christian Bale plays the socially awkward hedge fund savant Mike Burry, who wishes to use his outsider status to challenge the majoritarian opinion of Wall Street. As per usual, Bale fully immerses himself in the quirks and mannerisms of his character, making his performance an absolute joy to watch.

Brad Pitt completes the quartet as a jaded ex-trader assisting two up-and-coming fund managers. Though it pales in comparison to some of his previous performances, Pitt’s character still makes a worthy contribution to the cast, whose chemistry is evident throughout the course of the film. The all-star cast succeeds in bringing a human quality and depth to each of the characters, which explains the film’s nomination for Best Ensemble at the Screen Actors Guild Awards.

McKay’s approach to the film’s subject matter is unique and may not be to every viewer’s liking, as it deviates from the typical style of films on the financial industry, such as the 1987 classic “Wall Street” and the critically acclaimed 2011 drama “Margin Call.” McKay’s background in writing and directing comedy films, such as the modern classics “Anchorman,” “Step Brothers” and “Talladega Nights: The Ballad of Ricky Bobby,” is evident and plays into the stylized quality of the film.

There is a certain neo-gonzo element at play, which comes to light with the various cutaways to music videos. In

PARAMOUNT PICTURES

lieu of a traditional explanation of financial instruments, the film uses comical cameos from a wide range of celebrities, including Margot Robbie, Selena Gomez and Anthony Bourdain, to bring the blandness of collateralized debt obligation and other financial objects to life.

Classicist film conventions, such as the fourth wall, are broken. The film walks a delicate line between exposing the humor in a financial crisis where millions of innocent individuals suffered and actually offering a serious criticism of the malpractice of the industry, yet McKay manages to strike the balance expertly.

The film is outlandish and crazy at times in both subject matter and style, but it works. The gonzo elements of the film distinguish it from other popular films concerning the financial industry, but it provides a more succinct, easily understood and entertaining explanation of the industry’s inner workings and trappings during the housing boom and the ensuing crisis. With focused direction, a crisp script and excellent acting, “The Big Short” is definitely one of the best films of 2015.

Lessons From My European Adventure A

s I prepared to leave home for the spring semester, I caught myself staring at a stack of jumbled postcards from my travels, next to the cooking supplies from Target that I planned to use to make beautiful, Italian meals in my Henle kitchen. I was nursing an espresso that I brewed myself with Italian coffee, because I was up all night getting ready to leave home after a full day of procrastination watching “Friends.” It is exactly one month ago today that I departed from the Villa Le Balze — Georgetown’s study center in Florence — and I have come to represent the chaotic picture of a post-abroad junior returning back to campus.

As I drove past the airport with my mom, I remember halfwishing that I was on one of the planes taking to the sky. I am straddling two different lives — one worn-in but somewhat forgotten, and one familiar but nearing its end. I am in between the two, and it is not an easy place to be.

My transition from Georgetown to abroad, in contrast, happened smoothly and suddenly, marked by the purchase of a dark grey felt brim hat. I had made the decision, naturally, that if I planned to spend fourth months living in Europe, I would need a cool, trendy hat to wear for all of the cool, trendy things that I was sure I would do. It was a hat I had considered buying while at school many times, but never had because I did not feel comfortable wearing it around the Hilltop — an environment that, though open and welcoming, is not particularly forgiving of experiments in personal style. But wearing it abroad was a different story.

In Florence, old men wear full suits when riding their bikes to get coffee and young men sport scandalously low Vnecks. Their cobbled streets are free of the Patagonia fleeces and spandex yoga pants that plague ours. In Florence waited a fresh frontier of independence, anonymity and complete self-ownership. It was a feeling that I had not encountered since the beginning of freshman year, and it would include many more changes than the way I chose to dress. Along with the hat came a new way of thinking: be open, be brave and leave the restraining norms that I had internalized during my two years at Georgetown behind. I bought the hat and wore it on my flight to Florence,and I had nothing but open sky in front of me.

Inspired by my bold new fashion choice, I embarked on my first adventure in Italy: a day trip to the Cinque Terre. An Instagram favorite, the Cinque Terre is a string of five islands on the Italian Riviera that boasts beautiful beaches, impressive hiking trails, quaint and colorful houses built into the cliffs and amazing pesto. Armed with nothing but backpacks, sunglasses and a handful of Italian phrases, we boarded a train to the Cinque one early September morning, and we were off.

When we arrived at one of the islands, Riomaggiore, we immediately realized that we were going to want more than an afternoon to explore the area. The wide, softly red clay streets were filled with the sounds of gentle laughter as bronzed Italians indulged in their creamy gelato and barefoot bathers padded into the bars for a midday drink. Everywhere there was color: the bright oranges of beach umbrellas, the aqua blues of the Mediterranean, the greens of the surrounding mountains. However, there was not a single hotel or hostel room available. We roamed unsuccessfully from door to door, and grew desperate as we received messages from the other 25 students on our program who, prompted by our ecstatic urgings, had decided to get on a train that would arrive that night. We were mentally preparing ourselves to sleep on the beach when a godsend arrived in the form of a large, old Italian hotel manager handing us a small square of white paper. It bore the words “Vera, no. 20,” and was accompanied by the statement: “Go see this woman. She is Vera, she have 80 years, she have room.”

