The Hoya: The Guide: February 5, 2016

the guide FRIDAY, FEBRUARY 5, 2016

70 Years of Music TOBY HUNG

Hoya Staff Writer

T

he brick walls of Red Square are plastered with minimalist posters featuring a cherry, a tree and an axe. Dozens of alumni, from the recently employed to the retirement-ready, are planning their return to Georgetown. And in a two-story house beside The Tombs, an all-male, college-aged a cappella group is rehearsing barbershop tunes from the 1920s.

In its 43rd iteration, the Georgetown Chimes’ annual Cherry Tree Massacre takes place in Gaston Hall tonight, tomorrow, next Friday and Feb. 27. This year also marks an important milestone for the Chimes, as the group behind the largest collegiate a cappella festival on the East Coast celebrates its 70th anniversary.

See CHIMES, B2

LEFT: COURTESY CONNOR JOSEPH, RIGHT: CHRIS BIEN/THE HOYA

THIS WEEK FOOD & DRINK

FEATURE

Against the Stream

Ralph Wickiser exhibition opens in Spagnuolo Art Gallery

The Little Beet

Fast-casual eatery The Little Beet, which opened in Dupont Circle in November, features 100 percent gluten-free dishes. B5

MOVIE REVIEW

Hail, Caesar!

The Coen brothers join forces with an all-star cast in this insider’s look at the Hollywood studio system in the 1950s. B6

ALBUM REVIEW

Sia

The seventh album by Australian songstress Sia is a mixed bag of mediocre tracks. B7

THEHOYA.COM/ GUIDE @thehoyaguide

CAROLINE KENNEALLY/THE HOYA

Fourteen paintings by 20th century American abstract artist Ralph Wickiser, including his symbolic depictions of natural scenes and landscapes, are on display in the Spagnuolo Art Gallery in the Edmund A. Walsh Building from Jan. 20 to April 3.

MADISON STINGRAY Hoya Staff Writer

Step inside the Spagnuolo Art Gallery in the Edmund A. Walsh Building and behold an autumn forest, replete with bare trees, a dark stream lined with boulders and a ground coated with orange leaves almost like water itself.

For students native to New York, the scene offers a nostalgic taste of home, while for others, it is a trip into the upstate woods that inspired the landscape and other canvas experiments of acclaimed abstract artist Ralph Wickiser (1910- 1998).

Wickiser gained the attention of the American art world for his

unique method of depicting the natural world.

“Ralph Wickiser was not a bluechip artist, but one who was able to still survive and thrive,” Spagnuolo Art Gallery Director Evan Reed said. There is indeed a modesty and subtlety to the exhibit, but the startling impact of the series’ strength is much like the na-

ture depicted in Wickiser’s pieces.

The Spagnuolo Art Gallery is small and intimate, and, like Wickiser, can often be overlooked. The space’s silence wrestles with the movement and liveliness of the paintings. Wickiser’s landscapes fill the room, See WICKISER, B3

B2

the guide

THE HOYA

FRIDAY, FEBRUARY 5, 2016

FEATURE

Barbershop and Brotherhood Georgetown’s pioneer a cappella group turns 70 CHIMES, from B1 “SONS OF GEORGETOWN” When Daniel Frumento (COL ’18) first arrived at Georgetown, the prospect of becoming a Chime had never crossed his mind. Although he participated in musical theater in high school, Frumento had no previous experience singing a cappella.

“I remember saying to myself that ‘This group would never be a group for me,’” Frumento said. “I kind of thought it was a group of frat boys who sang.”

The Chimes’ reputation as a fraternitylike group is not entirely unjustifiable.

When asked to recall a favorite anecdote about the Chimes, many active members and alumni interviewed for this article responded with the same precaution — their stories might not be appropriate for publication. Typical responses include phrases from “open bar tab” to “keeping up with guys who were over 70 years old.”

But one would be mistaken to compare the Chimes to a stereotypical Greek life organization. Instead of entering as a pledge class, neophytes — the new recruits — go through an individually paced process of joining the group, which consists of learning around 130 songs on the Chimes’ repertoire, memorizing tidbits from the group’s institutional history and embodying its ethos of brotherhood.

“We want to see an individual that is fully realized and fully comfortable in who he is, and finds value in a group that can last for the rest of his life,” said Chime number 243 Connor Joseph (COL ’16), the Chimes’ current Ephus — the leader of the active members. “In that way, we depart from every single Greek organization. Maybe we strive for the same things, but the music helps us achieve the things that fraternities and sororities can’t.”

Shortly after Joseph said this, neophyte Sean Barry (COL ’18) walked into the room with a broom in one hand and a dustpan in the other. The neophytes had arrived to tidy the Chimes’ house before their rehearsal. Before walking into the actives’ room, all the neophytes knock twice, as per Chime customs.

One year and 143 songs later, Frumento was inducted as Chime number 254, the newest member of the Chimes — the “Baby Chime” — three weeks ago.

Frumento considers that moment one of the most memorable experiences of his life.

“Any new student on campus is faced with the challenge of finding a home.

When I found the Chimes, it was home,” Frumento said. “It was the place where I found refuge in. I always know that whether it’s five in the afternoon or three in the morning, I’ll always have a place where I can go, where I can laugh and be 100 percent myself. It’s truly something special and something unique.”

“THERE GOES OLD GEORGETOWN” Unlike other a cappella groups, which are part of the university’s Performing Arts Advisory Council, the Chimes have always remained an independent group.

Yet there is a special connection between the Chimes and Georgetown. A walk around campus is enough to show that the history of the Chimes is endlessly in-

tertwined with that of Georgetown.

“You really can’t escape it, whether you like it or not,” Joseph said.

Multiple locations, including Yates Field House and the Cawley Career Education Center, are named after Chimes alumni: Chimes numbers 26 Fr. Gerald F. Yates, S.J., and 47 Charles Cawley (CAS ’62), respectively. Both were heavily involved in the Chimes: Yates joined the group when he was a government professor and Cawley during his undergraduate years.

There is perhaps no stronger relationship between a student group at Georgetown and a university department than that between the Chimes and Lauinger Library, whose namesake, Joseph Lauinger (CAS ’67), was Chime number 71.

Lauinger died in the Vietnam War and was posthumously awarded the Purple Heart, the Bronze Star and the Silver Star for his bravery. The university named the library in his honor in 1970, and a portrait of Lauinger — clad in a suit and the signature striped Chimes tie — continues to hang on the third floor of the library, visible to the hundreds of students who traverse the lobby every day.

In 1990, Chime number 33 David J. Walsh (CAS ’58) established the Georgetown Chimes Endowment Fund to fund the library’s material purchases, preservation projects and consortiumwide access to resources. A second fund was founded in 2000. To date, the funds’ principal is worth $3.8 million, thanks to annual contributions from Chimes in a range of graduating classes.

In October last year, the library announced that the Chimes have collectively raised $1.2 million, outside the endowment funds, to begin a project to renovate the main reference area on the third floor. The space, which will be named the David J. Walsh Research Commons, will include redesigned consultation areas, study rooms and new seating.

The Chimes’ continued devotion to

“

I’ve never seen a group anywhere so devoted to each other and to the university.”

—Artemis Kirk University Librarian

the library is most evident through their long-standing friendship with Georgetown University librarian Artemis Kirk.

Every year, the active members of the group perform at the library’s holiday party, which is followed by a dinner with Kirk, Walsh and the actives.

“I have jokingly said to them that I want to be the first female backup vocalist for the Chimes,” Kirk said. “I’ve never seen a group anywhere so devoted to each other … and to the university.”

Kirk sings nothing but praises for the Chimes. According to Kirk, the Chimes — specifically Walsh — have not only made significant financial contributions to the library, but have also provided moral support. To Kirk, the Chimes is more than just an a cappella group.

“It’s not just about singing,” Kirk said. “It’s about adopting the ethos of the Chimes, which is one of generosity,

CHARLIE LOWE/THE HOYA

The latest addition to the Chimes, number 254 Daniel Frumento (COL ’18), memorized 143 classic songs from the group’s repertoire in order to complete the neophyte process three weeks ago. which is one of camaraderie, which is one — I suppose you would say — of cura personalis, because they are very caring for each other.”

“DON’T FORGET YER’ BROTHER CHIME” In its seven decades of existence, the Chimes have continuously reflected the zeitgeist and musical culture of the times. The walls in the Chimes House, located beside The Tombs on Prospect Street, are adorned with progressively chromatic pictures of the active Chimes from 1946 to 2015. From one decade to the next, the Chimes go from clean-cut and buttoned-up to mustached and scruffy, then back again.

When Chime number 1 Frank E. Jones (LAW ’48) founded the Georgetown Chimes in 1946, the music scene on campus consisted singularly of the Georgetown University Glee Club. Inspired by the a cappella in other universities, including his alma mater Yale, Jones recruited a group of students to start the first a cappella group in Georgetown. In the following years, the group’s popularity began to crescendo.

In January 1962, then-Ephus Chime number 53 John Broughan (CAS ’64) met with Richard McCooey, the founder of 1789 and The Tombs, to discuss a potential relationship between the group and the restaurant. The Chimes agreed to perform a weekly set at the pub section in 1789, which was then changed to a 10-person table by the fireplace at The Tombs. From then on, Chimes Nights have been engraved as a Georgetown tradition.

CHARLIE LOWE/THE HOYA

Chime number 243 Connor Joseph (COL ’16), the group’s Ephus, leads the Chimes with a solo during a rehearsal for the 43rd annual Cherry Tree Massacre, which begins in Gaston Hall tonight.

“The relationship between The Tombs and the Chimes has changed very little over the years, and that’s a good thing,” 1789 and The Tombs General Manager Rich Kaufman (SFS ’05) wrote in an email to THE HOYA. “Neither is an official part of Georgetown University, but both are quintessential parts of the GU experience. … As long as we’re here, our friends The Chimes will have a home right near campus.”

In 1974, another event occurred in the

“

As long as we’re here, our friends The Chimes will have a home right near campus.”

—Rich Kaufman General Manager, 1789 and The Tombs

Chimes’ history that would change the music scene on campus. Chime number 83 John O’Grady (COL ’74), who was still a neophyte at the time, proposed the idea of bringing other musical groups together for an a cappella festival. The Chimes then organized what came to be known as the first “Cherry Tree Massacre.” According to O’Grady, tickets for the first show sold out in four hours.

