The Hoya: The Guide: October 21, 2016

the guide F R I DAY, O C T O B E R 2 1 , 2 0 1 6

ILLUSTRATION BY JESUS RODRIGUEZ/THE HOYA

FEATURED

GUIDE Jam Out With Todd Olson Adele and Springsteen are featured in this week’s music recommendations.

B3

Comfort a la Mode La Piquette offers a fun, yet simple option for D.C.’s foodie francophiles.

B5

All Things Encore The music blog-turned-festival returned to D.C. for its third year, welcoming 10,000 attendees.

B4

Short but Stunning Indie-folk band Bon Iver released its junior album to critical acclaim despite its brevity.

B7

SPORTS Golden Victory

The soccer team clinched a win over Princeton with 11 seconds left in the second overtime.

B10

Finding the Tailwind The sailing teams gained valuable experience in their regattas this past weekend.

B10

B2

the guide

THE HOYA

friday, OCTOBER 21, 2016

FRESH PAINT NYC

Washington, D.C., used to be a hub of graffiti and street art, but in recent years the city has begun to crack down on artists. Once popular spots are now outfitted with security cameras. The D.C. Council introduced legislation earlier this year that aimed to raise the fine for illegal painting from $250 to $2,500, with up to 180 days in jail.

Graffiti in the District Under Siege Alexandra Brunjes Hoya Staff Writer

Dripping from bridges, scrawled across alleyway walls and tagged on garbage cans along busy streets, graffiti brings color and gives voice to unheard perspectives in many parts of Washington, D.C. Often going unacknowledged or unaccepted as a valid form of art, graffiti has long maintained a strong presence in the District.

Particularly in recent years, however, local government has become much more aggressive in its stance against the craft, igniting arguments about the validity of graffiti as an art form as opposed to vandalism. Today, many artists struggle to continue to make art while facing increased police scrutiny, the city’s devotion of more resources to graffiti removal and the potentially imminent implementation of legislation — the Anti-Graffiti Amendment Act of 2016 — that would drastically increase the punishments for those who create graffiti.

DC’s graffiti history

The history of graffiti in D.C. is partially rooted in the legacy of Borf, a graffiti artist who made a name for himself in 2004 and 2005. For many months, the artist managed to evade law enforcement as he covered the city with his pieces, which focused on his disdain for and disapproval of adulthood — one of his most popular pieces was of a young girl holding a sign reading, “grownups are obsolete” — and primarily featured the face of a young boy. Borf’s work was often likened to that of Banksy, the famed British street artist whose politically charged graffiti has received international acclaim.

When eventually caught, it was revealed that Borf’s real identity was an 18-year-old John Tsombikos, a Great Falls native who was then a student at the Corcoran Col-

lege of Art and Design. Interviews and research done for his trial revealed that the name “Borf” was a tribute to a friend of his who had committed suicide and served as the inspiration behind the face of the boy so prominently featured in Tsombikos’ work. His incarceration and the removal of his pieces represented a great loss in the world of D.C. graffiti art, a void that has yet to be filled. However, that is not to say that there are not many taggers — a term for graffiti artist — making names for themselves in the District.

“

The only difference between graffiti and mural art: Someone asked for mural art.”

KOSI DUNN Marketing Specialist for Words, Beats and Life

The Double Down Kings

Many of the most well-known and respected D.C. graffiti artists found their roots in the Double Down Kings, or 2 Dope Kings — Leave All Burned, a hip-hopbased crew of artists formed in 1994. Although graffiti is the artistic heart of the group, DDK has expanded over the past 22 years to include those who work in music, dance, tattoo, film and design.

The group is run by Cory Stowers, a graffiti artist and muralist who works to support D.C. graffiti art by young aspiring artists hoping to learn the craft. DDK was founded in 1994 by Stowers — also known by his tag name, Eon2 — and DJ Mikey Vader when they were high school students.

Earlier this fall, the group celebrated its

SUPPORT STREET ART

The District of Columbia spent $447,000 removing more than 6,600 graffiti sites in 2015. Art Under Pressure, the city’s main spray paint store, closed in February.

22nd anniversary by hosting a weeklong event that began with an exhibition of its members’ work at The Arts District Building in Hyattsville, Md., and culminated with graffiti workshops and music performances in a symbolic venue.

“The space where we displayed the show was directly across from the train tracks where we used to go spray paint the trains and retaining walls back in 1994,” Stowers said.

Gallery shows for graffiti are controversial within graffiti culture, as they remove the art from its typical urban context.

“There has always been the question within the graffiti community whether gallery shows are part of the culture, but since the late 1970s, people have been interested in seeing graffiti in this context,” Stowers said.

In the years since its founding, many DDK artists have risen through the ranks and made names for themselves in the D.C. area and beyond. PEAR is one of these artists. After rising to prominence through DDK in the early 2000s, his characteristic bubble-lettered tag can now be found internationally, although D.C. is the most concentrated site of his work.

Another DDK alumnus is CAVE, a graffiti artist who has distinguished himself through his letterform experimentation and tendency to stray from traditional phrasing. CAVE began writing in 1997 and is known throughout the D.C. graffiti community as not only an influential artist but an inspiring mentor to those learning the art. Wielding influence in the world of graffiti art, however, does not come without challenges.

Issues affecting graffiti artists

One of the biggest problems with which graffiti artists grapple is the labeling of their work as criminal vandalism rather than carefully considered artistic expression.

“It is the same work. The only thing that distinguishes the two is location. Anything painted on someone else’s property without their permission is illegal. Anywhere you paint without that concern is not an issue,” Stowers said.

While graffiti is certainly popular with the younger generation, there are many who find the spray-painted art to be destructive and inappropriate. As a result of this conception, in the past few years the District has begun cracking down on graffiti production and harshly punishing those caught.

Beyond the increased installment of security cameras and the continuous gentrification of D.C. in recent years, which is resulting in buildings made of materials difficult to paint on, such as glass, the greatest problems for the graffiti art community have been the increase in clean-up efforts and the proposal of harsher legislation.

When citizens call 311 with reports of unlawful graffiti, the Department of Public Works sends workers to clean it up. This effort has an annual cost of over $400,000, which is perhaps the reason that legislators have created a bill to target this problem at its source by preventing the creation of graffiti in the first place.

Currently, the D.C. Council is reviewing the Anti-Graffiti Amendment Act of 2016, which proposes, among other things, that fines for creating graffiti be increased from a range of $100 to $1,000 to a range of $500 to $2,500.

The act is a revision of a 1982 bill that expands the legal reach of anti-graffiti legislation, while also increasing penalties for those caught or intending to create graffiti.

According to the bill, it will “increase the fines for willfully placing graffiti on property without the consent of an owner... and increase the fines for willfully possessing graffiti material with the intent to place graffiti on property without the consent of an owner.”

The bill enters a gray area regarding the intent of those possessing graffiti materials, criminalizing a segment of D.C.’s vibrant arts community.

“In D.C., over $2,000 in damage equates to a felony and, by that logic, you could become a felon by walking around with markers in your pocket,” Stowers said.

The District’s emphasis on criminal prosecution ignores other options would potentially be more effective in reducing illegal tagging.

“They could easily put their resources and energy toward engagement projects with graffiti artists,” Stowers said. He continued, “It would work much better telling artists where their art can be, instead of dictating where it cannot.”

Moving toward freedom

One organization following a different course by offering artists an alternate outlet is Words, Beats and Life, a nonprofit that teaches artistic workshops for all ages.

Some of these workshops focus on street art and provide students with paint, instruction and walls on which to practice.

D.C. is exerting considerable effort to try to control the creation of graffiti, but Kosi Dunn, a poet, writer and marketing specialist at Words, Beats and Life, suggests that the community of graffiti artists is passionate and tightly knit enough to overcome these increased obstacles.

“

Over $2,000 in damage equates to a felony. By that logic, you could become a felon by walking around with markers in your pocket.”

CORY STOWERS Founding Member, Double Down Kings

“As someone who believes in hip-hop and believes in art as a means to achieve social change, I think that when laws like [the Anti-Graffiti Amendment Act of 2016] are enacted and these restrictions are placed, we usually get more students because a lot of hip-hop appeal is that it’s inherently subversive,” Kosi Dunn, marketing specialist for Words, Beats and Life, said.

However, there is one caveat: In order to take the class, students must sign a pledge stating that they will not create graffiti on walls beyond what is required of them for the class, unless they have explicit permission.

“We don’t condone [illegal] graffiti-ing, so as a way to give our students space we have our own practice wall and we also work with D.C. to commission murals because that’s really the only difference between graffiti and mural art: Someone asked for mural art,” Dunn said.

This class enables students to learn about something they love without forcing them to do so in a way that could potentially upset citizens and local government and give young people a criminal record.

Despite restriction and retribution, graffiti in the District is a flourishing art representative of the work of inspired, passionate individuals. The verdict has yet to be revealed on the Anti-Graffiti Amendment Act, but regardless of its result, the D.C. community of artists, citizens, lawmakers and law enforcement needs to reach a point of mutual respect and understanding.

Hoya Staff Writer John Miller contributed reporting.

the guide

FRIDAY, OCTOBER 21, 2016

THE HOYA

B3

FEATURE

Todd Olson

The Music On My Playlist Todd Olson is the vice president for student affairs. He received his doctorate in higher education and adult studies from the University of Denver.

‘WHEN WE WERE YOUNG’

BY ADELE This song caught my imagination the first time I heard it. Adele is an incredibly talented vocalist with a rich and haunting voice.

The song’s image is getting older, looking back and wanting to hold on to what is becoming poignant to me in my middle-aged world.

‘WHITE FLAG’

BY DIDO This is a great pop song with haunting lyrics by a talented and underrated vocalist. It may be a little obsessive, but it is all about commitment, about being “all in,” and there is something both moving and tragic about that. This song was popular in my first full year at Georgetown and always reminds me of driving to work in this new place that was becoming home to me.

‘BECAUSE THE NIGHT’ BY 10,000 MANIACS This hard-rocking love song made Patti Smith famous in the 1970s and was also co-written by Bruce Springsteen. Natalie Merchant’s incomparable voice made this song irresistible and much richer than Smith’s version. The lyrics are insistent and almost demand that you sing along.