After 20 minutes of wandering in circles in a remote alleyway, we finally found Vera, no. 20 hidden behind an imposing growth of wisteria vines filled with bees. Vera was very small, very white-haired and very much an 80-year-old Italian woman. She welcomed us, surveyed us, scolded us, took our 40 euros each, patted our cheeks and left us at the door to an empty apartment in her complex — all in mostly unintelligible Italian. My roommates and I eyed the two attached bedrooms and half kitchen, fearing we would be kidnapped, murdered or, at best, robbed. We panicked and considered leaving as the light in the Cinque Terre faded. Then, I thought of my hat and the commitment that I had made to myself when I bought it, and I argued that we take the room with an open mind, as an adventure. That night, we crammed 30 stranded American students under one roof, and it turned out to be one of the most fun and most memorable trips of my semester abroad.

Now just a few hours away from Georgetown, I am once again faced with fear and uncertainty as I face the unknown — a classic case of study abroad withdrawal. Can I transition back to real life? Do I want to? Will I be happy? To me, the only answer seems to be to approach the new semester back with the same sense of fearlessness and creativity that I had when we arrived on Vera’s doorstep and hope that it turns out alright. I’m looking for adventure this spring. And my hat? It’s crammed in the backseat right behind me.

Elizabeth Harvey is a junior in the College. ABROAD WITHDRAWAL appears every other Friday.

NEW NETFLIX RELEASES THE TRUE COST

“The True Cost” is a new social documentary that explores the ugly truth of sweatshop workers who make up the labor force for the production of high fashion. While the price of clothing appears to have dropped in recent decades, the rise in the human and environmental costs has gone largely unnoticed. Exposing the world behind the glitz and glamour of fashion and raising some thoughtprovoking questions about the impact of fashion on the world, this documentary is sure to raise awareness on its subject.

DIRECTED BY: ANDREW MORGAN

I’LL HAVE WHAT PHIL’S HAVING

Turns out the creator of hit sitcom “Everybody Loves Raymond,” Phil Rosenthal, is also a closet foodie. The latest food and travel TV show “I’ll Have What Phil’s Having” follows the Hollywood Producer’s culinary adventures as he visits the world’s culinary “greatest hits,” including Italy and Japan, as he samples international delicacies such as gelato and barbecued eel alongside celebrity guests. With cultural and artistic explorations intertwined in his culinary stories, the 6-part-series is an engaging watch for food, travel, comedy and history lovers alike.

STARRING: PHILLIP ROSENTHAL

DEGRASSI NEXT CLASS

The next generation of Degrassi high school has made their debut in the latest show, “Degrassi Next Class,” a new Netflix original.

Following the latest generation of the postmillennial teenager through the dramas of high school life, ranging from serious topics such as cyberbullying and eating disorders to the simple daily happenings of adolescent life, this latest addition to the Degrassi series is a relatable watch. Focusing on the newly branded “Generation Z,” “Next Class” hopes to serve as a standalone series apart from the 14-year Nickelodeon favorite of the same name.

STARRING: AMANDA ARCURI

COURTESY SCREEN CRUSH

Netflix original “Degrassi Next Class” follows the high school dramas faced by “Generation Z.”

B8

Sports

THE HOYA

the water cooler

Friday, January 22, 2016

swimming and diving

Hoyas Defeat Local Rivals in Dual Meets Isabelle Perciballi Hoya Staff Writer

Michael Ippolito

Cavs Cannot Top Western Competition I

n most eras of history, kings have been resistant to change — Louis and Charles refused to change and became victims of their own device. But our king, James of Akron, who so many of us grew up watching and idolizing, is close to meeting his demise; but, unlike his deceased predecessors, he is powerless to bring about the change he and his kingdom need. LeBron James is still one of the greatest basketball players on earth, but he needs help to defeat any of the elite teams in the Western Conference.

As the defending champion Golden State Warriors routed and embarrassed the Cleveland Cavaliers on their home court Monday night, it became painfully clear that this Cavaliers team is not ready to win a championship and the last years of LeBron’s prime may be going to waste.

On the surface, it is difficult to criticize this Cavaliers team too harshly. After all, Monday’s loss was just its 11th of the season and, at least on a points-per-game basis, it boasts one of the best defenses in the NBA. That may be all well and good in the traditionally weak East, but the Cavs are also just 9-5 against the West and have lost both of their games to the Warriors and San Antonio Spurs this season. Though Cleveland remains the overwhelming favorite to make it back to the NBA Finals, that cannot be LeBron’s goal at this point in his career; few, if any, superstars are content with conference championships.

During his first stint with Cleveland, LeBron simply lacked a decent supporting cast to compete with the top talent in the West. By and large that issue is gone. LeBron has Kyrie Ivring at point guard and decent depth. One player, however, meant to be the missing piece in the puzzle, has nearly become a liability: Kevin Love. Love was an all-star in Minnesota, but this season, especially against top Western competition, he has become a defensive liability. Against the Warriors, he often looked confused by various offensive sets, was slow to adjust to screens and unable to handle power forward Draymond Green both offensively and defensively.

Cleveland’s struggles on the court reveal weaknesses in the leadership of its coaching staff.

While Love’s real plus-minus is still solid and among the top 20 in the NBA, it cannot be emphasized enough that in big games against top-notch competition Love simply does not show up. In many ways though, this reflects the second and potentially larger problem with Cleveland: leadership through coaching. When asked about his role after Monday’s loss, Love replied, “I don’t know.” It is telling that after a year and a half in Cleveland, Love does not seem to know his place in the system. Ultimately, that responsibility falls on the head coach, David Blatt.