“As luck would have it, Gaston Hall was open on George Washington’s birthday weekend,” O’Grady said. “I figured if we called it the ‘Georgetown A Cappella Festival,’ nobody would be interested. So after giving it some thought — George Washington supposedly chopped down a cherry tree, and then said: ‘I cannot tell a lie. It was me who chopped it down.’”

Through the years, the Chimes continue to be rooted in tradition, occasionally adopting new practices, such as transitioning from LPs to CDs to digital releases. It also plans on implementing a credit card payment system and incorporating as a business, becoming the “Georgetown Chimes, Inc.” Chimes Business Manager John LaBossiere (COL ’17), number 248, explained that incorporation would not only accommodate client payments from large institutions, but that it would be an educative experience.

“There’s no class in college that will teach you how to file your taxes,” LaBossiere said. “Everyone in the Chimes will know what it’s like being in a business.

It’ll be a great learning opportunity for entrepreneurial Chimes down the road to see what it’s like to run a business.”

Hearing this, number 252 Duncan Peacock (COL ’16), whose father George (CAS ’84), the Georgetown University Alumni Association president, was Chime number 118, chimed in: “Are you saying that the Chimes teaches you about finance?”

“I’m saying that the Chimes teaches you about life,” LaBossiere said, half-jokingly.

“WE MEET” After graduating from Georgetown, most students recall memories from the clubs in which they participated with fondness. For the Chimes, the making of these memories has only just begun.

As active members and alumni often say, “Once you’re a Chime, you’re a Chime for life.”

According to Chime number 206 Jeff Carlson (COL ’08), the president of the Chimes, the yearly reunions are always well attended. This June, the Chimes will host its first reunion in D.C. in recent memory.

Carlson said that while the group may

change over time, the importance of tradition and maintaining alumni relations will always remain.

“It’s almost like a case of the more they change, the more they stay the same,” Carlson said. “Whenever I see anybody from my time at Georgetown, they don’t necessarily know who I am, but they recognize me because I’m a Chime.”

The current active members engage with alumni, singing at various alumni club reunions and university-hosted events. Every year, the Chimes perform at John Carroll Weekend, a celebration hosted by the Georgetown University Alumni Association, which will take place in Rome this year. Chimes alumni are often recipients of the titular award.

Last year, Walsh received the accolade at the awards ceremony in Los Angeles, which was attended by around 70 Chimes.

“When I go to a [reunion] event, I can sing for hours with guys who I’ve never met before, who are old enough to be my grandparents,” LaBossiere said.

The annual Cherry Tree Massacre is also a popular occasion for reunions, as alumni and active members come together for the show’s final performance.

For this event, the voices of Chimes from all generations harmonize for their signature song, “We Meet.”

George Peacock said the event is a testament to the group’s continued significance for alumni.

“Sixty to 80 guys come back per year for Cherry Tree and other reunions, so pretty much everyone knows just about everyone personally,” Peacock said. “I think that’s meant a lot to the people in terms of getting great advice for their careers.”

As the group ages, so do its members.

In the past few years, prominent figures in the group have passed away. Its founder, Jones, died in December 2012, and more recently, the Chimes and the wider university community mourned the losses of Chime number 119 Fr. James Walsh, S.J. in July and Cawley in November 2015.

The deaths of these Chimes, however, become opportunities for shared remembrance and reunion for the group’s alumni. Ninety-four Chimes attended Walsh’s memorial service July 8, possibly one of the largest Chimes reunions in history, according to Joseph. A “Celestial Chime” — a Jesuit faculty member in the Chimes — Walsh remained active in the group for more than three decades from 1980 till his final years.

According to Kirk, in previous years, some alumni have also made efforts to be present at the deathbeds of their fellow Chimes.

“I know that there was a Chime who had a corporate jet at one point, and when some of the elder Chimes were dying, he would fly anybody that was available to the hospital where the Chime was living out his last days, and they would sing together,” Kirk said.

“How often does that happen?”

With 70 years of history behind them, the Chimes have become an inextricable fragment of Georgetown’s story. Looking forward to the group’s next 70 years, alumni and actives alike express optimism toward not only the Chimes’ continued relevance, but also their lasting influence. Like others, O’Grady is confident that future Chimes will carry on the group’s legacy.

“Being a Chime was one of the best decisions I’ve ever made. It’s continued to be a real joy in my life,” O’Grady said.

“I hope it continues so other people can have the exact same experience that I had.”

the guide

FRIDAY, FEBRUARY 5, 2016

CULTURE WARPED

THE HOYA

B3

ARTS FEATURE

Jack Bennett

Is It OK To Be a Faust Today?

T

he other day I posited a revamped version of the Faustian Question to a friend as a thought experiment. You may be familiar with the story, or at least its more well-known neologism, the Faustian Bargain. The tale of Dr. Faust — sometimes Faustus — told and retold dozens of times with several variations is essentially thus: An intellectual named Dr. Faust surrenders his soul to Satan in order to achieve infinite knowledge. For my purposes here we can understand Faust as not only forfeiting his soul but also his capacity to enact and pursue change in the world, have sex and seek profit, electing instead for a scholarly hermitage. My question was this: Can you list three things for which you would seriously consider forfeiting sex, money and power? I added the caveat that they don’t necessarily have to be sure that they would make the deal, just that they would have to thoroughly weigh their values before making a decision. The second caveat, yes, you can still masturbate. Per request, I will not post the friend’s response, but I can give you mine instead. My bicycle, my writing, and my ability to learn and teach. I was immediately reprimanded by my peer.

“Sex. You would forfeit sex? ... For your bicycle?”

I reiterated that I only said I would have to seriously consider it.

In an era facing catastrophic climate change, political polarization, terrorism, police brutality, racism, rising inequality and undue influence of money in politics, is it OK to be a Faust? The reason the tale has prevailed through hundreds of years is its core question: What is the value of knowledge and personal fulfillment at the expense of your soul? At the expense of action? At the expense of sex? Are we allowed to, instead of pursuing action through protests, voting or advocacy and activism, retract into thought?

Not only can we brood on our bicycles instead of

The simplistic left wingright wing spectrum no longer satisfactorily provides solutions to our dilemmas. barging out of the barracks, but we must do so in order to face the increasingly complex and even paradoxical issues our world faces. We are being told by the Noam Chomskys, Bernie Sanderses, Naomi Kleins and Saul Alinskys of the world that we have to act now, that the world is — sometimes literally — on fire, that the cost of inaction will be grave and is hence immoral. But solutions are not at hand.

We have seen the utter failures of communism across the world, and are now witnessing the catastrophic excess of capitalism following the 2008 financial crisis and the minimal reactions to climate change due to an aversion to the loss of profit — largely in oil, coal, agriculture, and plastics. Yet the End of History appears nowhere in sight, with democracies rolling back across the world, even here at home. We are witnessing the Fragmentation of History; all the lines we once trusted have been hurled out the window.

The simplistic left wing-right wing spectrum no longer satisfactorily provides solutions to our dilemmas. Given our current trajectory of income inequality and the rise of independent expenditure-only committees — Super PACs — undermining this American Republic, we are nearing an oligarchic ordering of society. The only third way we are offered is the old third way, that of fascism, that of transparent lust for power, now in the guise of the confusing (dis)orientation of Donald Trump’s nativist political philosophy.

We no longer have the Soviets or the Klan to kick around anymore. Legal barriers against the LGBTQ community, women and African Americans, are almost completely gone — with notable exceptions as in the case of gays in the workplace, among others. Racism is no longer transparent.

It is opaque in its micro-aggressive, culturally appropriating and subconscious manifestations in contemporary society. How do we act for change when we are facing problems that are no longer embodied by a single villain, but rather destructive systems, with no one to directly blame? Paradoxes abound in the troubling postmodern 21st century political and cultural questions. Simple calls for “tolerance” or “understanding” are underwhelming if not entirely inept responses to the increasingly paradoxical and paranoiac nature of contemporary issues. Liberal or conservative, the idea that you could have non-dogmatic solutions to these problems that fully realize the nuance of modern issues — or more precisely postmodern ones — is unreasonable. Thus a call to the labs, libraries and think tanks and away from the streets is more than valid — it is mandatory.

I have no solutions to all the aforementioned problems, save one: Yes, it is OK to be a Faust.

This is not to say avoid all political action. Rather, it is to take the Zizekian Line: a plea for retractivism and more nuanced debate before action. But we must never forget, Dr. Faust is condemned — in the most classical sense, to Hell — by his scholarly seclusion. It is not acceptable for us to learn for learning’s sake, as it is for children. We must constantly ask ourselves throughout our studies the hermeneutic questions: Why does thinking about this matter? Will my considerations of this issue be capable of begetting a reasonable to alternative? Only then can we avoid the Faustian Failure.

Jack Bennett is a junior in the College.

CULTURE WARPED appears every other Friday.

CAROLINE KENNEALLY/ THE HOYA

From Jan. 20 to Apr. 3, the Spagnuolo Art Gallery in the Walsh Building is displaying 14 paintings of the acclaimed abstract artist Ralph Wickiser, whose symbolic landscape artwork was inspired by the natural scenery in New York.

Wickiser in Walsh

Gallery features renowned abstract artist sweep of blue and green hues that are difficult to piece together into a concrete imtransforming the humble space into a natu- age of a landscape. Rather than being the overall image itself, the striking aspect of ral world of wonder and familiarity.

“It’s important for the students to see this painting is the energy and spirit, blind that you don’t have to stay with one type to the humble human eye, but nevertheof art,” Reed also said. Evolution from the less extraordinary and stimulating as a real to the abstract defines the progression source of wonder. Wickiser is a master at of Wickiser’s career, and through his paint- garnering appreciation for what is easily ings arise themes that question reality and overlooked, focusing on the simple beauportray nature as somewhat of a human ties of the world around him that he proves are able to thrive construct. independently from huFollowing Wickmankind. iser’s autumnal Wickiser’s paintings portrayal of “The indeed act as a mirror Stream,” the exhibit reflecting human naivedescends into winter te, a sense emphasized with “Through The in a collection of three Trees,” where the small canvases in the woods have darkened far corner of the gallery. against the white “Reflection I” depicts a snow. The fluidity in EVAN REED red cardinal in a tree, each painted object Gallery Director, Spagnuolo Art Gallery capturing a fleeting molends to an overall ment before it jumps sense of seasonal change, evoking a sense of human power- back into the sky. “Red Stream” appears to lessness over the seasons and nature itself. be a jumble of random shapes, resembling Given Wickiser’s message that such ener- fish and stones spiraling down a stream. gy is impossible to pin down and capture, Yet, there is still an order to the image it is almost ironic that he himself attempts as all of the elements share a common color and essence. “Fall Reflections” is an to hold sway over natural forces.