It is hard not to dance when this song is turned up loudly.

‘I WON’T CLOSE MY EYES’

BY UB40 This reggae anthem was part of my awakening to musical forms beyond my Midwestern roots. In the 1980s, a decade when activism was at something of a low, this song was a call to be restless, and it has stayed with me ever since. The opening lyrics, “I won’t close my eyes to the sufferer’s plight. In a world full of darkness, I won’t turn off my light,” are etched into my memory.

‘BORN TO RUN’

BY BRUCE SPRINGSTEEN This, in my view, is the quintessential American rock song. Bruce Springsteen is talented and prolific, but nothing matches the powerful wall of sound and exuberant lyrics of this track. I was just beginning to drive when “Born to Run” hit the radio, and I loved cranking it up as I drove along, windows down and the wind on my face.

‘An American Daughter’

The complex roles of women in America

COURTESY HARRY ROSE

DANI GUERRERO Hoya Staff Writer

In collaboration with the Black Theatre Ensemble, the Mask and Bauble Dramatic Society opens its 165th season in the living room of a Georgetown townhouse. Set in a familiar scene, Wendy Wasserstein’s “An American Daughter” features a set that puts all attention on the riveting plot.

Directed by Caitlin Ouano (COL ’17), the Georgetown-based political drama is centered on Dr. Lyssa Dent Hughes, played by Mollie Rodgers (COL ’17), the presidential nominee for Surgeon General. While she is initially thought to be a perfect fit, an examination of her past and partisan politics come to threaten her confirmation.

Ouano was interested in “An American Daughter” for its themes of women and opportunity in America, having grown tired of one-dimensional female characters.

“I wanted to explore in a stage and into performance the way women interact with each other, the way we view women, and the barriers women have to opportunity,” Ouano said.

“Strong female roles have been lacking in the past few years. A great limitation for female characters is they always have to be either this or that, pristine or evil.”

In her portrayal of Hughes, Rodgers manages to simultaneously channel tremendous strength and deep insecurity. The undertones of Hughes’ character demand a keen, nuanced interpretation. The unconscious biases and double standards for which she is immediately judged make her out to be frigid and soulless — too elitist, too privileged, too cold and too out-of-touch with the “real” women of America.

While the play may feel dated almost 20 years after its debut, its depiction of gender bias is hauntingly familiar.

“The sad thing is it was written in the 1990s, but little has changed in way of perception of females,” Rodgers said. “The play explores the idea of women being judged based on gender first and merit second. How do you balance that in terms of promoting feminism and moving women into an equal status to men, while not necessarily becoming the voice of your gender?”

While the production is undoubtedly a group effort, certain individual performances lend depth and nuance to an already exceptional script.

Daniel Ruescher (COL ’20) delivers a masterful performance as Morrow McCarthy, a highly opinionated Christian gay columnist with a strong anti-abortion stance. His resonating, deep voice and outstanding physicality paired perfectly with his frenetic wit result in a char-

acter capable of both charming and infuriating his subjects.

Walter Abrahmson — a quasi-celebrity sociology professor at Georgetown — is colorfully depicted in the production by Alec Meguid (COL ’17) as Hughes’ counter-conscience. Constantly shifting from being an empathetic supporter of his wife’s integrity to a somewhat insecure “conscientious critic” — as Hughes often describes him — Meguid succeeds in convincingly rendering a genuinely confused man, skeptical of Hughes’ “prissiness” and unwillingness to compromise.

Lisette Booty (COL ’17), who plays Dr. Judith Kaufman, a successful, childless Jewish oncologist and Lyssa’s oldest friend, brings a remarkable performance. With a light, humorous touch, Booty strikes on Judith’s essence with ease, and the exchanges between the close friends resonate with genuine emotion.

“

[‘An American Daughter’] explores the idea of women being judged based on gender first and merit second.”

MOLLIE RODGERS COL ’17

Booty delivers a compelling monologue — Kaufman’s most memorable moment in the play. Shaken and damp, she arrives at Hughes’ house after Tashlikh, a Jewish festival of regrets, and recounts how she was throwing muffin crumbs into the Potomac — each representing a personal regret — and decided to drown herself. A floating donut box reminded her of her mother’s motto, “As you ramble on through life, brother, whatever be your goal, keep your eye upon the donut, not the hole,” and she immediately crawled from the river.

The cohesive thread in the story is the set: a Georgetown townhouse where the public chatter and sensationalist tabloids trap Lyssa into its silent interior. The living room produces a claustrophobic, sinking atmosphere and follows Hughes’ turns from intimacy and vulnerability with her husband to her “senator’s daughter” smile. Hughes is always aware of the adjustments she must constantly make to herself in order to succeed.

Mask and Bauble began to work on the set over the summer, as it was deemed an essential element in determining how the rest of the show would materialize.

“We started working on design as early as June,” producer Carmen Livesay (COL ’17)

said. “It’s a really collaborative process, meeting with Caitlin so the designers can shape their vision to fit into the director’s for the show.”

This collaborative vision resulted in a powerful set design that drives the plot forward.

The open dialogue that characterized the process led to the realization of an ambitious vision.

“Our graphic designers started brainstorming ideas and, as she came up with that image, it even influenced her view of the show.

There was a back-and-forth collaboration between the designers and Caitlin,” Livesay said.

One of Hughes’ monologues reveals what Ouano intended to highlight when she set out to adapt this play: the sea of invisible boundaries pervading every day of life for the modern woman.

“That kind of hard-working woman needs to learn it’s arrogant to be herself. And if she refused to compensate for her achievements, then she deserves to be hung out to dry.”

The issues about gender and politics raised

by Wasserstein were initially a commentary on specific events of the 1990s. In 2016, however, many women still feel as though they are evaluated on a binary scale of good versus bad.

Lyssa stands in sharp contrast to this common evaluation of women, defying any attempt at binary categorization.

“There are a lot of sides to Lyssa. That’s what drew me to her. She doesn’t have to be anything specifically,” Ouano said. “She’s neither good nor bad. She’s just a doctor thrown into a situation, tossed back and forth.”

While the play is not directly based on Democratic presidential nominee Hillary Clinton, Ouano believes the parallels between Clinton and Hughes are evident throughout the play.

The profound disbelief that a woman can be as complex as a man is at the heart of much of the hesitation toward female political figures.

“It was surprisingly timely. Walking from seeing Trump and Hillary debate and then going into the living room of a woman who is also running for public office,” Ouano said.

“It was an incredibly fortunate opportunity in terms of context, which invariably contributed to the content of the play.”

“An American Daughter” is undoubtedly ambitious, assessing the very core question of what the perception of women is in society.

By the conclusion of the play, the audience is left with unanswered questions, and the effect is far more substantial than any attempt to fully resolve the deeply engrained conflicts it examines. Instead, it sets out to make viewers ask themselves why women are pressured to fit in a specific mold and celebrates those who refuse.

‘TURN, TURN, TURN’

BY THE BYRDS This catchy folk-rock hit was part of the soundtrack to my childhood, played on a 45 rpm record by my older siblings. I have always associated it with my growing awareness of the turbulence of 1968, the Vietnam War and the counterculture that reached into my small Minnesota town. The fact that this anti-war song’s lyrics were taken, mostly verbatim, from the Old Testament book of Ecclesiastes made it even more profound to me, bridging the deep past and the unfolding contemporary turmoil of America in the late 1960s.

COURTESY HARRY ROSE COLUMBIA RECORDS

“An American Daughter” is a Georgetown political drama that explores the intersections between gender and politics. The play, starring Lisette Booty (COL ’17), left, as Dr. Judith Kaufman, opened Oct. 13 and is showing on select dates until Oct. 22 at Poulton Hall.

B4

the guide

THE HOYA

Friday, OCTOBER 21, 2016

concert review

This week’S TOP FIVE

Top Five Bob Dylan Lyrics

1

‘visions of johanna’

“Voices echo, ‘this is what salvation must be like after a while’/But Mona Lisa must’ve had the highway blues/You can tell by the way she smiles.”

Widely acclaimed as Dylan’s greatest writing achievement, “Visions of Johanna” is a rich exploration of love subtly interlaced with mystery from his 1966 album “Blonde on Blonde.” columbia records

2

‘the times they are a-changin‘’’

“If your time to you is worth savin’/Then you better start swimmin’ or you’ll sink like a stone/For the times they are achangin’” This song possesses an inherently uplifting nature, setting forth an enduring message of the positive value of change. Given the context of the turbulent mid-1960s when the song was released, Dylan’s lyrical power is incredible.

ALL THINGS GO

Originally a music blog, All Things Go is now in its third year as a daylong music and food festival. All Things Go featured bubbling electronic music and D.C.’s culinary delicacies.

Electropop at the Riverfront tom garzillo Hoya Staff Writer

The third annual All Things Go Fall Classic took place on Oct. 8 at Yards Park at the Capitol Riverfront, welcoming over 10,000 attendees who came out and braved the rain -— and mud -— to enjoy the daylong music and food festival. Headlined by Australian electronic music duo Empire of the Sun and electropop band Passion Pit, the event was the largest iteration yet for All Things Go. Maryland-based rapper Ace Cosgrove and his band BobMoeKill set a high-energy tone, jumping into the crowd while performing tracks like “Lord Have Mercy” and his newest cut, “Platinum Golddigger.” Cosgrove hails from Gaithersburg, Md., the hometown of Grammy-nominated rapper and Maybach Music Group member Wale.

While Cosgrove is not yet at that level of fame, his dynamic live performances set him apart from many of today’s emerging hip-hop acts.

New York dance-music duo Sofi Tukker was next on the lineup. The group has an unconventional and wholly unique sound, blending Brazilian sounds and rhythms with Portuguese lyrics. Their sonic approach stands out in a music world bursting with a glut of generic EDM music, providing listeners — and concertgoers — with something fresh yet still irresistibly danceable.

Following Sofi Tukker, POP ETC — formerly the Morning Benders — an indie rock band from Berkeley, Calif., took the stage. The band released its newest album, “Souvenir,” in January of this year. Pop-dance hybrid cuts like “Vice” and “What Am I Becoming” had the All Things Go crowd grooving, but the band’s best output remains its earlier, ’60s and ’70s Southern California popinspired work on albums like 2008’s “Talking Through Tin Cans.”