It is no secret that Blatt is far from the league’s best coach, or, in the eyes of many media and basketball personnel, even a good coach. James constantly draws up plays during timeouts and has called off substitutions because he disagreed with the timing.

Even if James has nothing but compliments for his coach publicly, he is not ignorant of the situation. Blatt looked confused and unprepared throughout Monday’s game and said as much after. This team cannot win a title if its coach repeatedly has to compete with the likes of San Antonio Spurs Head Coach Greg Popovich and the combination of Warriors Head Coach Steve Kerr and interim Head Coach Luke Walton. In some sense, Cleveland went through something like this last year after hitting a bit of a midseason slump, and the Cavs rebounded fine.

Perhaps that will happen again this season, but something has to change.

Cleveland could potentially use this loss as motivation and finish the season with a vengeance. The Spurs’ visit to Cleveland next week as well as Cleveland’s game against the Oklahoma City Thunder on the road in just under a month should help determine the Cav’s potential in the postseason. While Cleveland only plays each Western Conference team twice and thus the sample size is limited, it needs to play at a higher level to win against Western Conference teams — at home, but especially on the road.

Fair or not, LeBron’s 2-4 record in the Finals is often used against him. If the status quo persists, it looks now that record will change to 2-5. It is decidedly unfair that the King is in a near lose-lose situation. Either Cleveland makes the Finals and loses; or, it loses within its conference and avoids the scorn of the West, but it faces the humiliation of failing to win in the relatively weaker conference. The only answer is to win, but right now it seems that the King and his court are at a loss.

Michael Ippolito is a junior in the College.

The Water Cooler appears every Friday.

After almost two months without dual meet competition, the Georgetown swimming and diving team took on two hometown rivals — the American University Eagles and the George Washington Colonials — Jan. 15 and Jan. 16. These competitions came shortly after the team’s training trip to Ponce, Puerto Rico over winter break.

“We really don’t ever get an opportunity to be all together at one time throughout the year because of our class schedules and facility limitations,” said Head Coach Jamie Holder of the trip. “It was great to get everybody all together and get some good training in — it sets us up well for the rest of the season.”

Senior Lauren Ward said she also enjoyed the team’s trip to Puerto Rico, citing the training opportunities as a key benefit of the trip.

“I thought it was great,” Ward said. “We got in a lot of really good training. We were able to practice twice a day. I thought it was extremely beneficial in setting us up for the next half of the season.”

This proved true Friday evening with the team’s victory over American. The women’s and men’s teams defeated the Eagles 133-105 and 158-71, respectively. The Hoyas got off to a strong start, opening the meet with four consecutive first-place finishes, including the women’s and men’s 200-yard medley relays.

Additionally, in the 1000-yard freestyle relay, sophomore Christine Ryan topped the women’s side with a time of 10:48.41 and sophomore Peter Kalibat came in first on the men’s side with a time of 9:58.18,.

Other highlights include sophomore Molly Fitzpatrick’s win in the 200-yard individual medley with a time of 2:12.69, freshman Carrie Bonfield’s firstplace finish of 5:08.13 in the women’s 500-yard freestyle and sophomore Samuel Delises’ two victories in the men’s 200-yard individual relay with a time of 1:59.97 and in the 500-yard free-

FILE PHOTO: JULIA HENNRIKUS/THE HOYA

Junior diver Jared Cooper-Vespa won both the one-meter and three-meter diving competitions in Georgetown’s meet against American to conclude last weekend’s events. style relay with a time of 4:54.07.

Both the men’s team and women’s team also won the 50-yard and 100-yard freestyle races and the 100-yard butterfly race.

On the diving side, junior Jared Cooper-Vespa triumphed in the one-meter and three-meter competitions, while junior Sarah Jacklitsch won the one-meter competition for the women.

The next day, against the George Washington Colonials, the women kept up their winning streak while the men faltered. The Hoyas’ 200-yard medley quartet of junior Katie Duncalf, sophomore Haley Owens, senior Erica Fabbri and sophomore Bailey Page won with a time of 1:47.80. Page also came in first in the 200-yard freestyle, finishing with a time of 1:54.59 and the 100-yard freestyle in 53.59. Fabbri had two additional wins as well. She placed first in the 50-yard freestyle with a time of 24.39 and won the 100-yard butterfly with a time of 57.65.

For the second day in a row, Fitzpatrick conquered the 200yard breaststroke in 2:26.77. Her

strong performances over the weekend earned her the title of Big East Swimming & Diving Athlete of the Week. The meets against George Washington and American helped to get the team back into its groove for the second half of their season.

Georgetown will continue to prepare for the Big East Swimming and Diving Championships, which will take place from Feb. 24 to Feb. 27 at the Nassau County Aquatic Center in East Meadow, N.Y. The team used its trip to Puerto Rico as an opportunity to train heavily as it continues to move toward the conference meet.

“Puerto Rico was definitely the hardest training we’ve had this year just based on number of practices and condensed training,” Ward said. “We trained through the American and GW meets last weekend and are still training hard through this week. We aren’t really resting much at all. Then, gearing up for the Big East, we’ll start resting up a few weeks out.”

Holder said he is excited about

Women’s basketball

the looming Big East championships, as the meet will give Georgetown an opportunity to finish its season strong in an important event.

“We have a few more weeks of solid training left, then we start to rest and focus more on individual tapes,” Holder said. “We are getting ready to perform at our very best. The team is excited to get to that point and so am I — it’s what we work for all year.”