The next painting of the series is titled abstraction of a landscape’s reflection in “Pearls and Lace,” a swirling and tumbling the water. What is fascinating is how the WICKISER, from B1

“It’s important for the students to see that you don’t have to stay with one type of art.”

shapes are unclear and ambiguous yet, despite its visceral incoherence, the mind somehow solidifies the image and gives it definition and reality. This miniseries highlights the lack of attention typically given to the natural landscape, and the way people miss moments, ignore them or project onto them their own ideas of beauty.

The height of abstract experimentation in Wickiser’s work presents a strange alienness surrounding the subject of nature. In “Yellow Reflections II,” neon trees reconstruct the standard image of a forest as something vibrant, loud and overpowering. Perhaps Wickiser’s most haunting piece is a canvas titled “Front Lawn,” a painting that evokes the experience of something familiar and transforms it into something new and enchanting. Wickiser’s ability to reshape an ordinary setting illustrates nature’s power to change rapidly and take with it any trace of familiarity.

In his last chronological piece in the series, Wickiser presents an image of the shadow of a tree in the snow, reflecting his earlier years of realism. Another interpretation of this tall, dark figure can be a gaping crack along the earth, symbolizing Wickiser’s work as a whole, splitting open the heart of the landscape to demonstrate the uncertainty and powerlessness of mankind in the face of nature.

LEFT: WALTER WICKISER GALLERY, TOP AND BOTTOM: CAROLINE KENNEALLY/ THE HOYA

American abstract artist Ralph Wickiser’s work, which is on display in the Spagnuolo Art Gallery, includes The Stream, left, a scene that is a frequent source of inspiration for Wickiser’s art and became a series of paintings called “Reflected Stream.”

B4

the guide

THE HOYA

FEATURE

FRIDAY, FEBRUARY 5, 2016

THIS WEEK’S TOP FIVE

Top Five Kanye West Feature Verses

1

ERASE ME - KID CUDI FEAT. KANYE WEST

Kid Cudi’s 2010 “Man on the Moon II: The Legend of Mr. Rager” wouldn’t be complete without “Erase Me,” a song that blends Cudi’s distinctive falsetto with a unique, understated performance by the illustrious Kanye West.

West’s verse propels the song from indistinguishable pop obscurity into an essential role in the larger context of the album. West name-drops Monica Lewinsky, Aaliyah and his manager Don C on this show-stealing verse.

2

FOREVER - DRAKE FEAT. KANYE WEST, LIL WAYNE & EMINEM

Initially released as a single from the soundtrack to LeBron James’ documentary “More Than a Game,” “Forever” features West alongside other rap giants Drake, Eminem and Lil Wayne. Against blaring horns and pounding drums, four of contemporary rap’s biggest names throw down for almost six minutes.

West dishes out everything from shameless braggadocio (“You would think I ran the world like Michelle’s husband”) to unforgettable punchlines (“He ain’t even go to class, Bueller”).

DANIEL KREYTAK/THE HOYA

Members of the Black Movements Dance Theater rehearse for this year’s spring concert, entitled “Phenomenal Woman,” which focuses on female empowerment.

Dance Troupe Spotlights Female Empowerment JANE MIKUS

memorizing choreography. The members of the company must maintain dialogues about the emotional charge of the performance in For the dancers in Black Movements Dance order to express the theme in each piece.

Theater, the most poignant form of expres“It’s really important for us to talk to each sion is not found in words, but rather in an other during the entire rehearsal process,” artistic and deliberate fusion of song and Erra said. “Each of our pieces has a story bemovement. To continue the vision set forth hind it with emotions that we are trying to by its founders in 1981, BMDT turns to dance convey and it’s hard to do that if we don’t veras a means of engaging the community in an balize the story we are trying to tell.” important reflection on the African AmeriTo initiate this type of reflection, Davis dedcan experience. This year in particular, the icates a portion of many rehearsals to a discompany will celebrate the power, confi- cussion of the sentiments behind the dances. dence and strength of women in their spring For example, she challenges the dancers to show, “Phenomenal Woman,” Feb. 18 and 19 define the characteristics of a phenomenal in Gonda Theater. woman so that they can more powerfully According to Elizabeth Erra (COL ’17), embody this persona on stage. one of the student co-directors of the com“I want to make sure they are not just conpany who lead the nected in terms of their team with performing technical ability,” Davis arts professor Alfreda “This is the first time said. “We are a dance Davis, inspiration for since I have been in the theater so we don’t just this theme came in redance — we dance in a sponse to various events company that we are all theatrical way, to tell a over the summer in the women, so we thought it story. The theatrical conwomen’s movement. would be a great idea to tent must be there.”

Most specifically, the tap in to that energy to The dances to be permembers of BMDT, who formed at the upcoming are all female this year, discover our femininity.” concert undoubtedly were greatly motivated achieve the intended ELIZABETH ERRA (COL ’17) when Misty Copeland level of theatricality and Co-Director, Black Movements Dance Theater was named first black emotion. With meticuprincipal dancer of the lous skill, the dancers American Ballet Theater last June. Some combine their technical talents with unique members also had the opportunity to hear characterization to make for an immensely Copeland speak at Georgetown during Wom- touching exhibition. en’s History Month last year.

“Yesterday Was Hard On All Of Us,” a stu“We were really inspired by things happen- dent choreographed piece, is a passionate ing in the news with women and that Misty number about teamwork and support, feaCopeland had come to speak with us this turing dancers carrying each other on their past March,” Erra said. “This is the first time backs. In D.C.-based dancer and guest choresince I have been in the company that we are ographer Maverick Lemons’ “#FollowMe,” all women, so we thought it would be a great the dancers first emerge in an expectant idea to tap in to that energy to discover our silence. When the music intensifies, the femininity and what womanhood means to women begin to march to a thunderous each of us.” beat with mesmerizing conviction. “DestinaWhile rehearsals are demanding and rig- tion,” choreographed by Torens Johnson, a orous, preparation for the spring concert is dance professor at George Mason University not limited to practicing dance segments or who also prepared a tribute to Natalie Cole to be premiered at the performance, sends the dancers on unique, purposeful missions while they simultaneously maintain a collective purpose.

These flawlessly executed routines represent female empowerment in its purest form.

For the women of BMDT, the spring concert is not merely a dance performance, but an opportunity to direct their artistic talents toward a greater goal. Racquel Rosenbloom (COL ’16), another student co-director, anticipates that this year’s production will resonate permanently with the Georgetown community and influence the art scene on campus.

“I hope that this connects students with the arts at Georgetown because it’s an underrated portion of student life here,” Rosenbloom said. “I hope that our show will be intriguing and interesting enough that people will want to get engaged.”

Attendees of the BMDT spring concert can expect a night of dance showcase, musical diversity and cultural celebration. Each motion conveys confidence. Each rhythm encourages hope. Each jump demonstrates power.

Each step of the dancers exudes pride for phenomenal women everywhere.

“We hope that the concert inspires people to learn more about black history at Georgetown and about clubs, like BMDT, that tap DANIEL KREYTAK/THE HOYA into the history of black culture,” Erra said.

This year’s dance troupe, which is all- “If we blend that focus with the narrative of feminism, we can put on a really great show.” female, prepares for its performance.

Hoya Staff Writer

3

ISLAND MUSIC

AFTERMATH ENTERTAINMENT

SLOW JAMZ - TWISTA FEAT. KANYE WEST & JAMIE FOXX

Before Kanye West became a household name and one of Hollywood’s most controversial personalities, he was a kid from Chicago with a reverence for soul music. Nowhere is this pedigree more evident than on “Slow Jamz,” a track featured on Twista’s 2004 album “Kamikaze” and West’s “The College Dropout.” Though West uses the opportunity to poke fun at Michael Jackson, the song is traceable as the origin of West’s later visionary work.

4

SMUCKERS - TYLER, THE CREATOR FEAT. KANYE WEST & LIL WAYNE

Odd Future’s Tyler, the Creator stunned the hip-hop world when he brought together two of its most celebrated emcees on this standout track from his 2015 album “Cherry Bomb.” In a wide-ranging verse, West addresses racism, 2Pac’s legacy, his much-hyped wedding to Kim Kardashian and more alongside the topnotch brags we’ve come to expect (“Oxford want a full-blown lecture from me”).

Together with Tyler’s signature, lo-fi production and fiery bars from Lil Wayne, it is a verse that demands to be listened to.

5

ATLANTIC RECORDS

ODD FUTURE RECORDS

DRUNK IN LOVE (REMIX) - BEYONCÉ FEAT. JAY-Z & KANYE WEST

Raunchy, brazen and impossible to overlook, West’s feature on the remix of Beyoncé’s hit song “Drunk in Love” elevates the song to a whole new level. Rapping over bass-heavy production courtesy of long-time collaborator Mike Dean, West leaves little to the imagination when it comes to his love life with Kim Kardashian. Combined with Beyoncé’s crooning and Jay-Z’s freestyled verse from the original track, West’s addition fits right in.

PARKWOOD ENTERTAINMENT

FORT DE SOTO BEACH, ST. PETERSBURG, FLA.

NAAZ MODAN/NTHE HOYA

the guide

friday, Febrary 5, 2016

THE HOYA

B5

RESTAURANT review

The Little Beet: A Serving of Sweet Simplicity The little beet



1212 18th St. NW | Cuisine: Gluten-Free | $ Jiwon noh

Hoya Staff Writer

The call for healthy and delicious fast food is getting louder, and the new fast-casual eatery, The Little Beet, has answered. Located at 1212 18th St. N.W. the restaurant is a convenient five-minute walk from Dupont Circle. The first branch of a popular restaurant concept outside of New York, The Little Beet prepares ingredients beforehand, and allows customers to mix and match favorites to create custom bowls. With a wide variety of flavorful, yet nutritious dishes, The Little Beet definitely proves to be more than a healthy version of Chipotle.