Alternative singer-songwriter Bishop Briggs provided some of the festival’s rawest, most powerful music. Tracks like the anthemic, folkrock inspired “River” and the left-field banger “Wild Horses” were some personal favorites of the day, as the artist, born in London but raised in Tokyo and Hong Kong, proved that she has what it takes to be the next breakout star.

French artist Christine and the Queens performed an entertaining set abreast pulsing synthesizers, a driving drum-machine beat and a captivating mix of English and French lyrics.

Born Héloïse Letissier, she has described her music genre as “freakpop.” Her biggest hit, “Titled,” a track off her 2015 EP “Saint Claude,” does not sound like much else on the market. Letissier has not released an album since 2014’s “Chaleur Humaine,” but her eight-year career has provided her with plenty of content for an exciting show.

The last act before the headliners — and the one I was most excited to see going into the day — was Sylvan Esso. Fusing Nick Sanborn’s minimalist electronic and folk production with Amelia Meath’s polished, organic vocals, the group excels at making catchy pop hits with a distinctly strange flavor. The layered, slow-burning “Hey

3

‘like a rolling stone’

“How does it feel/How does it feel/To be without a home/Like a complete unknown/Like a rolling stone?”

One of Dylan’s most popular songs, “Like A Rolling Stone,” contains relatable lyrics that convey his own weariness after his taxing tour of England in 1965.

4

Mami” — about catcalling — remains one of the group’s best tracks both on record and live.

Headliners Passion Pit and Empire of the Sun capped off the night with a bang, the former providing a perfect, bubbling electronic buildup to Empire of the Sun’s futuristic, neon-soaked set that featured backup dancers dressed up like robots. Daft Punk plagiarism aside, the group certainly knows how to make dance tracks finetuned for music festival use.

Beyond the music, All Things Go featured a top-notch assortment of some of Washington’s best restaurants and food trucks. TaKorean, DGS Delicatessen, Shake Shack and Georgetown Farmers Market staple Timber Pizza offered up something delicious. Timber Pizza even created an item just for the festival, a pie made with smoked butternut squash dubbed the “Squash Venesso” — a nod to performers Sylvan Esso.

Now in its third year — and already looking to plan a fourth — All Things Go did not begin as a music festival but rather as a music blog.

Launched in 2006, the website combined music news with exclusive interviews and custom playlists. The blog continued to grow in popularity, and in 2010 its four founders — Will Suter, Stephen Vallimarescu, Zack Friendly and Adrian Maseda — began partnering with venues like U Street Music Hall, The Fillmore Silver Spring and the 9:30 Club.

In 2014, All Things Go hosted its first festival — drawing about 3,000 people — at Union Market’s Dock 5, headlined by Swedish singer-songwriter Tove Lo and Maryland-based synth-pop group Future Islands. The event’s success allowed All Things Go to host another festival the following year in the same location, featuring tropical house DJ Kygo and New York electronic duo The Knocks.

5

ccolumbia records

‘shelter from the storm’

“‘Twas in another lifetime, one of toil and blood/When blackness was a virtue and the road was full of mud/ I came in from the wilderness, a creature void of form” These beautiful, expressive lyrics authentically convey Dylan’s raw emotion, weaving together a story of loneliness, chaos and isolation.

ALL THINGS GO

columbia records

“Come you masters of war/You that build all the guns/You that build the death planes/You that build the big bombs/You that hide behind walls/You that hide behind desks/I just want you to know/I can see through your masks” This song, written in 1963, sees Dylan at his most political, using the power of American folkmusic to criticize the militaryindustrial complex. The song’s true power came later when the nation became embroiled in the Vietnam War.

columbia records

‘masters of war’

columbia records

Photo of the Week | Fall Reflections on the Canal

ALL THINGS GO

Over 10,000 music and food lovers braved the rain on Oct. 8 to enjoy a daylong celebration of electropop bands and a top-notch assortment of Washington’s best restaurants.

JOHN MILLER/THE HOYA

the guide

FRIDAY, OCTOBER 21, 2016

THE HOYA

B5

RESTAURANT REVIEW

HALFSMOKE

Halfsmoke is the newest addition to Washington, D.C.’s fast-casual eatearies, serving a dish the District has traditionally embraced as its own—the half-smoke sausage. With over 30 toppings like marinated artichokes or rosemary aioli, the menu is extensive, catering to a variety of different palates.

Overcomplicating a Classic HALFSMOKE



651 Florida Ave. NW | Cuisine: Casual American | $$ ELEANOR TOLF Hoya Staff Writer

HalfSmoke, Washington D.C.-native chef Andre McCain’s sausage-centered eatery, was established in the Shaw neighborhood during the summer of 2016 in celebration of a beloved local delicacy. The half-smoke sausage is a type of food distinct to the D.C. area. Served like a hot dog, the sausage strays from the usual fare in that it is half pork and half beef, larger, spicier and smoked — as the name suggests.

The tradition is said to have originated in the District as early as the 1930s, and half-smoke sausages continue to be sold today throughout the city, mostly at hotdog carts, at the infamous Ben’s Chili Bowl and even at the Nationals Park.

McCain’s goal was to create a restaurant that was accessible to everyone in terms of both price and taste. As its neighborhood is gentrifying rapidly, HalfSmoke soon bridged the racially, economically and

generationally diverse communities that live in the area.

McCain’s 100-seat restaurant has succeeding in establishing itself as much more than a glorified hot dog stand. Its signature sausage is just a starting point, as the menu also includes vegetarian and vegan options alongside more exotic offerings that include a lobster-topped dog. The restaurant also has a full bar, an attempt to make the restaurant a social hub.

This desire to integrate diverse communities is obvious as one enters the restaurant. The contradictions in the decor are striking: A cozy feeling is interrupted by millennial-focused entertainment, including board games, sports on TV, photo booths and, perhaps most importantly, free Wi-Fi. Renowned chef Bob Kinkead consulted with McCain on the menu, and the famous Kinkead also collaborated on restaurants like Kinkead’s, Paisiano’s Pizza, Chez Billy as well as several others. However, the wide

range of toppings and styles quickly turns into a confusing set of decisions. My experience seemed to be taking hold of those around me, as the line crept slowly despite there being only five people.

Referred to by some food critics as the “Chipotle of sausage,” HalfSmoke provides a menu modeled on a familiar format.

However, HalfSmoke diverges from this point of reference in the eccentric presentation of its unnecessarily extensive set of optional toppings.

After starting with a bun, wild rice, flatbread or salad, there follows a choice of exotic meats for the core of your dish. For sausage selections, choices include halfsmoke, vegan falafel, lamb, Italian pork, Thai chicken and beef bratwurst.

The number of possible toppings exceeds 30 and ranges from meat chili to marinated artichokes to rosemary aioli.

To find some reassuring simplicity among the exotic flavors of the meat, one ought to pick a few familiar side dishes. Choices

range from tater tots and mac-n-cheese bites to street corn.

The drinks menu offers a similarly extensive set of options including milkshakes, local craft beers, wines, cocktails and organic juices. In spite of the overwhelming number of choices, the food failed to exceed average quality. This is perhaps because of the sheer number of choices.

At HalfSmoke, McCain has created an atmosphere and a menu aimed at pleasing everyone, a tall order that may, after some practice, become attainable. For now, the new Shaw restaurant may work well for only one group of individuals: Those whose perfect hotdog includes more than the three toppings allotted at most establishments.

To those who just want to experiment with that authentic D.C. dog, you are better off walking a couple of blocks to Ben’s Chili Bowl where a delicious meal can be as little as $6. If it is good enough for the president, it is good enough for me.

RESTAURANT REVIEW

French Comfort Food LA PIQUETTE



3714 Macomb St. NW | Cuisine: French | $$$ DANI GUERRERO Hoya Staff Writer

Located in the heart of the city’s northwestern quadrant, between Cathedral Heights and Cleveland Park, La Piquette is a new favorite for Washington D.C. Francophiles. Restaurateurs Bruno Fortin and Cyrille Brenac — co-owners of Bistrot Lepic & Wine Bar in Georgetown — opened La Piquette in November 2013, seeking to offer a casual alternative to their other dining rooms’ sophisticated design. Even its name, derived from the French expression for “second-class wine,” reflects the bistro’s attitude toward simplicity.

You will not find long table linens or an extended wine list, but La Piquette seems to expand its base of regulars by the hour.

Loud and cramped, the convivial ambience reproduces a Parisian feel in the middle of Maycomb Street. The informal feel of the dining room extends from a seasonal patio where customers can enjoy en-plein-air meals to an upper dining room with tall tables facing an eight-stool bar and an open kitchen.

Chef Francis Layrle is a Gascony native like Brenac, with whom he “bonded over memories of dear childhood dishes such as garbure or cassoulet.” Chef Layrle can be found looking after the kitchen’s usual run. An earlier chef de cuisine at the French Embassy, he served eight ambassadors for over 35 years. In 2006, he departed the diplomatic corps to join Fortin and Brenac in establishing the restaurant’s menu.

“I know the neighborhood quite well, and people here appreciate good food. I don’t like the term chef. I just like to cook,” chef Layrle said as he supervised the orders moving through the counter. “When clients say they enjoyed the food or look happy, it’s the best reward.”

Layrle’s take on classic French gastronomy reflects his refreshing modesty, whereby the bistro’s selection of dishes becomes seasonal comfort food.

The salade composee ($14) came as a beautifully arranged composition of lentils, quinoa, grilled leeks, roasted beets and creamy avocado.

Dressed in a sherry vinaigrette, this revival of the Gallic “composed salad” tradition places each ingredient so artfully that the overall dish could easily be confused with a still life painting.

Gentle simplicity triumphed in a more popular variant, the roasted beets and grilled

leeks ($12), served with yogurt, fresh mint and walnuts. Its aesthetic composition was the perfect complement for the impeccably tender, slightly smoky leeks.