As Georgetown enters its final weeks of training, the team is looking toward the Big East meet as the culmination of a season’s worth of hard work.

“I think everyone is starting to realize that there is a light at the end of the tunnel. This is truly the hard part,” Ward said.

Due to poor weather conditions, Georgetown’s scheduled meet against Drexel for Saturday was moved to Thursday afternoon. The men’s team fell to Drexel, but the women’s team won. A story with the full results of the meet will be posted online at thehoya.com.

Men’s soccer

White Leads GU Yaro, Rosenberry In Debut Season Drafted in Top Three VILLANOVA, from B10

in the league in transition. That is something [Villanova] doesn’t want to guard. They don’t want us to create tempo. They want to slow the game down,” Adair said. “We have to make sure we manage the game according to our terms, not theirs.”

Vitalis agreed that the team will have to focus on executing on defense a n d utilizing the te a m ’ s ability to attack the basket in transition in order to be successful against Villanova.

“We like to get to the basket. We are a very aggressive team, especially in transition and I don’t think a lot of teams can run with us,” Vitalis said.

“I definitely think that’s something we need to exploit — getting stops and running in transition.”

In addition to Georgetown’s transition offense, Villanova will also have to be wary of freshman guard Dionna White. It did not take long for the freshman to earn herself a place in the Hoyas’ starting lineup and now, only 18 games into her collegiate career, White leads the team in five significant statistical categories.

“It is always good to have help from a freshman. [Dionna] has been playing a good role on the team and we need to keep her going,” sophomore

guard Dorothy Adomako said.

White, who averages 14.4 points per game, is not only Georgetown’s leading scorer, but is also the team’s leading rebounder. The freshman averages 5.7 boards per game – an impressive feat for the 5-foot-5 guard. Additionally, White leads the Hoyas with 41 steals and 71 assists. She is also the team’s most f r e quent a n d most c o n sistent f r e e t hrow shoote r .

White h a s taken 70 free Natasha Adair throws Head Coach so far t h i s season and has missed only 12, giving her a teamleading 82.9 percent average from the line.

“It is definitely great to watch [Dionna] keep growing and keep developing and keep maturing, and we definitely encourage her to do so,” Vitalis said.

Villanova is the only Big East team that Georgetown has not yet faced this season. A win Sunday would give the Hoyas’ crucial momentum as they prepare to play each of their conference opponents for a second time.

“I want us to send a message. Georgetown is here. Georgetown is coming. You need to be afraid because when we are disciplined, we are hard to beat. It’s as simple as that,” Vitalis said.

Tipoff is set for 1 p.m. at The Pavilion in Villanova, Penn.

“We have to make sure we manage the game according to our terms, not theirs.”

MLS, from B10

“I think the media does a great job of capturing how great a player [Joshua] is and what kind of talent he has,” Rosenberry said. “But sometimes, what isn’t captured is what type of kid he is. He’s such a good kid. He has a great heart and he works his butt off whether it’s on the field or in the classroom.”

That dedication and work ethic are the type of attributes that kept Yaro grounded and hungry and will surely lead him to success on the professional level when combined with his amazing physical and technical ability on the pitch. There are high expectations for Yaro, but he believes he can deal with it by looking inward.

“A lot of people have the expectations, but at the end of the day it comes down to me as a person and what my expectations are,” Yaro said.

Yaro and Rosenberry are thrilled to continue playing together and to build on the close-knit relationship they have already developed in their time at Georgetown.

“It’s obviously good when you’re going into a new place knowing a familiar face.

And, I have an understanding of how he plays, and who he is as a player and as a person, and I am excited to have a fellow Hoya joining me in this transition because it makes things a lot easier,” Yaro said.

Moreover, Rosenberry will have the additional comfort of playing for an organization that he has performed for as an amateur player. Rosenberry spent time with the Philadelphia Union Academy and even got a chance to suit up with their reserve squad.

“Knowing other people in the organization well … brings confidence, I think, and that’s going to make it much easier for me to perform day in and day out in training,” Rosenberry said.

Following Rosenberry and Yaro was center back Seiler, who was named to the Second Team All-Big East this past season. Seiler is unlikely to see much playing time on Vancouver’s first team at the start of the season, but will have plenty of chances to develop with the club’s second team. He joins a prestigious club that finished second in the competitive Western Conference in the 2015 regular season, before being defeated in the Western Conference semifinals by their Cascadia rival and the eventual MLS Cup champions, the Portland Timbers. Seiler is viewed as a talented and smart center

back who makes good decisions on the field.

The last Hoya drafted, Turnley, was named Second Team All-Big East this past season after starting for three years at Georgetown. Turnley joins an LA Galaxy squad that has international stars such as Liverpool legend Steven Gerrard, Mexican attacker Giovani dos Santos and Irish striker Robbie Keane.

“I’m just so excited and thankful for the opportunity to go to a storied club like the LA Galaxy and to get a chance to compete against some of the greatest players in the world,” Turnley said, according to LAGalaxy.com.

Although this is not the first time Georgetown has seen players go on to the MLS, this year was particularly historic.

“I think [we] did just as well as any other school would have. Coach Wiese, Coach Gil and Coach Hamel run the organization in such a professional way that as best they can prepare you for the professional level,” Rosenberry said.

Although the 2015 MLS season just ended in December, the start of the 2016 season is coming up shortly in March, marking a significant milestone in these former Hoyas’ careers and Georgetown’s new foothold in the MLS.