At lunch hour during the week, the spacious restaurant is bustling with patrons in their mid-tolate twenties. It’s not hard to figure out why — the restaurant is located within walking distance of em-

THE LITTLE BEET

The Little Beet offers quick and healthy options with fresh, high-quality ingredients.

bassies, think tanks and research institutions. Fortunately, the initially intimidating long line moved along at a brisk pace, and we ordered our meals after just a few minutes.

I opted for the “Create Your Own Plate” option ($11.50 to $14), which allows for one protein choice from a list of five and two sides. The sides are divided into “cool” and “warm”. The warm sides are replenished constantly, carried out straight from the oven.

I chose the string beans, charred and cooked with garlic and extra virgin olive oil, and sweet potatoes, roasted with smoked sea salt, pecorino and again, extra virgin olive oil. The salmon was cooked perfectly: tender, moist and flavorful. The salmon’s flavor is distinct, and the marinade brought out and emphasized the flavor instead of masking it, as marinades often do. The green beans were slightly overcooked, but the slight mushiness was remedied by the char on them, which gave a satisfying crunch and smoky flavor. The sweet potato was cooked wonderfully, adding just the right amount of substance and difference in texture to create a balanced and satisfying meal.

One of my friends chose the tofu & mushroom “beet roll” ($9.75), which is described as a “thick uncut sushi roll that eats like a burrito.” The roll consisted of marinated shiitake mushrooms, tofu, avocado, Asian slaw and brown rice wrapped together in nori, Japanese for seaweed,, and was served with two sauces: soy and ponzu. While the ingredients came together to create an exceptional combination of flavors and textures, the proportion of rice to the other ingredients was unequal; bites of exquisite flavor would alternate with bites of plain brown rice and nori.

My other friend opted for the miso chicken bowl ($12): cabbage-soba noodle salad, romaine lettuce, pickled Asian slaw, wasabi nori shake and chicken with miso-ginger glaze, layered over a bed of brown rice. The flavors of this dish merged together deliciously. The subtly sweet miso-ginger glaze complemented the tang of the slaw, and the brown rice served as a simple base with a texture that was distinctive from the rest of the bowl. Its only flaw is the rather abrupt temperature difference between the freshly-cooked chicken and its accommodating cold ingredients. While not entirely unpleasant, the contrast made for a rather unusual culinary experience.

I also bought the restaurant’s bottle of freshly squeezed grapefruit juice ($6) and a gluten-free chocolate chip cookie ($2.75). These additions made

THE LITTLE BEET

The gluten-free, fast-casual eatery, The Little Beet, allows customers to mix and match flavorful and nutritious dishes filled with wholesome fruits and vegetables. quite an impression on my budget as a college student, but the grapefruit juice was superbly fresh.

The bittersweet taste of grapefruit made it quite clear that no unnecessary sugar was added. The cookie was delightfully chewy and loaded with chocolate chips, although whether or not it was worth the cost is debatable.

What stood out most about The Little Beet was the simplicity of its dishes. So many restaurants rely on secret sauces and elaborate combinations of surprising ingredients for flavor, which can be overwhelming. In contrast, a quick glance at The Little Beet’s menu reveals light seasonings on most of its dishes. Its no-frill options leave plenty of room for the high-quality ingredients to shine. The ingredients are fresh, and it’s obvious. Nothing is overdone and nothing is underdone. For a “fast” food establishment, that’s quite rare.

However, The Little Beet’s greatest strength is also its greatest weakness. While the food is fresh, simple

and delicious, it isn’t special. Nearly all of its options were dishes I could easily recreate at home, and at a much lower price. The layout of the restaurant could also be improved. Restaurants like Chipotle put the cash register at the end of the food preparation area, so customers can preview the available sides. At The Little Beet, you put your order in first.

This setup was rather inconvenient for a first-time customer such as myself; I lost my spot in line when trying to take a peek at the display of side dishes behind the cash register. Minor inconveniences aside, the steep price is justifiable. Few restaurants can guarantee convenience while serving healthy, enjoyable food. Despite a line with at least a dozen customers during peak hours, our orders were taken and served all within 15 minutes.

For a healthy eater on a tight schedule, The Little Beet is unbeatable, but only if you’re willing to dish out nearly $15 for a 6 oz. salmon fillet and two side dishes.

RESTAURANT review

Fresh Juice Bar Comes to City Center Fruitive



11th St. NW & Palmer Alley | Cuisine: Juice Bar | $ Alex prior

Fruitive in City Center is located at the end of a row of shops, with bright floor-length windows making up two of the four walls. The interior of Following the recent trend toward health foods the store is light and contemporary, and a miniand smoothies, organic juice bar Fruitive opened malistic counter seating area faces each window. its doors this past November in D.C.’s City Center. Flat-screen monitors throughout the store display However, despite the new healthy eatery’s com- the menu and photos of the food, giving custommitment to plant-based food and wholesome in- ers a good visual of its wholesome fruit and veggie gredients, its food fell flat. options.

The juice bar and restaurant emphasizes a Though Fruitive offers savory options such as lack of processed or refined ingredients — all of wraps or salads, my friend and I decided to try the items offered on the menu are entirely plant- the smoothie combinations for which Fruitive is based, including smoothies, known. I ordered the Tropisalads, wraps and “superbercal Pitaya superberry bowl Fruitive, an organic juice ry” bowls. Fruitive also prides ($8.95), while my friend optbar, prides itself on its itself on its homemade, colded for the Green Supreme pressed juices — available superberry bowl ($9.95). The homemade, cold-pressed for individual sale or as a set superberry bowl is Fruitive’s for a juice cleanse. However, vegan version of the increasjuices, available Fruitive’s dishes and beveringly popular acai bowl, for individual sale or as a ages were disappointing and topped with fresh fruit and flavorless, and the freshness Fruitive’s very own homeset for a juice cleanse. of their ingredients failed to made gluten-free granola. translate into taste.

The fast food-style winThe new Fruitive branch in City Center is the dow granted us a look inside the kitchen where chain’s second location. Though Fruitive has pre- our bowls were being prepared. In casual dining viously appeared in stalls at various Washington style, the chefs called our names and we picked up farmers markets, this is its first permanent instal- our food at the window. Afterward, we staked out lation outside of its original location in Virginia two stools with a view of the bustling downtown Beach, Va. The original storefront became the first streets around City Center, and tucked into our restaurant to be certified by the Green Restaurant bowls.

Association, a nonprofit organization that seeks to Our bowls looked mouthwatering. Both were make restaurants more environmentally respon- topped with banana, coconut and homemade grasible and sustainable. nola, and mine had an added topping of blackberries. However, once I took a bite, I was somewhat unimpressed. The smoothie underneath all of the toppings seemed to contain more ice than fruit.

The texture of the acai bowl was not the smooth blend of berries I had expected; rather, it was so chunky and icy that I could barely taste the fruit blended into it. The Green Supreme was slightly smoother and creamier, and definitely had a sweet flavor with a veggie aftertaste that is typical of green smoothies. However, the homemade granola tasted like cardboard. It did not have any semblance of sweetness, and frankly tasted a little stale. The wholesome nuts and seeds in the granola were very apparent, but unfortunately compromised the actual flavor.

The bananas, berries and ingredients in the smoothie were obviously very freshly prepared.

The staff was extremely friendly, the space was aesthetically pleasing and the philosophy of the restaurant is truly admirable. However, the flavorless acai bowls do not do justice to the healthy ingredients. Fruitive’s website boasts that “only fruits, vegetables, grains, legumes, nuts, seeds, herbs and FRUITIVE spices exist in our pantry.” It seems that given the Organic juice bar Fruitive commits to serving current quality of its dishes, Fruitive may need to expand its repertoire. fresh and wholesome ingredients.

Hoya Staff Writer

ALEX PRIOR FOR THE HOYA

Fruitive emphasizes a lack of processed or refined ingredients, only featuring items on the menu that are entirely plant-based such as smoothies, salads, wraps or bowls.

B6

the guide

THE HOYA

FRIDAY, FEBRUARY 5, 2016

ABROAD WITHDRAWL

MOVIE REVIEW

Hail, Caesar!  Starring: George Clooney Directed by: Joel & Ethan Coen VIVIANA DE SANTIS Hoya Staff Writer

One of the most inventive and idiosyncratic directing duos in moviemaking history, Joel and Ethan Coen, has delivered yet another gem with its latest film, “Hail, Caesar!” Boasting a star-studded cast led by Josh Brolin and George Clooney, the film is a masterful homage to the “Golden Age of Cinema” and a genuinely funny comedy to boot. With an engaging, clever script and

UNIVERSAL STUDIOS

Scarlett Johansson plays actress DeeAnna Moran in “Hail, Caesar!”

prodigious performances from Hollywood heavyweights, the movie perfectly blends lighthearted humor and film noir.

Set in the 1950s, Capitol Pictures studio boss Eddie Mannix (Josh Brolin) is a workaholic fixer of Hollywood problems. From averting snooping gossip columnists (identical twin sisters, both played by Tilda Swinton) to placating veteran filmmakers (Ralph Fiennes), Mannix does a bit of everything. Starring the legendary Baird Whitlock (George Clooney), the studio’s biggest picture of the year is the biblical epic “Hail, Caesar!” Mannix is determined to make the hugely expensive film a hit, but it isn’t long before a shady group calling itself “the Future” kidnaps his hungover star for ransom.

Desperate to salvage the movie, Mannix finds himself surrounded by an eclectic cast of characters including actor Hobie Doyle (Alden Ehrenreich), actress DeeAnna Moran (an Esther Williams-type played

by Scarlett Johansson) and communist sympathizer Burt Gurney (Channing Tatum). Mannix, a light of prudence in an otherwise decadent time, does his best to protect his clients and save Whitlock on a journey rife with twists and self-discovery.