The salmon tartar ($14) was lusciously textured with avocado, shallots, chive and an unmistakable citrus kick. The chickpea soup ($9), a homemade vegetable broth with cumin, harissa, cilantro and a hint of saffron, and the assiette de fromages ($18), featuring generous amounts of young manchego, drunken goat and fourme d’ambert, were the ultimate study in delicacy.

After such delightful introductions, we ordered an alternating selection of both seasonal and regular entrees. The steak frites ($26) and entrecote frites, in Burgundy and bearnaise sauces respectively, were cooked to perfection.

The week’s specials, the agneau grille aux herbes ($29), a deep-flavored grilled lamb Tbone placed along a smooth potato gratin, and the jumbo soft-shell crab meuniere ($16/32) from the Chesapeake Bay, drenched in butter alongside sauteed spinach, were not only delicious but uniquely fitted to fall dining. The mushroom risotto ($26) introduced a mouthwatering assortment of hen of the wood, shiitake and royal trumpet, all clothed in melted parmesan.

Winter luminaries include duck confit, cassoulet and Gascony’s signature garbure ($24).

During spring and summer, Chef Layrle tends towards lighter fare: sauteed, garlic-based calamari ($14); light yet crispy crab cakes ($22); and chicken with crawfish ($26), flawlessly diluted in Armagnac sauce.

Despite having thrown ourselves into multiple appetizers and filling entrees, desserts still proved essential to the experience. The apple tarte a la mode ($9) was the favorite, given its subtle but velvety consistency lying under a crumbly crust. Other recommendable choices are the house-made ice cream ($9) — mint and caramel are particularly extraordinary — and the cake substratum filled with liquid chocolate that formed the chocolate fondant ($9). Impeccable and succulent, the chocolate fondant is well worth the 10-minute wait.

An array of farm-raised ingredients combined with a meticulously curated yet pricefriendly selection of wines and cocktails make La Piquette exactly the type of fun, simple and delicious experience that Brenac, Fortin and Layrle had envisioned from the beginning.

LA PIQUETTE

La Piquette presents artistic dishes that combine fresh, quality ingredients with a unique arrangement, emphasizing the French style of beauty in simplicity.

$ = $1-$9 | $$ = $10-$19 | $$$ = $20-$29 | $$$$ = $30+

B6

THE HOYA

the guide

Friday, october 21, 2016

feature

Desert Trip

Attended by 150,000 fans, the Desert Trip music festival took place this past week in Coachella Valley, Calif. Though many rebuked the festival for what they saw as excessively expensive admission passes for aged performers, the claims turned out to be unfounded in an energetic and robust festival.

Alive and Well in the Coachella Valley

John Miller Hoya Staff Writer

A full moon illuminated the rocky peaks enveloping the Coachella Valley as Neil Young concluded his set Oct. 15 with the immortal sing-along, “Rockin’ in the Free World.” At the second and final weekend of the Desert Trip music festival — called “Oldchella” by some — it was apparent the stars had aligned over the Colorado Desert in more ways than one.

Desert Trip represented a convergence of the biggest names in classic rock — Bob Dylan, The Rolling Stones, Neil Young, Paul McCartney, The Who and Pink Floyd cofounder Roger Waters. The performances were a celebration of some of the most prolific rock ‘n’ roll acts of all time. Between them, the six artists account for 164 studio albums released over the past six decades.

Announced last spring, the festival — initially a three-day event — added a second weekend, just hours after the first sold out, in response to incredible demand for the initial 75,000 tickets. Many were quick to condemn the festival for its ticket prices, with three-day general admission passes starting at $399, and for the supposedly waning talent of the billed musicians. Yet the criticism was both unfounded and unwarranted.

The show may be categorized as an ode to past glory, a final look at the stars of yesterday before they pass, but this would be a disservice to the continued relevance of the music that shaped a generation and continues to inspire. Mick Jagger quipped during the Stones’ Friday night set about the event being a “Catch ‘em before they croak festival” and Roger Daltry remarked Sunday evening that “this festival is proof there are plenty of old people still out there.” In spite of this, the diversely aged audience was a testament to the profound impact these artists continue to have.

Dylan, for instance, performed his 17song set Friday night just one day after

winning the Nobel Prize in literature, while McCartney introduced Rihanna on Saturday night for a rendition of their 2015 chart-topping hit “FourFiveSeconds.”

Dylan took the stage Friday evening for a journey through some of the lesser-known turns of his extensive folk-rock discography. While he doubtless crooned fan favorites, including “Tangled Up In Blue” and “Like a Rolling Stone,” his set played less like a greatest hits and more like a concert uniquely attuned to its setting.

Compared to other acts, Dylan’s stage setup was minimalistic. Surrounded by old-fashioned light fixtures, Dylan and his band played beneath a black and white video screen that served more as an aesthetic element than as a way to give the audience a clear view of the Nobel laureate.

Even sparser was Dylan’s commentary between songs. Avoiding the banter used by other performers, he remained stoic and stuck to business during his time on stage.

Following a set change, the Rolling Stones emerged beneath a blood-red screen. One of rock’s most notorious and exciting acts, The Stones played with the same energy and flair for the dramatic that set the group atop the genre. Front man Jagger’s stage antics included multiple costume changes and his characteristically animated dances on a runway that extended into the audience.

The group’s artistry has not lost a step, but its set was thought-provoking: With the exception of one song, its newest single “Just Your Fool,” nothing it played was released within the last 35 years. From the opening “Jumpin’ Jack Flash” to “Gimme Shelter” and “(I Can’t Get No) Satisfaction,” the band’s enduring classics proved to wield the same power over a crowd as ever and still get the band itself truly excited to play decades later.

Perhaps the most surprisingly energetic act of the weekend was Canadian rocker Neil Young who, together with Promise of the Real — a band he worked with on his

latest album “Monsanto Years” — delivered a blistering 2:30 set. Flanked by tepees, his band flowed seamlessly between acoustic, harmonica-laden songs and roaring rock masterpieces. At one point taking a break to throw packets of seeds to the crowd in protest of California organic produce laws, Neil’s spirit of activism carried on throughout the set.

Young’s overpowering set was followed by perhaps the most revered name in rock, Paul McCartney, who delivered a high-energy musical biography to the adoration of 75,000 star-struck fans. Drawing from his “Beatles,” “Wings” and solo discography, McCartney’s three-hour show was simply stunning. Interspersing anecdotes about a number of the songs, he even played the first song he recorded with John Lennon before the Beatles had been formed — a cover of The Quarrymen’s, “In Spite of All the Danger.”

The third and final night saw The Who play through sections of its most popular albums. From “Meaty, Beaty, Big and Bouncy” to “Who’s Next,” “Quadrophenia” and “Tommy,” The Who demonstrated its incredible sonic versatility. Vocalist Roger Daltry cast a picture of youth as he strutted across the stage in an unbuttoned shirt swinging a microphone, while guitarist Pete Townsend employed his legendary “windmill” strum technique for emphasis throughout the set.

Waters — long known for his opposition to politicians of the right — was the most directly political act, projecting the message “Trump is a Pig” in white letters 100 feet tall behind the band as it played “Pigs (Three Different Ones)” from Pink Floyd’s 1977 album “Animals.” Similar to The Who, Waters played through sections of Pink Floyd’s hallowed discography, falling just short of playing “Dark Side of the Moon,” “Wish You Were Here” and “Animals” in their entirety.

Pink Floyd guitarist David Gilmour’s absence was noticeable during the more

RADIOFREECHICAGO

intricate guitar moments of the show — the two officially split in 1985 — but it did not necessarily detract from the festival’s closing set, which was more an experience than a concert. As smokestacks emerged above the stage, sound effects of helicopters buzzed through the stadium and a giant inflatable pig floated amid the crowd, the show became hypnotically dreamlike.

As a one-off festival, Desert Trip was a once-in-a-lifetime experience. Before the show, a range of appraisals circulated, none of which with a better idea of what would occur than the next. The fact is this: Six of rock’s most storied acts, together with 150,000 fans, took part in a celebration of music that has been deeply imbedded in our culture. Monetary value aside, Desert Trip was nothing short of breathtaking.

DESERT TRIP

Jokingly dubbed “Oldchella” by some, Desert Trip featured rock legends performing some of their greatest hits as well as newer tracks from their legendary catalogues.

Clockwise from top left, Neil Young, The Who, Roger Waters, Bob Dylan and Paul McCartney took the stage over the course of the three-day festival.

the guide

friday, october 21, 2016

THE HOYA

MOVIE review

MUSIC

The Handmaiden Starring: Kim Min-Hee, Kim Tae-Ri Directed By: Park Chan-Wook Jiwon Noh

Hoya Staff Writer

Set in the 1930s during the Japanese occupation of Korea, “The Handmaiden” — selected to compete for the Palme d’Or, the highest prize at the 2016 Cannes Film Festival — is a stunning film. From its gorgeous cinematography to its impressive cast, the newest film from Director Park Chan-wook is as visually captivating as it is narratively complex. Like many of Chan-wook’s films, it is a twisted, revenge-centered psychological thriller guaranteed to entertain.

Chan-wook is known for his complex tales, and “The Handmaiden” is no exception. A master con artist who goes by the name Count Fujiwara, played by Jung-woo Ha, enlists a young Korean pickpocket, Sook-hee, played by Kim Tae-ri, to aid him in seducing a wealthy Japanese heiress, Lady Hideko, played by Korean A-list actress Kim Min-hee. Lady Hideko, pale and beautiful, lives a sheltered life in a sprawling but isolated mansion with her Uncle Kouzuki, a stern man with an unusual fascination with books. It is to this magnificent mansion — half - English architecture and half - traditional Japanese design — that Sook-hee is sent under the guise of a handmaiden. Her mission: coax her new mistress into falling for the Count.

Chan-wook’s inspiration for the movie -- and its unique style of storytelling -- was Welsh author Sarah Water’s novel “Fingersmith.” He masterfully transplants the plot of “Fingersmith,” which is set in the Victorian era, into 1930s South Korea in the midst of the Japanese occupation. This setting breathes new life into Water’s original story. Lady Hideko’s liberation from her sheltered life develops new layers of meaning when it takes place in an oppressed society: Her craving for freedom echoes an entire nation’s cry for independence. Overall, Chan-wook offers a tasteful but dark spin of the original piece. It is certainly not an adaptation of the book; it stands on its own while drawing inspiration for certain key elements.