FILE PHOTO: JULIA HENNRIKUS/THE HOYA

Junior defender Joshua Yaro was the second overall pick in the MLS draft.

sports

FRIDAY, January 22, 2016

THE HOYA

feature

B9

women’s tennis

Allen, Muyl Sign Pro Contracts Young Team Hunts For Big East Title Oliver Hill

Hoya Staff Writer

FILE PHOTOS: ELIZA MINEAUX/THE HOYA

Men’s soccer junior forward Alex Muyl, left, and senior forward Brandon Allen combined for 18 goals and 17 assists during their last season on the Hilltop. The two led Georgetown to a record 18-game win streak.

DARIUS IRAJ

Hoya Staff Writer

Georgetown is officially a soccer school. Following the Georgetown men’s soccer team’s historic winning 2015 season, the Hoyas made a big splash in Major League Soccer’s offseason with two signings: forwards Alex Muyl and Brandon Allen, who were signed by the New York Red Bulls in December, marking their transition from Hoyas to professional athletes.

The MLS’ Homegrown Player Rule allows teams to sign players from their youth academies directly instead of picking them through the standard draft process. Both Muyl and Allen, natives of New York and New Jersey, respectively, spent their youth careers playing for the New York Red Bulls’ youth academy. The two players join four other college players who were recently signed to homegrown contracts. One of them was Mael Corboz from the University of Maryland, the brother of Georgetown’s own sophomore midfielder Rachel Corboz and women’s soccer alumna former two-time All-American midfielder Daphne Corboz.

“I think we’re a pretty special group. We always wondered if we were ever going to play with the first team. But now since we have a contract it’s amazing. I’m glad to see that they’re bringing these young guys up to play with the first team and giving us a chance,” Allen, currently a senior, said.

Muyl, a junior, chose to leave school early after a successful junior season.

“I felt like I was ready to make the step to the next level. Obviously I loved my time at Georgetown and I had a really positive experience there, but this is something I’ve wanted since I was a little kid, and with the way the Red Bulls are doing now, it’s just a very attractive opportunity,” Muyl said.

The deals come off a remarkable

season that put Georgetown’s soccer team in the spotlight. After a rocky start to the season, Georgetown went on an unbelievable 18-game unbeaten streak, led by both Georgetown’s stalwart defense and Muyl and Allen’s offensive prowess, which included Georgetown’s first Big East championship in program history.

Muyl finished the season with six goals and 10 assists, and Allen tallied an impressive 12 goals and seven assists. However, the team’s run was cut short in the Sweet 16 when it failed to advance in penalties against Boston College.

“I think it’s just really disappointing. Any team would be really happy with the way our season ended, but with the group we had and the way we knew we could play, I think just even with all that stuff, it still feels a little bit like we just let ourselves down, like we underachieved a little bit,” Muyl said.

Following the season, Allen was named a finalist for the MAC Hermann trophy, as well as First Team All-America and First Team All-Big East. Muyl was named to the Second Team All-Big East, and First Team AllGreat Lakes Region.

The two Hoyas enter a talented Red Bulls squad that won last year’s MLS Supporters Shield before falling in the Eastern Conference Finals to the Columbus Crew. The attackers will start behind a talented attacking core, led by striker Bradley WrightPhillips who tied the MLS record for goals in a season with 27 in 2014, as well as other talented attackers such as Mike Grella, Lloyd Sam and Dax McCarty.

“It’s going to be pretty special; the guy’s amazing,” Allen said of playing with Wright-Phillips. “I’ve trained with him already. He can do some incredible stuff with the ball. I’m looking forward to learning from him.

Hopefully, I’ll pick up a few things from him that I don’t know yet.”

The two rookies may spend sig-

nificant time playing with the New York Red Bulls II in the United Soccer League, but both have high hopes of becoming established on the first team’s roster.

“I want to make an impact like I did in college. My first impression in college was amazing. Hopefully I can turn that into MLS and hopefully score a couple my first season,” Allen said.

Muyl said that his versatility may increase his chances of seeing more playing time.

“I could play as a center striker, I could play out on the wings [and] I could play underneath. So for me I’ll play anywhere that I can help the team. And I think that I’m happy that I have the ability to play in all these different spots because it gives me a better chance to get involved and help the team,” Muyl said.

Georgetown currently has four players on its roster from the New York Red Bulls’ academy, in addition to players from other MLS academies.

According to SBI.com, Red Bulls Head Coach Jesse Marsch said that “Georgetown is Red Bulls South” during the MLS combine. Red Bulls’ Sporting Director Ali Curtis clearly showed his intention to cultivate talent in the academy with Allen and Muyl’s homegrown signings, hinting at a possibility of more signings of past academy players in the future, especially from Georgetown.

“I think it’s a really positive step because it sends a message to the other kids who are still in the academy who have a lot of talent, who maybe in the past they might have felt that they didn’t have a chance at the Red Bulls,” Muyl said. “I think that this is really making a statement about the way the club is moving forward.

I think they’re really investing in themselves and they want to invest in the future.”

The Red Bulls begin their season March 6 against Toronto FC at Red Bull Arena.

Upon Further Review

Coaching Changes Are Premature MCLAUGHLIN, from B10

the Cleveland Browns officially etched their name in the pantheon of franchise ineptitude — replacement Hue Jackson being the ninth head coach they’ve hired since 2000.

Having coached two full seasons, Pettine was actually one of the lucky ones — Jim Tomsula and Ken Whisenhunt were canned before the halfway point of their second year with the San Francisco Forty-Niners and the Tennessee Titans, respectively.