From “Fargo” (1996) to “The Hudsucker Proxy” (1993), the Coen brothers have oscillated between ethnographic realism and artificial fabrication, two seemingly irreconcilable positions along the spectrum of cinematic expression. However, “Hail, Ceasar!” combines both approaches by merging detailed reconstruction of the sets of identifiable movies with majestic natural settings. Particularly striking is Johansson’s entrance, emerging atop a huge column of water dressed as a shiny green mermaid. The division between the idealized universe of film and real life emerges

Elizabeth Harvey

UNIVERSAL STUDIOS

impetuously: Johansson appears graceful and elegant during the mermaids’ synchronized swimming ballet, before flopping like a dead fish on the water’s surface.

The film is built on a series of engaging dialogues characteristic of a Coen brothers script, interrupted by sudden changes of framing perspectives and some sharp camera angles, such as one that persistently focuses on a jumping dog that welcomes guests into the stony beach house.

This eccentric comedy is built into richly ruminative, yet hilarious, levels: Characters address everything from the conception of Christ in different organized religions to communism.

Some of the best scenes in the film are the movies within the movie. From the eponymous epic to Hobie’s cowboy flicks to Johansson’s mermaid flick, each one feels as though it was pulled straight from the 1950s. As hokey as these sequences may be, the Coen brothers take the opportunity to show off their love and appreciation for an earlier era.

Like the plots of the Coen brother’s earlier films such as “The Big Lebowki,” the quickly resolved mystery of Whitlock’s kidnapping is light on suspense and high on philosophy. Even so, with dazzling art direction and strong performances across the board, the Coen brothers’ new production will entertain audiences and critics alike.

MOVIE REVIEW

Pride and Prejudice and Zombies  Starring: Lily James, Sam Riley Directed by: Burr Steers AUSTIN HONG Hoya Staff Writer

In 2009, Seth Grahame-Smith published “Pride and Prejudice and Zombies,” adding the undead to the classic Jane Austen novel.

The book found widespread commercial success, even spawning copycats like Ben H. Winter’s “Sense and Sensibility and Sea Monster,” or Seth Grahame Smith’s “Abraham Lincoln: Vampire Hunter.” That success propelled the book to a movie deal, with Natalie Portman slated to play the lead.

Unfortunately, it has been a long time since 2009, and the movie adaptation has lost Portman, the momentum of the book’s success and the novelty that “Abraham Lincoln: Vampire Hunter” enjoyed. Furthermore, the film, though undoubtedly well-acted and well-shot, misses the mark slightly on its most crucial element—zombies. The obvious restraint in the action shots, combined with the rather lackluster special effects, creates a zombie infestation that feels entirely nonthreatening. This might be a product of the six years of development hell; Burr Steers, director, is the last in a line of directors who either left or were dropped from the position.

Incredibly, however, the movie performs well as an homage to the Austen novel — though the zombies are lacking, both pride and prejudice present themselves in full measure. The plot and thematic elements of Austen’s iconic novel remain nearly untouched, with the zombies actually, in many cases, serving to highlight some of Austen’s themes — the ironic commentary on the conven-

tions of marriage, courtship and social class is starkly illuminated in the light of a zombie horde. In fact, nearly all the dialogue derives straight from the original novel, though the lines achieve a new comedic significance when uttered between brain-bashing blows.

The story, as Austen fans and sufferers of high school English know, center around the marriage opportunities of the Bennet family. Elizabeth Bennet (Lily James), like all of her sisters, has been trained in the Shaolin martial arts. She uses these skills to great effect against the zombie invasions of her home and country and in doing so catches the eye of Mr. Darcy (Sam Riley), a similarly deadly warrior. However, they clash on multiple subjects: the trustworthiness of George Wickham (Jack Huston), the suitability of Jane Bennet (Bella Heathcote) and Mr. Bingley (Douglas Boothe) and the greater school — Japan or China — of the deadly arts. “Pride and Prejudice” has always been about the conflict between Elizabeth and Mr. Darcy and the zombie situation seems to only aggravate that.

The movie itself is visually successful. The rolling hills of English countryside, combined with the sets and furnishings of classic English castles, stand as a beautiful contrast to the violent gore of the undead horde.

Furthermore, the costume design is striking and memorable. The dance and hosting scenes are, of course, rife with pretty dresses and handsome uniforms. However, the travelling attire of the Bennet sisters possesses a decidedly martial appearance, undoubtedly a nod to the prowess of the warrior sisters in

BEST BETS A SEAT AT THE TABLE: AN INSIDE LOOK AS A U.S. TRADE NEGOTIATOR

Join the Asian studies program in hosting U.S. Trade Representative Wendy Cutler as she shares her experiences from the negotiating room. Cutler is the vice president and managing director of the Asia Society Policy Institute in D.C., and has worked as a diplomat for three decades in the Asia Pacific region, from the recently negotiated Trans-Pacific Partnership to other negotiations with Japan. Lunch will be served.

WHERE: ICC 302-P Conference Room WHEN: Monday, Feb. 8 at 12:30 p.m. to 2:00 p.m.

PRICE: Free INFO: guevents.georgetown.edu

SCREEN GEMS

battle.

“Pride and Prejudice and Zombies” also possesses a strong, engaging set of cast members who play their roles straight, allowing the absurdity of the situation to carry the humor. James manages the Elizabeth role with poise and charisma, and acts as a strong foil to Sam Riley’s Mr. Darcy. The two capture the classic awkwardness of the relationship, along with the mutual respect. However, the star performance is Matt Smith’s portrayal of the foppish and feminine Mr. Collins, who received the biggest laughs in the theatre.

Ultimately, the movie was surprisingly successful, despite the odds being stacked against it. Fans of “Pride and Prejudice” will appreciate the respect toward the source. More casual moviegoers may appreciate the easy access to Austen’s work, made palatable by the “cool” factor of sexy ninja ladies battling the undead. I have always believed “Pride and Prejudice” to be criminally undervalued for its humor, and it is gratifying to see its humor emphasized on the big screen. Ultimately, however, the movie is nothing revolutionary — it’s a well performed mashup of genres, a couple years after they were popular.

PRAGUE-NEW YORK EFFECTS: LENKA DUSILOVÁ AND TENDAYI KUUMBA

Top Czech singer-songwriter Lenka Dusilová joins forces with the talented New York dancer Tendayi Kuumba, member of the touring company Urban Bush Women, to present the Washington premiere of their original work as part of the project Prague-New York Effects. A discussion with the performers will follow the show.

WHERE: Davis Performing Arts Center, Gonda Theater WHEN: Monday, Feb. 8 at 8 p.m.

PRICE: Free, but ticketed INFO: guevents.georgetown.edu

Beyond Pasta, Italy’s Lessons On Dining S

ince moving back to campus for the spring semester, like every other returning study abroad student, I have been asked — in line at Saxbys, sitting in friends’ apartments and on the treadmill at Yates — the well-intended but fairly perfunctory question: “Oh my gosh, how was abroad?”

This outburst is usually followed up by the equally innocent “Wait — where were you again?” In reply, I would beamingly respond, “The Villa in Florence.” Such a statement elicits one particular question that is the catalyst for the verbal exchange’s departure from a superficial run-in to the time commitment that one of my unforgivingly observant friends recently named “The Harvey Vortex.” The question is: “How was the food?”

Before I departed for the Villa, what the answer to this question would be was a subject of great excitement in my mind and in the minds of my Florence-bound peers. Personally, I imagined it might resemble the scene in the incredibly cheesy but addicting movie “Eat Pray Love,” in which Julia Roberts shares an intimate moment with a plate of spaghetti all’Amatriciana, or Roman spaghetti with tomato sauce. Set to the joyous trilling of an Italian opera singer and intercut with shots of a sultry, midday Mediterranean make-out, the scene depicts Roberts sprinkling freshly grated Parmesan onto her luscious serving of carbs and consuming it with impish relish. The act of eating this pasta expresses nothing less than total adoration, whether it is religious or romantic.

With a final swish of red wine, Roberts concludes her culinary experience, glowing with contentment.

That I did not find myself in immediate gnocchi nirvana upon my arrival at the Villa caused me great consternation — a common side effect of believing in the reality of romantic comedies. The food, though delicious, was simple, structured and unassuming. Portions were hardly what I would consider indulgent; furthermore, the total absence of snacks on the Villa premises — aside from an enticing bowl of old bananas — restricted our eating to the scheduled mealtimes of pranzo at 1 p.m. and cena at 7 p.m.

With the purchase of our Florence bus passes, this “problem” was very quickly solved. We discovered havens like All’Antico Vinaio, a tiny shop that serves giant paninis with a side of advice — however, if the sandwich-makers don’t approve of your tastes, they make you change your order, and Gusta Pizza, a city institution which costs half as much as Pizzeria Paradiso and tastes 1000 times better.

I had plenty of Julia Roberts moments, the best of which occurred at the historic Buca Lapi restaurant when I shared pappardelle with tomato sauce and bistecca alla fiorentina — translation: a rare, salty, sizzling steak — with my visiting sister. We even found a restaurant that provides bottomless red wine for college study abroad students in its basement — and it was actually pretty good.

But out of all of these mouth-watering memories, the one lesson that I have taken back home to campus comes from that Villa dining room: keep it simple, structured and unassuming. Eating at the Villa taught me that eating well doesn’t have to mean avoiding gluten like it’s the plague.

We ate pasta every day, but we ate it in small portions and with plenty of vegetables on the side. The Italians don’t drench their meals in butter, ketchup, mayonnaise or other types of fake, calorie-loaded fillers; they cook with herbs, olive oil, salt or black pepper. The result seems indulgent, but it is actually as “clean” as it gets. Most importantly, I learned from the Villa that I don’t need to snack; after the first few days, my cravings for handfuls of things completely disappeared because I was having complete meals at lunch and dinner. When you surround yourself with real food and allow yourself to enjoy what you are eating, you don’t miss the snacks.

Here at Georgetown, our diets are in a constant state of flux. We starve ourselves. Living off of sad, little protein bars and coffee after coffee, we run around campus doing the endless list of things that we feel are necessary. We binge when we are stressed or tired and gorge on garbage when we finally allow ourselves a break. In Italy, student organizations do not use “free pizza” as an incentive to draw attendance, and as far as I know with my limited Italian, there is no translation for our verb “to late-night.”