The film is divided into three parts, each narrated by a different character. Each part tells the same story, but each narrator fills in details that others cannot. While each individual’s story

is unique enough to stand alone, they flow together effortlessly. This style of storytelling has its obvious flaws: All three narrations are of essentially the same events, making repetitiveness inevitable. However, gripping twists in perspective make each tale all the more intense.

Chan-wook excels in his ability to draw out deep and conflicting feelings from his audiences. He is known for movies without a clear protagonist and plots that always seem to have a truly evil villain but never have a definite hero.

Sook-hee seems to be the archetypal heroic protagonist; not only is she a victim of a povertyridden community struggling to make a living for herself, but she is also a pickpocket who schemes with the Count to strip Lady Hideko of her riches. The next most obvious choice is Lady Hideko, but she, too, has secrets and an agenda of her own. This lack of a hero is both startling and fascinating. Without a clear idea of for whom the audience should root, agonizing sympathy in one moment is followed by fiery anger in the next — sometimes toward the same

 character.

Chan-wook’s obsession with exploring taboos in Korean culture makes a fierce resurgence in the 144-minute film, a significant portion of which features drawn out lesbian love scenes.

In a society where sex — especially gay sex — is considered taboo, such an explicit portrayal is unusual. Societal norms have not stopped Chan-wook before: In previous movies, he has experimented with incest and extreme sadistic violence to incredible acclaim.

His portrayals, while shocking, are not solely incorporated for their shock value. These taboo topics are presented with exquisite imagery, making it hard to look away. The film is, simply put, gorgeous. Each stunning backdrop is designed to heighten the drama, as well as to serve as a bit of eye candy through a mainly grim storyline.

In every way possible, Park has delivered on what his fans have grown to love him for: a grim storyline told through remarkably beautiful scenes, brought to life by exceptional actors.

Bon Iver

Piercingly short and stunningly vast, Bon Iver’s new album, “22, A Million,” is incredible. In the five years since the release of their last album, Bon Iver has transformed their sound and scope, resulting in their most ambitious release yet. The Grammy-award-winning band, originally introduced to the music world in 2007 as an indie folk group, now transcends both genre and categorization.

Led and founded by singer-songwriter Justin Vernon, the man Kanye West named as his “favorite living artist,” Bon Iver has only continued to add to its impressive repertoire. After independently releasing its debut album, “For Emma, Forever Ago,” and reaching mainstream success with its eponymous sophomore release, Vernon and Bon Iver triumphantly return with a third body of work, combining experimentation and self-realization.

“22, A Million” lives in a world of loss and learning to let go, revolving around themes of religion and introspection. It trades the folk sounds and traditional song titles familiar to long-time Bon Iver fans in favor of stranger, undecipherable ones. Other artists have failed and disappeared from contemporary music’s collective conscience when attempting such daring reinventions in their careers, but, like some of its legendary predecessors, Bon Iver has not let its ambitious reach exceed its capabilities.

Despite undergoing such a dramatic change, Bon Iver still manages to stay true to itself artistically in the simultaneously cogent and alien work — alternating between soft ballads and broodingly cryptic chants, sometimes acoustic, often electronic.

INTERSCOPE RECORDS

Maroon 5 fEAt. Kendrick Lamar ‘Don’t Wanna Know’ In collaboration with Kendrick Lamar, “Don’t Wanna Know,” is beloved American pop-rock band Maroon 5’s latest release. With a familiar catchy tune that is characteristic of the band, this single combines repetition with a light percussion backdrop to create a mellow, cheerful beat. The music video for this single was just released this week and features lead singer Adam Levine in a Pokemon costume with Vince Vaughn making a guest appearance.

MOHO FILM

22, A Million

Special to The Hoya

New Releases

Director Chan-wook has come back with another brilliant thriller. “The Handmaiden” will compete at the 2016 Cannes Film Festival with its remarkably beautiful scenes.

Particularly notable is the use of the “Messina,” a device created by Vernon and his sound engineer, Chris Messina.

Heard throughout the album, the Messina records an instrumentalist’s melody and ruptures it into several harmonies in real time, contrapuntally stacking sounds to create the otherworldly atmosphere that characterizes “22, A Million.” This is most evident in the penultimate track “____45_____,” a track in which a horn section wavers between staccato and legato melodies in complex, jarring harmonies.

The album boasts awe-inspiring songwriting with breathtaking lyrics underneath a musical guise of chaos and dissonance. In “33 ‘GOD’,” a song that capitalizes on Vernon’s fixation on numerology — the track lasts 3:33 and epitomizes the album’s religious theme — the lyric video opens with a passage from Psalm 22.

Vernon croons, “If the calm would allow, Then I would just be floating to you now,” amidst crashing drums and a thumping bass. Moments like these ghost the 10-track album, haunting listeners with enigmatic and beautiful lyrical and musical structure. Bon Iver’s album is brilliant, but it may be difficult for some listeners to access its brilliance — “22, A Million” is intentionally tenuous and dense.

Described in a press release as, “part love letter, part final resting place of two decades of searching for self-understanding like a religion … and the inner-resolution of maybe never finding that understanding,” the album searches and searches, and succeeds in discovering that there is perhaps nothing to find but achieving peace, nonetheless. In “21 M♢♢N WATER.” Vernon whispers, “Now I’m more than I am when we started.” The lyric’s delivery

WARNER MUSIC GROUP

Macklemore, Ariana DeBoo ‘Drug Dealer’

Album review

Joe Sonza

B7



Providing chilling and evocative lyrics, rapper Macklemore participates in activism against the abuse of prescription pain medications. Addressing the current opioid abuse crisis, Macklemore does not hesitate in assigning blame to doctors, pharmaceutical companies and Congress with lyrics such as “My drug dealer was a doctor, doctor/Had the plug from Big Pharma.” Combined with a beautifully melodic hook, Macklemore’s gentle rap, interrupted at times by raw scratches of his voice, is strikingly profound.

JAGJAGUWAR

is a reflection of the complexity, contingency and uncertainty of Bon Iver’s message. Yet to Justin Vernon and his band, this conclusion is not only inevitable,but also acceptable and even desirable: “If it’s harmed, it’s harmed me, it’ll harm, I let it in,” he sings in “00000 Million,” the album’s finale.

Bon Iver has returned, undoubtedly stronger than ever, redefining its popular and critical perceptions with “22, A Million.” The album is less than 35 minutes long — only one of its songs, “8 (circle),” plays past five minutes — but feels much longer with its gorgeously confusing and dense musical symbolism.

Its sonic and lyrical landscape is vast, covering the breadth of life and self, often escaping its avatar of the album while maintaining its barest, truest core character. The album’s spiritual reach extends even beyond the magnitude of the album title. “22, A Million” may be brief but is truly an album that will stay with listeners long after the music has been shut off.

UNIVERSAL MUSIC GROUP

Bon Jovi ‘Born Again Tomorrow’ Despite being 54 years old, Jon Bon Jovi is at it again. With a powerful instrumental arrangement and distinctive message about perseverance and new beginnings, Bon Jovi’s new single, “Born Again Tomorrow,” is reminiscent of the group’s immortal hit, “Livin’ On a Prayer.” Featuring a stunning guitar solo, their latest work demonstrates the band hasn’t lost a step in their ability to produce rock hits.

UNIVERSAL MUSIC GROUP

Niall Horan ‘This Town’

MYSPACE

“22, A Million” is the new album released by Bon Iver after five years of stasis for the band. Tenuous and dense, “22, A Million” promises to reach the listeners’ souls with its vast sonic and lyrical landscape.

One Direction’s Niall Horan treated his fans with his recent release of a sweet ballad that exposes and highlights the silky tones of his vocals over a soft string backdrop. Horan’s first single is sodden with vulnerability, raw emotion and nostalgia, with lyrics such as “And I remember everything/From when we were the children playing in this fairground/Wish I was there with you now.” This track is an innocent, unapologetic and uncensored love story.

B8

sports

THE HOYA

VolleyBall

friDAY, october 21, 2016

Upon further review

GU Gets Set to Face Nova Palmer’s Legacy Remembered Cameron Perales Hoya Staff Writer

After an inconsistent start to the team’s conference play, Georgetown volleyball (6-16, 2-7) looks to rebound against rival Villanova (14-8, 5-4) to open up the second half of the Big East season.

The last time the Hoyas and the Wildcats met, Georgetown played one of its better games of the season, with sophomore middle blocker Symone Speech, sophomore outside hitter Alyssa Sinnette and sophomore outside hitter Liv King recording doubledigit kills in a dynamic offensive upset of Villanova.

Georgetown Head Coach Arlisa Williams remained cautious when discussing this first victory, focusing on the Wildcats’ fervent desire to play harder against the Hoyas because of that first match.

“We should be pretty confident after the way that we played Villanova the first time. However, we know that Villanova is a fighting team, and they are going to come in with a chip on their shoulder and so we have to make sure we take care of business in every area of our game,” Williams said.

Speech, who had 14 kills against Villanova in the first matchup, followed her coach’s cautious optimism.

“It feels very good [to have a win over Villanova] and helps keep our confidence up. But we can’t hold on to it too much, because we know that Villanova are going to come after us hard, and we have to be ready to push back,” Speech said Villanova comes into this game looking to maintain a winning record in the Big East, after breaking .500 in a win over Xavier this past weekend. The Wildcats are led by freshman setter Emma Decker — top-ten in the NCAA in assists per set — setting up the Wildcats’ outside hitters.

Speech also noted the challenges that Villanova presented to the team, especially with more game film available to each program the second time around.

“The challenges, since we are playing them for a second time, that we know their tendencies, and they know ours,” Speech said. “So going into the match this weekend, they watch our video and so they know what we do, so we just have to go hard and outplay them, and not give up and push each other even though they may know what’s coming.”

Opening the second half of the Big East season against Villanova presents Georgetown with an opportunity to overcome some of the midseason struggles against a major rival, and Coach Williams stressed that this match would help the team set the bar for consistent play throughout the rest of the season.