One would think that for an NFL head coach to be sacked just two seasons in, his team would have to resemble something out of the movie “The Comebacks” — in which case no member of his staff should be spared.

Yet somehow the Buccaneers found a way to justify firing Lovie Smith after just two seasons — a man who coached the Chicago Bears to the 2009 Super Bowl — in favor of his offensive coordinator Dirk Koetter.

Three years ago, the Philadelphia Eagles fired Andy Reid, and now they’re naming his offensive coordinator at Kansas City their new head coach.

Even the New York Giants fired two-time Super Bowl-winning head coach Tom Coughlin, only to replace him with his assistant, Ben McAdoo.

Think of it as ending an ugly relationship after only a couple months, only

to immediately start dating your ex’s cousin.

These changes are thoughtless, unprofessional and just downright incompetent on the part of NFL ownership. Of the 11 teams with two or more head coaching changes in the last four seasons, their combined record is 199-257. Not only does constantly changing out your head coach reveal an executive’s incompetence in hiring a good candidate — it is also proven to increase your losing record.

One can’t help but wonder if it is a product of the business and statistics era of sports we are stuck in. Just this past week, in typical Cleveland fashion, the Browns hired Paul DePodesta — the guy Jonah Hill plays in Moneyball — to help fix their roster. No matter that DePodesta doesn’t have any experience outside baseball — meet your new football guru, Browns fans.

Maybe he knows how to hire a head football coach.

It seems that ever since stats-crazed general manager Billy Beane introduced the idea of looking at players and coaches as numbers instead of humans, front-office jobs traditionally given to former players have instead gone to Wharton grads who have never laced up their own cleats. Throughout the course of getting their MBAs, these NFL team executives never learned that suc-

cess takes time — for example, Hall of Fame Coach Tom Landry took six full seasons to post a winning record.

Landry then went on to lead the Dallas Cowboys to the playoffs for 18 of the next 20 seasons and delivered two Super Bowl titles in the process. Had Landry been born a couple decades later in today’s NFL climate, he likely never would have made it to the bye week of season two.

Whether it’s because business school never taught them about how a football team really functions, or whether they are just incompetent leaders, NFL executives are destroying the head coaching profession in the NFL. Coaches can’t build longterm rosters, because after two losing seasons suddenly they’re on the hot seat. In a climate where the pressure to win immediately is mounting, the impact of locker-room continuity on team performance is being greatly undervalued by a team’s front office.

So if you’re a fan of one of the 11 teams that has switched head coaches two or more times in the last four years, congratulations. You don’t have a head coach problem after all. If only you had a way to fire the owner.

Jimmy McLaughlin is a sophomore in the College. Upon Further Review appears every other Friday.

The Georgetown women’s tennis team will kick off its spring season with its first match against the Naval Academy in Annapolis, Md. The team was supposed to play Princeton for its first scheduled match Saturday, Jan. 23, but a cancellation due to weather conditions granted the team another week to prepare for its new season opener against Navy. The match will end a threemonthlong hiatus from competitive play. The team hopes to carry the momentum gained from the end of the fall season into the new year, with its sights set high for the coming season.

Head Coach Gordie Ernst emphasized the potential he believes the team has this year.

“I’m careful not to be too optimistic and too hopeful at the beginning of the year, but we’re always hopeful and this year especially.

I mean, it’s probably the deepest team we’ve ever had, maybe Georgetown’s ever had, in terms of the depth. The number of girls that can play big matches, the number of girls that can step in and play in the lineup, and that’s a good thing,” Ernst said.

Perhaps equally as encouraging as the depth of the team is the talent of its youth. The three freshmen on the team — Sydney Goodson, Cecilia Lynham and Risa Nakagawa — play a very significant role in what is only a 13-person roster.

Junior captain Victoire Saperstein was quick to praise the young players on the team.

“They’re phenomenal,” Saperstein said. “They don’t know the college competition format yet because the spring is different than the fall, but I think the rest of the team has really shown them the thirst that we have to compete and to win against the teams we competed against last year, either in continuing our record against them or getting our revenge.”

The combination of the leadership and young talent could take the team far this year. Ernst echoed Saperstein’s sentiment, emphasizing the role of the younger players.

“They can punch above their weight, no question about it,” Ernst said. “It’s just can they do it

in pressure situations, and that’s the key and the good players can.

You know, the thing I’ve struggled with over the years with both teams is that they still find ways to put pressure on themselves when we’re playing a team that’s favored and that doesn’t make any sense to me. It’s when you play a team like Navy who we beat last year. … Those are the teams where we should feel more pressure because it’s just tighter. We’re the favored team and that’s where if we can conquer that type of issue, we’ll be much better off for it.”

The opening match of the season will be critical for Georgetown.

In the past two meetings with Navy, the sides split victories. The Hoyas fell in a tight 4-3 match in 2014 but recovered with a comfortable 6-1 win last season.

Aside from the pressure that the favored matchup yields, Ernst noted the unique challenge Navy presents each year.

“You can never go off previous scores with Navy. It’s the Naval Academy, they have a great facility, and they have a coach that goes out there and recruits,” Ernst said.

“I don’t know who they have new this year but it’ll be a better team there’s no question about that.

Last year we won. ... But you know what happens with nerves and pressure, it changes everything.”

A solid performance would kick off the campaign for which the team is striving. Saperstein differentiated between the team’s external and internal goals, saying the team aims to both work harder themselves and win the Big East.