American college culture, and American culture in general, is seriously missing something when it comes to the basic, human act of eating — which is why I am trying to eat as “Italian” as possible this semester. I make an effort to be conscious about the foods that I put into my body. I schedule time in my day to sit down for real meals and reach out to friends for their company. This is the true essence behind the dramatized emotion of Italian cuisine that “Eat Pray Love” capitalizes upon: to the Italians, eating is a religion, and it is love. It is a way not only to connect with other people, but also to take care of yourself.

So there you have it — that’s how the food was in Florence.

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

ANONYMOUS HEROES: AFRICAN-AMERICAN SPIES OF THE REVOLUTIONARY WAR AND THE CIVIL WAR

LUNCHTIME LECTURE: GEORGE WASHINGTON’S LETTER TO DAVID RITTENHOUSE

WHERE: Wednesday, Feb. 10 at 6:30 p.m. to 8:30 p.m.

WHEN: International Spy Museum PRICE: $12 INFO: http://washington.org/dc-events

WHERE: Anderson House - The American Revolution Institute of the Society of the Cincinnati.

WHEN: Friday, Feb. 19 at 12:30 p.m. to 1 p.m.

PRICE: Free INFO: http://washington.org/dc-events

Retired CIA intelligence officer Ken Daigler will discuss the intelligence roles played by AfricanAmericans in both conflicts. He will identify the individuals involved in various intelligence operations, describe how they operated and place their brave efforts within the larger context of significant victories for the American patriots and the Union Army.

Library Director Ellen Clark presents George Washington’s letter to David Rittenhouse, written from Newburgh, N.Y. Feb. 16, 1783, thanking the Philadelphia inventor and instrument maker for a set of spectacles.

the guide

friday, February 5, 2016

THE HOYA

concert review

MUSIC

New Releases

Muse, ‘Drones’ World Tour Verizon Center John Miller Hoya Staff Writer

Just when you think the era of over-the-top arena acts has passed, British rock trio Muse continues to push the boundaries of the arena-rattling spectacle in support of its new album “Drones.” Expansive anthemic choruses, emotional vocals and legendary riffs accompanied a few dozen trucks’ worth of stage equipment and special effects as Muse rolled into the Verizon Center for the final show of their North American tour Monday night.

The 22-song set served to represent the band’s most recent work against the backdrop of its extensive catalogue. The arena was transformed into an all-encompassing musical and visual spectacle while the band flitted effortlessly between popular ballads like “Starlight” and “Dead Inside,” hard rock riffage on “Knights of Cydonia” and electro-symphony on “Isolated System.”

The band emerged clad in all black, as if in support of something larger than themselves. Known for glittery outfits and outrageous stage antics, including holding the world record for smashing guitars, lead singer and guitarist Matthew Bellamy was noticeably restrained, preferring to let the music and elaborate production do all the talking.

The hugely anticipated follow-up to 2012’s “The 2nd Law,” “Drones” was released last summer to mixed reviews, with critics stating the band had overshot itself. All criticism of the album itself aside, in a live context, each song from the album made perfect sense.

The concept of the album was readily apparent



in the futuristic soldiers patrolling the perimeter of the stage with glowing blue eyes, death-star-like orbs drifting above a rotating stage, perfectly synchronized lighting and cinematic genius projected on retractable silk banners that hung from the ceiling.

The show kicked off with “Drones,” a soft choral arrangement featuring the provocative lyrics, “My mother, my father/ My sister and my brother/ My son and my daughter/ Killed by drones.” From the outset, it was clear the band meant to send a message. The arena then erupted when “Psycho,” the album’s leading single, began with its thunderous trademark riff.

The set was laden with older selections, including the fan favorite “Citizen Erased” from the band’s 2001 album, “Origin of Symmetry.” Introduced by Bellamy as “one for our die-hard fans out there,” the song featured all that makes Muse great: a huge riff, a thoughtful arpeggiated interlude and a classically arranged piano ending.

The band segued to fan favorite “Hysteria.” Featuring Bellamy’s signature fuzzy guitar tone, it is anchored by bassist Chris Wolstenholme’s in-yourface bass line. Wolstenholme plays bass in a way that distinguishes him from a standard accompanying bassist, as he is the driving force behind many of Muse’s songs. The end of the song saw Bellamy skipping in circles around the stage while laying down the “outro” to AC/DC’s “Back in Black”.

“The Handler” is perhaps the hardest-rocking song in the band’s catalogue, which is certainly saying something. A broody guitar riff paired with Bellamy’s splitting falsetto creates an exceptionally unique track. Bellamy and Wolstenholme po-

ISABEL BINAMIRA/THE HOYA

British rock trio Muse pushed all visual and musical boundaries this week, delivering an energizing set at the Verizon Center, featuring hits such as “Starlight” and “Madness.”

ISABEL BINAMIRA/THE HOYA

sitioned themselves in front of projected puppet strings connected to floating hands, while a pair of specter-like eyes brooded over drummer Dominic Howard in the center of the stage. The result was cinematic perfection that only a few bands dream up, let alone dare attempt.

Bellamy’s classical piano training was on full display for songs “Apocalypse Please,” and “The Globalist.” The latter, featuring a Star Wars-inspired spaceship soaring above the lower section of the arena, started with a whistle, and intensified into an earsplitting metal crescendo before resolving into a tender piano piece with the lyrics, “A trillion memories/ Lost in space and time for ever more/ I just wanted/ I just needed to be loved”.

Howard was center stage the entire night, and his booming drums reminiscent of Def Leppard were likely inspired by AC/DC producer “Mutt” Lange, who co-produced the album. The band’s musical chemistry has made them one of the most popular acts from Great Britain in decades and was visible during numerous spontaneous riffs, including that of Led Zeppelin’s “Heartbreaker.”

“Reapers,” one of Muse’s most technically demanding songs, opened with an Eddie Van Halenesque finger-tapping intro, and featured a solo full of pitch-shifting effects. Lyrically based on the MQ-9 Reaper drone employed by the U.S. military, the song focuses on the dispassionate and wanton nature of drone strikes: “I’m just a pawn, and we’re all expendable/ Incidentally electronically erased.”

The band has found its niche in representing anti-authority, anti-government and anti-military themes on the back of Bellamy’s emphatic politically charged lyrics. This precedent is no more on display than in “Drones,” a concept album focused on impersonal killing, mind control and world domination gone wrong.

The eponymous “Drones” was the most sobering moment of the night. The melancholy vocal round was accompanied by sobering depictions of a post-apocalyptic universe projected across the length of the arena. The set closed with the starkly contrasted “Mercy” — perhaps the albums most upbeat song — featuring confetti and streamers that created a post Super Bowl atmosphere.

“You have to see them live” is a cliche about bands that do not fully realize their potential from the sterile confines of the studio. For Muse, the phrase could not be more applicable. The band laid down one of the greatest sets of the year Monday night at the Verizon Center in an all-out assault on the audience’s audio and visual senses, and the band defined its new artistic identity with songs that complement those responsible for catapulting them to the upper echelons of rock. For longtime fans and new converts alike, the show was a thrill ride throughout.

This is Acting Jinwoo CHong Hoya Staff Writer

There is no chart-topping pop singer alive today with a career as peculiar or as steadfastly anti-mainstream as Sia, last name Furler, whose latest album “This is Acting” debuted last Friday. After signing a recording contract with Sony Corporation in the early 2000s, she battled depression and fameinduced anxiety for years, becoming a recluse until the release of the darkly anthemic “1000 Forms of Fear” in 2014. The album spawned the Grammynominated single “Chandelier” and its accompanying music video, which amassed 1 billion views in a year. She returned to the stage with her back turned to the audience, refusing to show her face, and incited equal parts acclaim and jeering criticism for her zany style and aesthetic.

Much of that outlandish artistic persona — blonde bob wigs, interpretive dance and deeply personal, “too-dark-for-Top 40” subject matter — persists, albeit with some repetitive, even derivative qualities in “This is Acting.” Sia’s unmistakable voice is raw; arrhythmic, slurred, reaching notes that most artists would not dare attempt to sing in public, let alone put on an album. With producers Greg Kurstin and Jesse Shatkin’s pulsing and industrial production, “This is Acting” works in a very similar way to her previous album, which is both a successful yet limiting move on her part. The novel catch, however: almost all of the songs on “This is Acting” were written for and rejected by other artists.

Despite the album’s similarity to “1000 Forms of Fea,” Sia’s vocal and stylistic dexterity as a pop songwriter nevertheless takes center stage once again, metamorphosing fluidly from electronica and ska to piano ballad and back again to measurable success.

The vaulting, head-banging repetitions of “I’m still breathin’/ I’m still breathin’” from “Alive,”originally written for Adele’s “25,” lead the tracks in strength and sheer stamina, with Sia’s enormous voice at full belt for the entirety of the chorus. Meanwhile, the tranquil, reggae-infused “Cheap Thrills” brings to mind a late 2000s era Rihanna. Other personas — perhaps we can call them the characters — include

 the drum-driven “Move Your Body,” reminiscent of hits such as Beyonce’s “Run the World (Girls)” and the retro flair of “Sweet Design,” which samples the hook of Sisqo’s infamous “Thong Song.”

The marketability of the album’s respective hooks is immediately apparent, yet takes on a morphed, personalized quality when carried by the signature quirks of Sia’s voice. The deliberate cracks at the high notes, exaggerated vibrato and atemporal syncopation may thrill the first-time listener, but begin to come off as faded and overused to others.

However, the most enrapturing, yet contradictorily most Sia-esque, aspect of the album is its unapologetic portrayal of the singer’s personal demons. They are watered down by simple lyrics and catchy hooks, yet contain a truth slipped in through the verses that come from a place of real depth and darkness. Sia, who once contemplated suicide, entered a 12-step program and returned to writing songs at lightning speed in 2010, often composing and recording in the span of 40 minutes. In an interview with The New York Times in 2014, she said that this occupation was ample replacement for the addictive personality that entangled her with drugs and alcohol abuse in the first place.

That consummate pain and fear remains an eye-catching staple on the album’s tracks, perhaps proving that however common the motif of suffering may be in Sia’s contemporary music, their truth will always be emotionally impactful. The Kanye West-produced “Reaper” deals with Sia’s brushes with death head-on, repeating the chorus lines of “You came to take me away/ So close I was to heaven’s gates.” And yet, “Reaper,” arguably one of the album’s most inspiring highlights, simultaneously reflects a newfound peace, mirroring Sia’s sobriety and 2014 marriage with the lines “Oh Reaper, Oh no baby not today/ So come back when I’m good to go/ I got drinks to drink, and men to hold/ I got good things to do with my life”.