“We know that we have had inconsistent play, and we’re focused on being consistent and staying focused

on getting the points, the sets and the matches that we feel we have left out there,” Williams said.

While the Hoyas are striving to find consistency, Speech maintained that the team remains excited to have a second shot at many conference foes going into the second half of the season, starting with Villanova.

“I think because we are going into, the second half of the season everyone, is excited and knows we have to work really hard if we want to go to the Big East [tournament], so everyone is very enthusiastic and very excited to beat ’Nova this weekend,” Speech said.

Georgetown will take on rival Villanova in McDonough Arena on Saturday, Oct. 22 to open the second half of Big East play with a major rematch. First serve is scheduled for 6 p.m.

Fordham Poses Challenge Hoya Staff Writer

The Georgetown football team (3-3, 0-1 Patriot League) will travel north to the Bronx to take on the Fordham Rams (4-2 Patriot League, 1-0), who are currently second in the Patriot League standings.

After getting out to their best start in 15 years, the Hoyas saw their early-season momentum come to a halt with three consecutive losses, with their most recent loss coming this weekend against the secondranked offense Lehigh (5-2, 2-0 Patriot League) at home, a 35-3 domination.

The Hoyas now regroup after their third straight game allowing more than 30 points. The Rams boast the top-ranked offense in the league and will prove to be a tough test for the Hoyas.

This season, the Rams have averaged 45.5 points per game. On offense, the Rams are led by junior running back Chase Edmonds.

“Edmonds is the best back in I-AA.” Georgetown Head Coach Rob Sgarlata said. “We’ve done a pretty good job of defending him the last two seasons.”

Edmonds has picked up from where he left off his first two years, leading the league by a large margin in rushing this season. He averages 177.5 rushing yards per game and 8.7 yards per carry. In last season’s 38-31 win over Georgetown, Edmonds had his way with the Georgetown defense, slicing them up to the tune of 137 yards and one touchdown in 20 rush attempts.

However, the Hoyas’ defense cannot just focus on Edmonds, as the Rams have multiple offensive threats.

Fordham possesses the No. 2 overall passer in the Patriot League in senior quarterback Kevin Anderson.

Anderson has a touchdowninterception ratio of 16-3 this season, averages 237.2 passing yards per game and

lead man. The sport’s greatest tournament, the Masters, first aired on national television in 1956, and, in the following eight years, Palmer would take home the green jacket four times in front of increasingly larger national audiences.

Jimmy McLaughlin In a sport that has more than 200 professional individuals competing for the same titles each year and no hometown ties to consumers like other professional sports, fans need someone for whom to cheer. With a charming demeanor and a whole lot of winning, Arnold Palmer was making it so that, contrary to the other sports in America, golf was a game in which it is fun to pull for the most talented man on Earth. When it came to deciding for whom golf’s first fans were going to root, Palmer made it easy: Long live the King.

For almost 60 years, American golf fans have been able to follow Palmer’s blueprint by claiming the era’s best golfer as their own. After Arnold came Nicklaus, the lovable “Golden Bear” who won majors into his forties.

Golfing legend Tom Watson picked up where Nicklaus left off and won PGA player of the year six times from 1977 to 1984. Sir Nick Faldo followed, winning six majors and never disappointed his fans as he finished in the top 20 of every Grand Slam event from 1988 to 1993.

By the time Greg Norman had taken over for Faldo in the ’90s and finished his own run of seven number-

one finishes in 11 years, a young Tiger Woods stood ready to take the sport by storm for the next decade and a half. From 1956 to 2008, it all worked like clockwork: seamless transitions from one great to the next so that someone was always seated in golf’s throne.

Since Tiger won his last major, there have been 34 Grand Slam events won by 26 different people. Of the four major winners in 2016, not a single one had previously won a major. Fans are taking notice that no one in the field is sporting the crown, and it’s taking its toll on the game.

Youth and adolescent participation in golf is down more than 20 percent in the last decade. Despite more exposure and marketing, PGA TV ratings have dropped off since the height of the Tiger era. Palmer introduced golf as a sport with a lead actor, but for the last five seasons fans have felt like they have been watching the supporting cast.

From year to year, decade to decade, golf has been able to effortlessly pass the throne on from one generation’s great one the next, each “king” getting to experience the loving embrace from the sport’s loyal subjects. Golf longs for its Arnold Palmer. It’s why despite Tiger’s ugly tabloid-riddled past and no major wins since 2008, the sport’s biggest storyline is his return next season.

Woods will likely play only three to four tournaments, making his return seem like golf’s weak attempt to stir up excitement for the upcoming season.

But it is hard to blame fans and pundits alike. For golf, without its king, there are no loyal subjects.

Jimmy McLaughlin is a junior in the College. UPON FURTHER REVIEW appears every other Friday.

COURTESY GUHOYAS

Sophomore setter Paige McKnight has 74 kills, 207 digs and 779 attacks this season.

football

aidan curran

T

ucked into the midmorning ESPN schedule this past Monday — hidden right around the time the third or fourth rerun of SportsCenter would normally have played — was a live broadcast of golfing great Arnold Palmer’s funeral.

In the age of the 24-hour sports news cycle, it is no longer a shock to flip on the TV and see the worldwide leader in sports airing a mind-numbingly irrelevant event with no athletic significance. (Seriously, what have we done to deserve spelling bees, ESPN?) But this was not one of those broadcasts.

As the casket of one of the most charismatic athletes of all time was carried down the aisle, golf said goodbye to the man who turned their sport into must-watch TV — a man known simply throughout golf as “the King.”

The day was supposed to be about remembering the first publicly recognizable athlete in the sport’s history, but Palmer’s passing was a sobering moment for golf fans for a different reason. It was a reminder that for the first time in the sport’s history, golf’s throne is empty.

Golf’s relationship with its fans is unlike that of any other sport. Come hell or high water, the overwhelming majority of baseball fans will root against the New York Yankees. For the last decade, the New England Patriots have been most notoriously hated team in the NFL. Despite being an electric athlete, a three-time champion and an all-around talented entertainer, LeBron James remains one of the most disliked players in the NBA. In seemingly every sport, Americans love to jeer the best in the league and to boo the crown jewel of the game. But not golf — thanks to Palmer.

Arnie, the first face of the sport, marketed golf to America as a game that came with a dashing and lovable

has a quarterback efficiency rating of 149.1.

Anderson has the thirdranked offensive line in terms of sacks allowed, having let up just 10 sacks all season.

“Their O-line is all really big. They’re all really good.

We’re going to try our best against them. We got to be really physical on the Dline and hope for the best.” freshman defensive lineman Khristian Tate, who had eight tackles, including two tackles for a loss, one pass breakup and one sack, said.

“I’m always excited to get the chance to go back up to New York.”

Rob Sgarlata Head Coach

The performance highlights the contributions made by many young players on the football team this year. Georgetown’s depth has been tested early on with injuries to several key players, but the performance of freshman defensive tackle Marquis Parris, freshman wide receiver Michael Dereus and Tate have helped offset those losses.

“Those guys on defense have showed up because they’ve won some time and won spots … The more snaps we can get those guys in live situations is great, and it’s a credit to our guys in recruiting that some of those guys on defense are starting to step up and be impact players in the Patriot League,” Sgarlata said.

The Hoyas have a lot of issues to fix on defense, starting with the fact that they have let up 97 points in the last three games.

However, the defense has been opportunistic in forcing turnovers this season.

Just last week, the defense notched two interceptions against Lehigh, and on the season, Georgetown is second in the Patriot League in interceptions with 10.

Forced turnovers will be key for the Hoyas on defense if they are to have a chance at stopping the high-powered offense of Fordham.

Overall, the Fordham defense is second-to-last in the league in scoring defense, allowing 33.8 points per game, opening up holes for the Hoyas to exploit The Rams’ defense is also last in the league in allowing third-down conversions, at a 43.3 percent clip.

“I wouldn’t say [they have] vulnerabilities,” sophomore wide receiver Brandon Williams said. “They’re pretty athletic across the board. It’s just a matter of some people making plays and that’s what we got to do Saturday.”

The third down battle between the Hoyas’ offense and Rams’ defense will be a struggle of futility, as the Hoyas’ inept offense is also last in the league at converting third downs, having converted just 22-of91 third downs.

After losing its starting senior quarterback and co-captain Tim Barnes to a shoulder injury against Harvard, the Georgetown offense has struggled to adapt with sophomore quarterback Clay Norris under center. “[Norris has not been] too much of an adjustment, kind of keeping everything the same. It’s just a nextman-up mentality that we have, and we’re just carrying it through,” Williams said.

“Going to New York is like going home. We have a ton of guys from up there, and we have a huge alumni base up in New York City and the surrounding area, so I’m always excited to get the chance to go back up to New York,” Sgarlata said.

Kickoff is set for 1 p.m. this Saturday at Fordham.

Women’s Golf

Sophomores Keep Shining dan crosson

Special to The Hoya

The Georgetown women’s golf team looks to continue its recent record-breaking success when it travels to Lehigh, Pa., to compete in the Lehigh Invitational this weekend.

The team recently placed fourth out of 18 teams at the Ron Moore Intercollegiate, where they shot plus 10 as a team. Prior to this, they finished second at the Princeton Invitational, where they shot plus 29 as a team.

The Hoyas are coming off a record-breaking weekend at the Ron Moore Intercollegiate two weeks ago. Sophomore Christina Parsells broke the school record with a final round 67, which included a hole-in-one and two eagles.

Parsells tied for 12th at 1-over par, as did sophomore Alexa Popowitz.

Parsells and Popowitz were named Big East golfers of the week on Oct. 13 for their outstanding performances.

“I was hitting my irons really well all day. None of my putts were dropping. I just kept telling myself to keep hitting good shots and pretty soon my putts will drop,” Parsells said. “Then I had the hole-in-one. …I guess my adrenaline was pumping when I went to the next hole because it was a par-5 and I hit the green in two and made the putt for eagle. I was just really amped up and things were starting to go my way.”

The Hoyas have improved in their last two matches, shooting 893 and 874, respectively. The 874 was a 32-stroke decrease from their first match at William and Mary in late September. Coach Brophy attributes the improvement to the Hoyas’ consistent short game practice.