“Internally our goals are to go out and play every match like it’s our last. Fighting, working really hard are all very important things and things that Coach Ernst stresses a lot and something the whole team focuses on,” Saperstein said.

“We have a lot of girls this year and everyone is really fighting, looking to get a spot on the lineup and we’re all really pushing for wins.

Externally we want to win the Big East and that’s something that we’re really looking out for this year.”

Ernst agreed.

“The girls are hungry for titles.

There’s no question about it,” Ernst said.

Men’s basketball

UConn Boasts Top Three-Point Defense UCONN, from B10

Conventional basketball wisdom suggests that more turnovers lead to fast break opportunities, a concept the Hoyas have struggled with this season; even in their win against the Musketeers, the Hoyas forced just five turnovers and had only nine points in transition.

Head Coach John Thompson III, however, focuses more on how the team made plays that, while not statistically quantifiable, are crucial for winning games down the stretch.

“Let’s just make sure we’re not turning the ball over. When it’s necessary to make the plays we need — someone I thought was terrific was [sophomore guard L.J. Peak],” Thompson said.

“He made plays when we needed plays to be made to make sure we won that game. …

L.J. Peak made the plays, the winning plays that don’t show up in the box score that allowed us to win that game that we haven’t been making consistently enough in those other close games.”

However, those winning plays do show up in more detailed metrics. Peak, along with the rest of the team, hustled back on the defensive end after a turnover and did not allow the Musketeers to capitalize in transition, holding them scoreless off steals. In addition, Georgetown was efficient with its blocked shots, allowing Xavier to secure only three offensive rebounds off seven blocks.

Looking forward to the matchup against the Huskies, the Hoyas will need to shut down star sophomore guard/forward Daniel Hamilton, one of the most versatile players in college hoops. Not only does Hamilton lead the AAC in assists per game, but he also is one of the conference’s leading rebounders at 8.7 per game.

He also scores just over 12 points per game.

“I don’t know if you can take him out of the game,” Thompson said of the sophomore. “You just have to try and slow him down, and slow him down by slowing everyone else down.”

The matchup against UConn will be Georgetown’s first game against its old Big East foe since the 2012-13 season, when the teams faced off in a double-overtime contest that saw current senior guard and co-captain D’Vauntes Smith-Rivera and current Washington Wizard forward Otto Porter hit two huge shots. Smith-Rivera nailed a three to draw the Hoyas within one point, and Porter hit a jumper to win the game.

The teams have changed quite a bit since then, but the glamor of the old Big East still remains, even though this is a nonconference matchup.

Furthermore, both teams are JOHN THOMPSON III Head Coach looking to add to their tournament resumes; a win over UConn will likely help Georgetown come Selection Sunday in March. After dropping its marquee nonconference games against No. 7 Maryland (17-2, 6-1 Big 10) and No. 20 Duke (14-5, 3-3 Atlantic Coast), Georgetown is desperate for a win against a big name.

UConn, on the other hand, has faltered early in conference play, dropping games to the Temple Owls (10-7, 4-2 AAC) and the Tulsa Golden Hurricane (12-6, 4-2 AAC). With a conference that is generally considered weak outside of No. 8 Southern Methodist (18-0, 7-0 AAC), UConn will take this one last chance to bolster its tournament resume to make up for a conference wherein most losses are not looked upon kindly by the Selection Committee.

Connecticut ranks No. 27 in the KenPom rankings, compared to No. 47 for Georgetown.

Tipoff is set for 12 p.m., and the game will be televised on CBS.

“[L.J. Peak] made ... the winning plays that don’t show up in the box score that allowed us to win that game.”

SPORTS

Men’s Basketball Georgetown (12-7) vs. Connecticut (13-5) Saturday, 12 p.m.

Hartford, Conn.

FRIDAY, JANUARY 22, 2016

TALKING POINTS

MEN’S SOCCER Brandon Allen and Alex Muyl both signed contracts with the New York Red Bulls.

See B9

“

NUMBERS GAME

I want us to send a message.

Georgetown is here. Georgetown is coming.”

SENIOR FORWARD DOMINIQUE VITALIS

6

MEN’S SOCCER

MEN’S BASKETBALL

Hoyas’ Back Line Drafted to MLS DARIUS IRAJ

Hoya Staff Writer

After the New York Bulls signed two Georgetown forwards to homegrown contracts, the Georgetown men’s soccer team stole Major League Soccer headlines again when its entire starting defensive unit was drafted in the 2016 MLS SuperDraft. Three of the four were picked Jan. 14, the first day of the draft in Baltimore. Junior center back Joshua Yaro — a Generation Adidas player — led the tetrad with the No. 2 pick, while former senior right back Keegan Rosenberry was selected immediately afterward with the No. 3

pick. Both players were selected by the Philadelphia Union and will have the chance to play together at the professional level. Yaro became the highest overall selection in Georgetown’s soccer program’s history.

Following the duo from Philadelphia was former senior center back Cole Seiler, who was selected by the Vancouver Whitecaps with the No. 16 pick. Former senior left back Josh Turnley did not hear his name called on the first day of the draft, which included only the first two rounds.

However, five days later, Turnley was selected with the No. 42 overall pick — the first pick of the second day — by

The number of Hoyas who will begin professional soccer careers this year.

the Los Angeles Galaxy.

“I’m really excited. Georgetown was able put six guys in the pros this year, and that’s a testament to how great the program has become and how hard the coaches have worked to recruit good players and good people,” Yaro said.