It seems that these days, all anybody needs to become mainstream music’s next star is a little creativity. In December, Chance the Rapper became the first independent artist to perform as the musical

Drake ‘Summer Sixteen’ On the first single from Drake’s upcoming album “Views From the 6,” nobody is safe: Meek Mill, Tory Lanez and even President Obama all find themselves at the end of Drake’s lyrical barbs.

Over thundering bass and choppedup samples courtesy of OVO Sound’s Boi-1da and 40, Drake boasts about everything from his dance moves to having a bigger pool than Kanye. If “Summer Sixteen” is at all indicative of what “Views” will sound like when it finally comes out in April (rumored to be April 16), rest assured that Drake will have another dominant year.

rihanna ‘love on the brain’ “Love on the Brain,” a sultry, old-school love ballad, embodies everything that is great about Rihanna’s long-awaited album “Anti.” It isn’t a radio single, and you definitely won’t hear it bumping at the club, but it’s an incredibly powerful track that showcases the Barbadian singer’s incredible vocal and lyrical talent. Sounding like a mix of Amy Winehouse and Erykah Badu over a soaring, orchestral instrumental, Rihanna proves she is far more than your everyday pop star. Like the rest of “Anti,” it shows that she is a true artist capable of experimenting with new sounds and coming out with something amazing.

flume ‘smoke and retribution’

album Review

Sia

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RCA RECORDS

guest on “Saturday Night Live,” and still remains unsigned despite the soaring success of his band’s electronic gospel chorus, “Sunday Candy.” In 2014, Canadian singer Shawn Mendes became one of the youngest charting artists in history at 15 years of age after Island Records executives discovered him posting six-second song covers on the social network Vine.

Given this novelty-focused landscape of modern music, “This is Acting” can in many ways feel like a deluxe version of “1000 Forms of Fear,” borrowing themes, lyricisms and even rhythm patterns from older songs with little variation. Yet, the album’s unparalleled honesty and rawness contain a weight, the objective emotional impact of which is far more difficult to criticize.

“This is Acting” is not the reinvented sophomore effort with which most pop singers attempt to rival their first album’s success. Almost everything, from the production and lyrics down to the music video aesthetics, remains the same from her previous album, but they come as only the latest in Sia’s chameleonic, decade-spanning career, and are some of the first in which the singer seems to be honestly portraying herself, despite having written the songs for others.

Musicians operate in an industry that constantly asks for novelty, characters, costume-changes and never looking back, but it is clear that this is not acting. It is clear that this is simply Sia.

At first glance, the down-tempo electronic grooves of Australian producer Flume might seem incompatible with Long Beach rapper Vince Staples’ gritty rhymes.

However, “Smoke and Retribution” proves that anything is possible. Flume switches up his style, delivering an aggressive, spastic banger of a beat, while Vince’s deft delivery ratchets the track’s energy even further. Singer Kuckacomes through with an ethereal chorus, granting the listener a bit of breathing room before Flume’s earth-shaking instrumental brings everything back to life. “Smoke and Retribution” is the latest single from Flume’s album “Skin,” which will be arriving sometime this year. With tracks like this, it’s sure to be a hit.

zayn malik ‘pillowtalk’ As if the radio didn’t have enough sultry-pop jams from The Weeknd and Justin Bieber, Zayn Malik has broken free from the One Direction stronghold to release his very first solo single, titled “Pillowtalk.”

Reminiscent of his teen-friendly work with the boy band, “Pillowtalk” treads lightly on new territory for Malik, as he dabbles with R&B production and sexually explicit lyrics. If Malik seeks to carve his own mold in the male alt-R&B sphere, he may have to take a bigger step out of his comfort zone.

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Sports

THE HOYA

Men’s Tennis

Friday, February 5, 2016

upon further review

Jimmy McLaughlin

Manziel’s Struggles May Cast Shadow Over Future E

FILE PHOTO: JULIA HENNRIKUS/THE HOYA

Junior Jordan Portner, left, paired with freshman Michael Chen to win the doubles point in a 6-4 decision in Georgetown’s ultimate 4-3 victory over Navy last weekend.

Princeton Match Tests Depth Sophia Poole Hoya Staff Writer

The Georgetown men’s tennis team (1-3) will face an important rival when it travels to Princeton (1-2) for a road match this Saturday. Coming off a tight 4-3 win against Navy (2-3) last weekend, the Hoyas hope to carry their momentum into their only match against an Ivy League opponent this season.

“We haven’t beaten an Ivy League team in the spring season in a long time,” junior Jordan Portner said. “They’ve got some really good guys at the top of the lineup … so we’re going to have to stay in there and play really good defense.”

Portner and freshman Michael Chen secured the doubles point for the Hoyas last weekend against Navy in a 6-4 win in the number one doubles slot. Chen’s performances in both singles and doubles play earned him the Big East Men’s Tennis Athlete of the Week accolade.

Head Coach Gordie Ernst cited the performance of his doubles teams as the backbone of Georgetown’s win against Navy, a point he hopes to claim once again in the match against Princeton.

“I also think that our depth is really good. If guys aren’t playing in the lineup per se on one particular match, they’re still working hard knowing that if they get the

chance, they’re ready,” Ernst said.

Though Georgetown boasts a deep roster, Princeton will enter the match with the same advantage.

“The depth of these teams like Princeton, that’s what you’re concerned about because they’re solid,” Ernst said. “I mean, guys who are playing five and six were top recruits, but they’re playing five and six for Princeton or Columbia or Harvard, because they’re such good teams.”

Georgetown’s depth will be further tested in the absence of Daniel Khanin, the team’s sole senior who plays in the number one singles position. Though the men’s team still came away with a win against Navy, while a back injury left Khanin on the bench, Khanin is still a major asset to the team’s success.

As Khanin’s health improves, the team will need to maintain its mental toughness in the senior’s absence.

“I think that to beat a team like Princeton, who is 34 in the country, who is very deep — they’re probably second or third in the Ivies — we need [Khanin] back. …

I think we’re going to work on trying to be mentally tougher on every single point,” Ernst said.

Ernst stresses that Georgetown’s recruiting capabilities for next year are linked to a win in this match, as many recruits have their eye on a college career in

the Ivy League. The Georgetown tennis program is in competition with the programs of these top schools, and a win against Princeton could mean greater success in the upcoming recruitment process.

“We’re not a scholarship program, so I’m not recruiting against … those good schools that have full scholarships,” Ernst said.

“I’m recruiting against the Ivies, so for recruiting purposes if we can show that we beat teams like Princeton, recruits take notice of that.”

Portner also emphasized the confidence this win could give the team going forward into what he repeatedly described as a “tough schedule” ahead.

“Letting everyone know that we can compete with an Ivy League team like that would be a huge sign to the rest of the Big East,” Portner said.

As it prepares for Princeton, the team hopes to fine-tune its focus and maintain consistency throughout the match.

“We feel sometimes that we can just have this mental let down, give a point away, and then ... we’ll get it back in the next one. It’s hard over the course of a match to do that, especially against good competition,” Ernst said.

The match is set to begin at 3 p.m. on Saturday in Princeton, N.J.

Men’s Basketball Commentary

GU Hunts for At-Large Bid W

ith just eight games left in the season, the Georgetown men’s basketball team (13-10, 6-4 Big East) finds itself three games out of first place in the Big East and extremely far off the NCAA Tournament bubble.

The tournament committee takes 36 at-large bids — teams that didn’t win their conference tournament — and given the Hoyas’ inconsistent play this season, it is hard to imagine them winning three games in three days to claim the Big East tournament title.

So, in order to make the tournament, the Hoyas must win enough games, convincingly and against quality opponents, to earn an at-large bid. After losing 87-76 in what would have been a important win on the road against Butler (15-7, 4-6 Big East), Georgetown must now face the rest of its schedule with absolute determination to win every game possible. Two of the games, at Villanova (19-3, 9-1 Big East) and at Providence (18-5, 6-4 Big East), are arguably Georgetown’s two toughest tests of the season, which could potentially give it two more losses.

However, Georgetown has two more very winnable games coming up on its conference schedule, hosting St. John’s (7-16, 0-10 Big East) and playing at Marquette (15-8, 4-6 Big East) — two teams that have been even more inconsistent than Georgetown.

Projecting those as wins leaves four games that are essentially toss-ups — home games against Seton Hall (16-6, 6-4 Big East), Butler (15-7, 4-6 Big East) and Xavier (20-2, 8-2 Big East) and on the road at Seton Hall this Saturday.

While Xavier is arguably a more complete team than Providence, which recently lost to DePaul (8-14, 2-8 Big East), Georgetown seemed to have Marquette’s number in beating them just over a week ago at the Cintas Center in Cincinnati.

A 6-2 record the rest of the way in the Big East would see Georgetown finish with a 12-6 record in the conference and a 19-12 record overall on the season. This record, despite having double-digit losses, would feature notable wins against Syracuse (16-8, 6-5 Atlantic Coast Conference), Butler, Xavier twice and Seton Hall twice.

However, as fantastic of a resume that would be, the rest of the college basketball landscape would have to fall into place for the Hoyas. While conventional wisdom and the history of tournament selection would suggest that a 19-12 record combined with the overall strength of the Big East would put the Hoyas firmly in the No. 10 to No. 12 seed range, anything is possible. There are teams that, despite playing in weaker conferences, have more quality non-conferences wins and fewer bad home losses than the Hoyas.

A bad home loss, according to most bracketologists, is considered a loss against a team well outside the Ratings Percentage Index top 50 teams. Unfortunately for Georgetown, it has taken three such losses this season — first to Radford (13-10, 6-5 Big South) and then to Monmouth (18-5, 10-2 Metro Atlantic Athletic Conference) and UNC-Asheville (16-8, 9-3 Big South).

One final selection factor in the tournament committee’s at-large selection process is the “eye test” — which is essentially based on how good a team looks when it plays. For the Hoyas, that eye test is negative; many of their wins have come at the last second or on inefficient shooting. According to experts, the eye test is beneficial because often, a team is better or worse than its record indicates. A team will undoubtedly lose some games due to off nights and inconsistent shooting, but if the team is playing well consistently regardless of their shooting — on defense and executing well on offense — then

the selection committee is more likely to award them an at-large bid.