“We’ve been working on our short game a lot, that was something they had expressed when we went over our stats together. We talked about what areas needed improvement,” Brophy said.

“Chipping in particular was one that was going to be very helpful if we were doing that well…Their putting stats are incredibly improved from early September to now. That’s

very exciting. That has shaved many shots off their games.”

While the Hoyas have been working hard on their short game this season, Coach Brophy says the team is very strong in the long game.

“They strike the ball very well. They are really good from tee-to-green. They have really impressive stats when it comes to their long game. They are hitting a lot of fairways and hitting a lot of greens, so that’s been a very impressive part of our program as a whole,” Brophy said.

Parsells and Popowitz are not the only bright spots on this young team. Georgetown has received impressive performances from several other underclassmen, including sophomore Pendleton Bogache and freshman Ashley Fitzgibbons. Bogache finished plus nine at the Ron Moore, good enough for a tie for 50th, and Fitzgibbons finished tied for 39th with a finish of plus six.

Parsells feels confident about the team’s chances this weekend at Lehigh.

“We’ve been playing really well. Everyone has been posting awesome scores. In Denver, we didn’t count a 75 which is unbelievable,” Parsells said. “I think if everyone plays the best they can, we are going to have an unreal round.”

Coach Brophy is encouraging the team to focus on playing its best this weekend and to worry less about how the other teams are playing.

“We are looking to play our best. This has been a theme throughout the course of the year, and it really doesn’t matter what other teams are doing because, if we play well against our best scores, then we’ll put together a really good tournament,” Brophy said.

The Lehigh Invitational is this Saturday, Oct. 22, in Lehigh, Pa., and it is the team’s last match of the fall.

COURTESY GUHOYAS

Sophomore Christina Parsells was named the Big East Golfer of the Week for her performance this past weekend.

SPORTS

friDAY, october 21, 2016

THE HOYA

B9

feature

THE analyst

Batting Mojo Stays Mystery CHRISTOVICH, from B10

But mechanics can only explain so much. Slumps are mental, especially in the postseason.

This is why it should hardly come as a surprise that, after two strikeouts, Rizzo almost magically smashed three hits in a row — one of which was a homerun. The top of the fourth, in fact, yielded five hits from the Cubs, breaking multiple slumps at once. It started with a bunt by Ben Zobrist — a seemingly innocuous start to the fourth. Then everyone blinked around three times, snapped their fingers, and suddenly the Cubs had rather forcefully put up four runs on the scoreboard.

The magic did not stop at the end of the fourth inning. The Cubs’ offensive display continued throughout the remainder of the game. The Cubs went from two consecutive shutouts to scoring 10 runs in one epic game.

On Wednesday afternoon, everyone was asking what it would take for Rizzo and other members of the team to break out of their slumps.

There are a million potential reasons as to how and why the Cubs broke out of their slump. It is possible that the Cubs felt desperate and went into survival mode. It is possible that they all took a different approach to batting practice. It is possible that 20-year-old Jose Urias’ fastball was just a little easier to track.

But here is the thing about slumps: They are sports’ biggest anomaly and no one can truly explain them.

Anyone who says that dropping your elbow, elongating your step, choking up on the bat or changing what color underwear you wear will pull you out of one might be telling you what they believe put their own swing back on track.

And maybe, for a specific case, that player or coach might be right.

But in general, there is no prescribed antidote for a slump, especially in the postseason. As pressure and anxiety mount and the stakes are raised, the game becomes as mental as ever.

The mechanics are specific, sure — hitting a round object with another round object is statistically the most difficult physical action performed by a human being in professional sports. However, 90 percent of hitting is a subconscious, self-fulfilling prophecy.

Players build this prophecy when envisioning the perfect swing before bed just as much as they do in the batting cages and in Little League.

In a postgame interview, Rizzo told the Chicago Tribune that his breakout homerun was because he used teammate Matt Szczur’s bat. It is not as if the bat is magic for everyone, though. Szczur is not even on the Cubs’postseason roster. Is the bat only magic for Rizzo, then?

The truth is that we may never know. Analysts will speculate as to what exactly changed during the fourth inning of Wednesday night’s game for the entire Cubs lineup.

No one could definitively explain how the Cubs fell into their collective slump in the first place, barring some rather vague quotes about not hitting the ball hard enough and chasing bad pitches, and no one will be able to completely verbalize how they got out of it.

The Cubs are a perfect example of why explaining how a slump ends is just as difficult as explaining why the slump began in the first place.

The phenomenon is just that elusive.

Amanda Christovich is a sophomore in the College.

The Analyst appears every Friday.

sailing

Challenging Waters Await SAILING, from B10

title after he missed out on qualifying by just one point last year. For Marshall, this will be his first time competing in nationals.

Martinez also continued his strong season by finishing fourth this past weekend in the C Division of the Truxtun Regatta. Callahan noted that Martinez’s finish to the race was particularly impressive.

Callahan was pleased with what he described as a great performance across the board. “[The Truxtun Regatta] showcases the depth of your team,” Callahan said. “[It’s a] hard event to win.”

“Talent-wise, they’re going to be good. It’ll be hard, but I have confidence we’ll do well.”

Michael callahan Head Coach

In the A Division, sophomores Campbell D’Eliscu and Rebecca Fung took second place. Sophomores Roger Dorr and Meaghan MacRae took fourth in the B Division. In the C Division, Martinez placed fourth. Marshall took the top spot sailing alone in the D Division.

This young group looks poised to perform well in the upcoming conference championship. The College of Charleston, which finished second at the Truxtun, had two Olympians

competing for its team.

Despite going head to head with Georgetown, it was unable to surpass the Hoyas.

While the coed team saw success at its weekend meet, the women’s team placed 16th at the Yale Women’s Interconference Regatta. Callahan was disappointed with the outcome of the race and knew his team could have competed better.

“The girls did not sail as well as they could have,” Callahan said, “The girls were a bit frustrated and when you’re frustrated you don’t sail your best.”

In the A Division junior Rose Edwards and senior Emily Fung placed 16th overall. Junior Lola Bushnell and sophomore Hannah Hess placed 13th in the B Division. The team will have to improve its performance quickly if it hopes to advance to the national championship.

This weekend brings with it two conference championships in which the coed and women’s teams will compete. At these events the top two finishers advance to nationals. Senior A.J. Reiter, who has performed well this season, will skipper the coed team.

“Talent-wise they’re going to be good,” Callahan said.

Callahan has expressed concern about the team’s practice availability, as it has significantly fewer boats and opportunities to get on the water than other teams do.

As for the women, Callahan stressed that the team must rebound from the disappointing defeat of the previous weekend.

“It’ll be hard,” Callahan said. “But I have confidence we’ll do well.”

FILE PHOTO: ROBERT CORTES/THE HOYA

The women’s soccer team has gone 35-11-12 during junior defender Liz Wenger’s collegiate career. Last season, the team qualified for the NCAA tournament before losing to Hofstra in the first round.

Wenger Proves Elite Defender WENGER, from B10

School field hockey team for her junior and senior seasons and only play soccer with her local club team, PA Classics.

“Soccer was always my number one, my first love,” Liz Wenger said. “With field hockey, I think the environment at my high school, the coach I had, the teammates I had, fed into my decision to keep playing field hockey. But if we’re talking sport to sport, soccer was definitely number one for me.”

From freshman year on, Liz Wenger played under Coach Mark Pulisic, father of USMNT breakout star Christian Pulisic, on PA Classics.

“His coaching style and [Georgetown Head Coach] Dave [Nolan]’s coaching style are very similar, so the transition here coachingwise wasn’t too extreme,” Liz Wenger said. “It’s very much possession. … They were focused on playing good soccer, fostering good technique. Playing under Mark was always fun. He always had a joke to crack, always making fun of someone but in a lighthearted manner that you couldn’t take too seriously.”

Wegner’s path to Georgetown began in 2012 when PA Classics took on a Bethesda team coached by Nolan, who noticed the tall blonde defender stopping his team’s every attack and whom college coaches had not yet discovered.

Cancelling a December trip to Alabama to see the Georgetown men’s team take on Maryland in the final four of the College Cup, Nolan instead braved the York, Penn. cold to watch Liz Wenger dominate a local tournament, what Nolan called the Early Amish Classic.

“It’s miserable, it’s freezing, there’s snow coming in sideways,” Nolan said.

“And I’m the only college coach there. And I’m thinking, either I’m an idiot, that everyone else has seen nothing in this kid, or I’m a genius, I’ve seen something in this kid and no one else has. And she did really well.”

Liz Wenger has started nearly every game since the beginning of her freshman year as a Hoya, earning AllBig East Rookie and Second Team selections over the past two seasons as part of a defense that recorded 11, five and nine shutouts so far this season.

Nolan considers her partnership with graduate student defender Marina Paul in central defense the best he has overseen since arriving at Georgetown in 1999, as Paul’s aerial ability and experience mesh well with Wenger’s pace and tackling ability.

“Soccer was always my number one, my first love.”

LIZ WENGER Junior Defender

“[Liz Wenger] is probably the fastest defender in the conference, and certainly my own opinion is that she’s the best defender in the conference,” Nolan said. “So that helps a lot when you have that kind of pace. … But she’s more than pace. She reads the game really well, she’s a great one-on-one defender and she’s very dogged in the tackle.”

Early in the season, with Paul not in the lineup, Liz

Wenger found herself needing to step in as the vocal leader of the defense; Andrew Wenger has seen a similar transformation taking place off the field.

“Personally, my sister has grown up and found her voice a little bit,” Andrew Wenger said. “Growing up I’d say my brother and I were always a bit louder and more assertive, but now she’s both sticking up for what she believes in and making that belief known, which is pretty fantastic.”

After graduation in 2018, Liz Wenger can see herself following in the path of recent graduates Daphne Corboz and Sarah Adams in playing abroad; she does not want to limit her job search to whatever falls under the umbrella of her management major and is looking at any and every option.