Out of the Georgetown defenders, experts are most excited about Yaro’s potential. Many thought that he was a sure bet to go No. 1 overall to the Chicago Fire. Chicago selected midfielder Jack Harrison from Wake Forest instead, before shipping him to New York City Football Club.

See MLS, B8

FILE PHOTO: MICHELLE XU/THE HOYA

Senior guard and co-captain D’Vauntes Smith-Rivera scored 20 points in Georgetown’s win over Xavier on Tuesday.

Former Big East Rivals Face Off PAOLO SANTAMARIA Hoya Staff Writer

FILE PHOTO: KAYLA MINEAUX/THE HOYA

Senior defender Keegan Rosenberry was drafted third overall in the MLS SuperDraft last Thursday by the Philadelphia Union. Rosenberry had two goals and six assists in his senior season at Georgetown, totallling 10 points.

UPON FURTHER REVIEW

A change in flight time to avoid the incoming Washington, D.C., blizzard will send the Georgetown men’s basketball team (12-7, 5-2 Big East) to Hartford, Conn. earlier than expected. After a decisive 8172 victory against No. 5 Xavier (16-2, 4-2 Big East), Georgetown will square off against former Big East rival Connecticut (135, 4-2 AAC) Saturday.

Georgetown looks to continue its efficient offensive performance after dominating Xavier on Tuesday evening.

Guard Tre Campbell broke out of a shooting slump in the win, hitting 5-of-7 three-pointers en route to a career high of 21

points.

However, the Hoyas’ success from beyond the three-point line — ranking first in the Big East in percentage of three pointers made — may slow down. Through six games in the American Athletic Conference, the Huskies have held their opponents to just 31.7-percent shooting from beyond the arc.

Moreover, Connecticut is one of the best teams in its conference at taking care of the ball, averaging a turnover rate of just 15.9 percent. Meanwhile, Georgetown is the worst team in the Big East at forcing turnovers — its 16.5 percent ranks it last in the conference.

See UCONN, B9

WOMEN’S BASKETBALL

GU Looks to Snap Four-Game Skid MOLLY O’CONNELL Hoya Staff Writer

Jimmy McLaughlin

Coaching Carousel Continues F

or all the talk of how short the average millennial’s attention span is thanks to the iPhone, there appears to be one group with an even lower threshold of patience: National Football League team executives.

If it seems like the revolving door of NFL head coaching jobs has been turning especially fast lately, it’s because it has. For the second offseason in a row, while the eyes of the public were busy watching the theatrics of playoff football, nearly a quarter of the league’s teams were busy replacing their head honcho.

NFL executives are too hasty in making decisions to fire head coaches.

As alarming as back-to-back years of seven head coaching changes around the league might sound, the real issue here is the frequency with which some teams’ executives are hiring and firing coaches. For some teams, it’s almost a biannual occurrence.

There are 32 teams in the NFL, 11 of which have changed their head coach at least twice in the last four seasons. With the firing of Mike Pettine this offseason, See MCLAUGHLIN, B9

The Georgetown women’s basketball team (9-9, 2-6 Big East) looks to snap a four-game losing streak when it takes on conference rival Villanova (12-6, 6-2 Big East) Sunday afternoon on the road. The Hoyas’ current skid is their longest of the season and has come in the midst of the team’s Big East schedule.

“I feel like we have been in every game and it has come down to a possession, it’s come down to a rebound, a stop, a free throw, a layup — not really what the other team has done,” Head Coach Natasha Adair said. “We have seen a lot of teams’ best. They haven’t seen our best yet.”

The Wildcats will come into Sunday’s matchup under quite different circumstances. Villanova has won eight of its last 10 games and currently rides the momentum of a four-game winning streak that includes a 64-60 road victory over No. 24 DePaul (14-6, 6-1 Big East).

“We are already excited to play [Villanova],” senior forward Dominique Vitalis said. “I like that they have that momentum because it just makes it more of a challenge.”

To beat Villanova, Georgetown will have to focus on its threepoint defense. The Wildcats have taken 482 threes this season — the second most in the Big East. Senior guard Caroline Coyer leads the team with 35 three-pointers made. Coyer, who averages 14.6 points and 5.3 boards per game, is Villanova’s leading scorer and is second on the team in rebounding.

The Wildcats have also received consistent offensive contributions off the bench from freshman guard Adrianna Hahn.

Hahn, who trails just behind Coy-

FILE PHOTO: JULIA HENNRIKUS/THE HOYA

Sophomore guard Dorothy Adomako scored 17 points in Georgetown’s 83-75 loss to Seton Hall on January 17. Adomako averages 13.9 points per game and 5.6 rebounds per game this season. er with 33 made three-pointers, averages 10.1 points per game in addition to shooting a team-high 87.5 percent from the free throw line.

The Hoyas will have to be cognizant of the threat posed by both Coyer and Hahn from beyond the arc during Sunday’s contest.

“They are going to make some [threes], but we have to make it

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hard for them and not allow them to get 30 threes off in a game. We have to limit that number and run them off the three-point line and make them put the ball on the floor,” Adair said. “We have to make it hard for them. No easy baskets, no easy layups, no open threes. Everything they get they definitely have to earn.”

Offensively, Georgetown will

try to take advantage of its strength in transition to counteract Villanova’s half-court scoring.

The Hoyas are focused on playing a disciplined defense that will produce stops and allow them to push the ball and up the speed of the game.

“We are one of the best teams See VILLANOVA, B8