“Before I came to Georgetown, I never really considered playing professionally,” Liz Wenger said. “I’m definitely going to keep that option open, I’m open to it. I think for me it just depends on what shakes out in the next year, professionally. God willing I’m healthy coming out of next season and I really do have a chance to look abroad.”

Men’s soccer

Azzinnari Nets Game-Winner TIGERS, from B10

and senior goalkeeper Mitchell Auer held off the Tigers’ attacks. In the 54th minute, the Hoyas were awarded a free kick and Lema’s lefty boot ripped past the Princeton goalkeeper into the back of the net to make the score 3-2.

“[Lema] put in a great ball at the end. My eyes lit up when it came out to me.”

less than a minute left, [to make] that save,” Auer said.

Immediately after, Georgetown had a breakaway chance that was stopped when the referee issued a yellow card to Reiner.

Princeton got the chance to get its players in position, but a ball by Lema allowed Azzinnari to gain control and rip the game-winner to the left side of the net. “[Lema] put in a great ball at the end. My eyes lit up when it came out to me.

I knew if I just finished it

home, the game would be over and I could take my midterm,” Azzinnari said.

Next, Georgetown hosts the St. John’s Red Storm (6-3-4, 2-1-2 Big East) this Saturday. St. John’s did not play a mid-week game so it will come into the matchup well-rested for Georgetown. Wiese commented on the team’s stamina after 109 minutes of play.

“In terms of winning a game, it’s about the worstcase scenario as you can get. [The players] getting their legs back definitely is

priority one,” Wiese said.

Georgetown will need to shore up some holes against a St. John’s team that is adept on the attack. “[Both teams have] big, tough guys who are really good on set-pieces and make life hard for you … this is going to be, as [I] said to the guys, a grisly bear of an opponent. For us, we just need to get in the right mentality for that type of game,” Wiese said.

Kickoff is set for 1 p.m. this Saturday at Shaw Field.

JON AZZINNARI Senior Midfielder

After Lema’s goal, Princeton controlled a lot of possession, giving the team many legitimate chances deep in the Georgetown zone. Auer’s activeness in net helped defray some of the Tigers’ chances, but ultimately, Princeton’s consistent penetration led to the game-tying score by junior defender James Reiner in the 81st minute.

The score eventually stayed 3-3 going into a final 10 minutes of game time.

In the 109th minute, Princeton’s junior midfielder Harry Heffernan had a clear look at the net but his shot was barely deflected

by Auer in a truly gamesaving effort.

“I’ve been playing the game a long time and you want those moments,

FILE PHOTO: NAAZ MODAN/THE HOYA

Junior midfielder Arun Basuljevic had one shot on goal in Tuesday’s game against Princeton. Basuljevic has two goals and one assist this season.

Sports

Women’s Soccer Georgetown (12-1-2) vs. DePaul (9-5-2) Sunday, 1 p.m.

Shaw Field

friday, october 21, 2016

talkING POINTS

FIELD HOCKEY The field hockey team plays host to No. 1 overall UConn this weekend.

See thehoya.com

“

NUMBERS GAME

Before I came to Georgetown, I never really considered playing professionally.”

11

JUNIOR DEFENDER LIZ WENGER

Seconds left in the game when the men’s soccer team netted the gamewinning goal.

sailing

men’s soccer

untouchable lead in the points going into the final race, during which MartiSpecials to the Hoya nez pulled ahead for the The Georgetown sail- narrow victory. Martinez ing team has had an im- finished first overall thiw pressive season, finishing weekend while Marshall strong against many of finished second. the top teams in the counIn the end, the points try. The team finished in race between Martinez first place at the Carl Van and Marshall came down Duyne MAISA Singles and to the wire, but when complaced third overall at the pared to the rest of the Navy Fall Women’s Inter- competition, the two were conference on their Regatta own level. two weekAc c o r d i n g ends ago. to GeorgeThis past town Head weekend, Coach Mih owe ve r, chael Callathe team han, what had a very was most divided impressive perforwas that mance, the teams taking first they defeatMichael callahan place at the ed so handiHead Coach Truxtun ly were also Umsted Interconference very talented.

Regatta while placing “The kids from [George 16th at the Yale Women’s Washington] and Old DoInterconference Regatta. minion and the kids from Georgetown sailors — in- Queens University were cluding graduate student all really good sailors,” Greg Martinez, junior Callahan said. “I think Jack Marshall and junior that [Martinez] and [MarClay Broussard — qualified shall] built themselves to compete in the Carl such a big lead that it gets Van Duyne MAISA Singles, kind of lost. They clinched which comprised the sec- it with two races to go.” ond and final qualifying Martinez, who won round for the Men’s Sin- the national champiglehanded ICSA National onship two years ago, Championships. looks to regain his Martinez and Marshall had amounted an See SAILING, B9

Junior midfielder Christopher Lema had a goal and the game-winning assist against Princeton on Tuesday. Lema leads the team in assists with three and has started in all 13 games this season.

Squads Gain Racing Experience Luke Djavaherian Tyler Welsh

“The kids from [George Washington] and Old Dominion were all really good sailors.”

FILE PHOTO: jenna chen/THE HOYA

Golden Goal in Overtime Ends Skid Matt Sachs

Special to The Hoya

Eleven seconds before the game would have ended in a draw, the Georgetown men’s soccer team (4-8-1, 1-3-1 Big East) netted the golden goal to defeat the Princeton University Tigers (6-6-1, 0-2-1 Ivy League) 4-3 in double overtime.

In the first half, Princeton took command, scoring two goals in the first 13 minutes of regulation. The first came off a corner kick that

Princeton’s senior defender Mark Romanowski connected with on a header. The second goal was also off a header, this time executed by senior midfielder Greg Seifert off a free kick to give the Tigers a 2-0 lead.

“The two goals were extremely disappointing but, to concede a pair of goals, [it was good] we did it right away. It settled [Princeton] into a sense of false security and all it takes is one goal and the whole thing shifts,” Georgetown Head Coach

Brian Wiese said.

The Hoyas did in fact cut into the deficit, scoring their own two goals in four minutes to tie the game at 2-2. In the 32nd minute, Georgetown sophomore defender Peter Schropp took an assist from junior midfielder Christopher Lema and headed the ball into the net for his first goal of the season.

Then, in the 36th minute, senior midfielder Jon Azzinnari executed on a great strike from over 30 yards

feature

that made it into the net off the post. “[Azzinnari], as a senior, was making some great plays today,” Wiese said. “He was fantastic.”

In the remaining time in the first half, each team missed a header chance and the score stayed tied until halftime.

At the start of the second half, Princeton gave itself chances to score but strong plays by the Hoya defense See TIGERS, B9

the analyst

Wenger Looks to Carry Family Legacy Chris Balthazard Hoya Staff Writer

Andrew Wenger could tell his sister was tough from an early age.

“One time she was playing goalie when she was younger, very young, and she turned and the ball went out of bounds and she banged into the post,” Andrew Wenger, brother to women’s soccer junior defender Liz Wenger, said.

“She ended up needing to go get stitches, but she got up and was ready to play again. She was concerned the ball went in the net.”

Another story that Andrew Wenger, who now plays for Houston Dynamo in the MLS, recalls involves his sister initially just shaking off a broken elbow after a failed jump off the swings.

But in meeting the junior defender, the most immediately noticeable thing is not her toughness, but her personality: She is quick to show a wide, boundless smile, a touch of self-deprecation and constant encouragement to teammates.

“She ended up needing to go get stitches, but she got up and was ready to play.

Andrew Wenger Houston Dynamo Forward

The Wenger family history of athleticism reads like a laundry list. The Wengers’ mother played field hockey at Duke, and their dad was a three-sport high school athlete who only gave up

Amanda Christovich

Rizzo Breaks Postseason Slump

C

Georgetown Athletics

Junior defender Liz Wenger has recorded two assists this season and has started in all 14 of the team’s games. Wenger has started in 50 games during her career. sports to study landscape architecture at Penn State.

Another brother, Jonathan, played soccer at Elon, and Andrew Wenger won the 2011 Hermann Trophy at Duke before the Montreal Impact selected him as the No. 1 overall pick in the 2012 MLS SuperDraft.

A veritable renaissance woman before arriving on the Hilltop, Liz Wenger

danced tap, jazz and ballet through middle school and earned her Gold Award in Girl Scouts her senior year at Warwick High School in Lititz, Pa. “All three of us [siblings] were all doing different things,” Liz Wenger said.

“Andrew was very involved in soccer nationally with his club. Jonathan and I tended to do more different activi-

ties. We were both involved in Scouts, he played lacrosse for a while and I danced, did gymnastics at one point, did field hockey and swam.”

When the Eastern Pennsylvania high school soccer season moved to the fall in conflict with the field hockey season, Liz Wenger chose to captain her Warwick High See WENGER, B9

Visit us online at thehoya.com/sports

hicago Cubs first baseman Anthony Rizzo has been in a slump.

At least, he was until Wednesday night.

The All-Star was swinging for the fences and missing terribly. As of Wednesday morning, he was hitting .077, a measly 2-of-26, in this year’s postseason play. This made the second postseason in a row in which expectations for Rizzo, set during his stellar regular season performances, have gone notably unanswered.

He struggled in the 2015 postseason, generating only six hits in over 20 at-bats. The consistency of Rizzo’s bat seemed to be mysteriously disappearing in October.

The postseason, in general, is an entirely new ballgame for players.

Starters get thrown into the closing role, hitters feel the unique pressure of facing a full count in the bottom of the ninth as their team’s season is on the line

and outfielders leap a little bit higher on the warning track to rob that homerun.

The postseason makes legends of some and failures of others. And up until Wednesday, just about everyone on the Cubs seemed to be taking the latter route.

Manager Joe Maddon told the Chicago Tribune that Rizzo’s slump this postseason could be due to “pressing,” or trying produce too much during each at-bat.

He hypothesized that Rizzo could barely make contact on pitches he would normally hit squarely because he was trying to blow the cover off the ball, when all he really needed to do was get a single. Maddon also speculated that Rizzo was chasing pitches he did not normally swing at.

Maddon’s observations were common justifications for a slump, as mechanics are often blamed for a sharp drop in batting average.

The postseason makes legends of some and failures of others.

See CHRISTOVICH, B9