However, much of this speculation can and will most likely be undone if Georgetown can steal a win at Villanova or Providence, two games they are likely to lose according to analyst Ken Pomeroy’s statistical projections.

A 20-11 or 21-10 record would place the Hoyas firmly in the tournament field, and given the team’s track record for playing up to the level of great teams, anything could happen.

But before any of this speculation can come true or fall on itself, the Hoyas must fix their glaring defensive problems. Instead of keying in on the opposing team’s best players, the Hoyas have let them run wild in the past two games, giving up a combined 124 points to their past two opponents’ five best players, including a 35-point game to Butler sophomore forward Kelan Martin.

Georgetown has routinely fallen into a zone defense in the past few games to compensate for its inability to defend man-to-man and its inability to avoid fouling the opposing team.

Over the past two games, the Hoyas have allowed their opponents to shoot an average of 21 more free throws than the Hoyas shoot per game. Foul trouble has and will continue to plague Georgetown if nothing changes from its current style of play — reckless, inefficient and at times, downright clumsy. However, there is hope still, and despite the troubles that the team has faced, it still has one of the nation’s top scorers in senior guard and cocaptain D’Vauntes Smith-Rivera.

The next few games will prove decisive for Georgetown, starting with a road visit to Seton Hall, arguably a must-win game. Tipoff is set for 9 p.m. and the game will be televised on Fox Sports 1.

Paolo Santamaria is a sophomore in the College.

arlier this week, the Cleveland Browns put NFL fans — and Johnny Manziel — out of their misery by announcing that the troubled quarterback would be released from the organization. It was a liberating move for not just the league’s most destitute franchise, but also for who was once football’s most exciting player, is now back on the open market. For the 31 other general managers in the NFL with the chance to sign “Money” Manziel, the multimillion dollar question has to be asked: Have two years in Cleveland ruined the former phenom forever?

It is hard to fully comprehend the magnitude of Manziel’s catastrophic fall from grace these past two years. For a brief moment during his Heisman-winning season at Texas A&M, Johnny Manziel was seemingly the only football player that mattered in America. For months at a time he dominated ESPN coverage, juking and sidestepping on Saturdays for highlight videos that went viral on Sundays.

The sporting community is normally so adept at assigning nicknames — see “Megatron,” “Matty Ice” and “Primetime” — but Manziel was so mind-numbingly good, football fans’ brains malfunctioned and out popped “Johnny Football.” Some might consider his nickname an an excessive display of greatness, but think — when has there ever been a “Charlie Basketball” or “Frankie Baseball”?

It’s because of this former monumental greatness that I refuse to accept a cruel and premature end to Johnny Manziel’s career. If Randy Moss can rise from the ashes of his two years in Oakland to become the best receiver in football on the Patriots, and Michael Vick can return from Leavenworth Penitentiary to make an impact for the Eagles, surely Manziel can find success after Cleveland. A team will eventually sign him — if not for his talent alone, then at least for the profits on his jersey sales to fraternity brothers.

Yet analysts everywhere are convinced his time on the gridiron is up. Shows such as SportsCenter that once dedicated entire programs to presenting Manziel highlights are now pronouncing his career dead, which is ironic seeing how a suffocating media presence is one reason he suffered in Cleveland.

Some say it has become too hard to look past his off-the-field issues, especially his abuse of drugs and alcohol. TMZ still airs a sports division today thanks to the myriad screw-ups

Manziel had as a Brown, and he appears on Total Frat Move’s website more than any other “bro” alive. Perhaps, in a cruel twist of fate, the same digital age that spawned hype for Manziel may have delivered the death knell to his career.

I sincerely hope that is not the case. People talk about the kind of athletes that bring people together. Legends like Jim Brown, Jerry Rice and Joe Montana bind an entire generation together with nostalgic talks in local bars and family rooms, reminiscing about the time he did this or he won that. During a brief period at Texas A&M, Manziel was one of those special athletes of our generation.

Thirty years from now, people will still talk about Manziel’s enthralling upset of Alabama in 2012. I’ll pull up clips of Manziel hurling touchdown passes and boogying in the open field for my kids to see. Each year the game of football gets more structured as offensive coordinators continue pursuing a perfect winning formula. We may never see artistry like Manziel’s again.

To experience the thrill of Johnny Football recaptured on the NFL stage would be nothing short of magical. Five years ago people didn’t think a dual-threat, school-yard quarterback had a place in the run-heavy, defense-driven Southeastern Conference — and then Johnny shattered SEC records for total touchdowns and total yards accumulated by a quarterback.

Today, people hold the same claim in the NFL — quarterbacks with an artistic flair and a tendency to flirt with disaster have no place in a league with such concrete formulas for success.

Maybe Johnny will go the way of Tim Tebow and be considered unfit talent-wise for the NFL. Maybe, with some mentorship behind a solid veteran quarterback, he will be the next Steve Young. Maybe he will show up on TMZ tomorrow and have no choice but to fade quietly out of the public sphere for a while. Johnny being Johnny, there’s no way to tell which way he will go. One thing however is certain: Twenty years from now, there is guaranteed to be an ESPN 30 for 30 about Manziel. It’s up to him to determine, and to us to wait and see, whether the documentary will focus on the feats of Johnny Football or the failures of Johnny Manziel.

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

sports

FRIDAY, february 5, 2016

THE HOYA

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men’s basketball

WOMEN’S basketball

GU Aims to Redeem Conference Losses MARQUETTE, from B10

play in the period, Georgetown had regained a 10-point lead. However, Marquette hit back-to-back three-pointers in the final 40 seconds of the quarter to pull within four heading into the final 10 minutes of play.

“We definitely didn’t play defense as well as we had in the first half of the game,” senior guard/forward Logan Battle said. “Our defense fell off.”

Georgetown managed to hang on to the lead through the first half of the fourth quarter, but a Marquette free throw with 5:37 left to play tied the game. That free throw ignited a 12-0 run for the Golden Eagles and gave them a double-digit lead they would not relinquish. When the final buzzer sounded, the Hoyas lost 87-72.

“We relaxed. We got comfortable. We can’t let that happen,” Adair said.

Marquette will come into Friday night’s contest having won five straight games. Its two most recent wins were a three-point victory over St. John’s (16-6, 7-4 Big East) and a seven-point victory over Seton Hall (17-5, 7-4 Big East).

St. John’s and Seton Hall are currently tied for second place in the Big East, and both have been ranked among the top 25 teams in the country this season.

“This time — second go around — everyone is better. We’re better, Marquette is better. Momentum is in both teams’ favor right now and so we definitely have to be disciplined,” Adair said.

After Friday’s contest against Marquette, Georgetown will turn its focus to Sunday’s matchup with DePaul. DePaul currently holds the top spot in the Big East, and despite dropping out of the

rankings from its No. 23 spot this week, it has consistently been ranked among the top 25 this season. “[A win over DePaul] would feel good, but it is something that is not unexpected of us. Our coaches tell [us] every day that we can play with the best of them.

We have beat top teams in the country, so we know that we are capable of doing it,” junior forward Faith Woodard said.

When the two teams met earlier this season, the game remained close throughout the first half. Neither team was able to establish a lead greater than eight points, and the opening period saw six ties and five lead changes. At the break, the Hoyas trailed by just one point.

“We just weren’t afraid. We knew that DePaul was at the top of the Big East, but we’re right there too,” Woodard said.

“We came in with the mindset that we can play with anybody as long as we defend and make our shots.”

After the break, the Blue Demons took control, going on a 14-0 run to break the game open. At the end of the third quarter, Georgetown trailed 55-41. DePaul continued to extend its lead in the fourth quarter, taking a 20-point lead with 7:07 left to play. As time ticked off the clock, the Blue Demons never allowed their lead to drop below a 20-point margin.

When time had expired, Georgetown trailed 75-53.

“Early on, the third period was giving us problems. Teams were making a run in the third. Teams were coming back in the third, and I think we have gotten better in that area,” Adair said.

Tipoff for Friday’s game is set for 7:05 p.m. Sunday’s contest will start at 12:00 p.m.

The Water Cooler FILE PHOTO: KARLA LEYJA/THE HOYA

Sophomore forward Isaac Copeland has scored double digits in just three out of his last 10 games, including an 11-point performance in Georgetown’s 87-76 loss to Butler on Tuesday night. He averages 9.7 points per game.

Michael Ippolito

Personnel Problems Plague San Francisco F or the first time since 1985, this year’s Super Bowl will be held in the San Francisco Bay Area. Coincidentally, Super Bowl XIX in 1985 also marks the only time in NFL history when the host of the Super Bowl actually won the big game, as the hometown San Francisco 49ers beat the Miami Dolphins at Stanford Stadium in Palo Alto, Calif.

Now, only three years removed from a near victory in Super Bowl XLVII, to say the 49ers have declined would be kind. In the last calendar year, the team has reverted from a talented perennial contender to an epitome of mediocrity.

Ironically, the man who is responsible for bringing the Super Bowl back to the Bay Area and hosting what may be the most-watched event in television history, 49ers owner Jed York, is also responsible for initiating and accelerating his team’s decline, teaching the world a lesson on how not to run an NFL team.

The 49ers team that nearly won a Super Bowl featured a plethora of young talent on both sides of the football and one of the best coaches at any level, Jim Harbaugh. By any account, Harbaugh is a near-unparalleled talent with his unique ability to turn around struggling programs by pushing his players. This strategy has its costs, and Harbaugh was known to wear out his welcome relatively fast, especially among team executives. As Harbaugh’s team trudged to an 8-8 finish in 2014, it was clear Harbaugh and the team arrived at an impasse and the two parted ways.

Ultimately, the man to blame in San Francisco is owner York. Although it was no secret that Harbaugh and 49ers General Manager Trent Baalke disagreed on many personnel issues, choosing between keeping a coach of Harbaugh’s ability and a general manager should have been a relatively easy decision. Instead the owner chose a GM whose player additions have been uninspiring and whose draft picks have been underperforming to say the least. For instance, in six years at the helm of the 49ers, Baalke has drafted only four Pro-Bowlers — one of whom was Aldon Smith, a man arrested five times in three years.

In his end-of-season press conference, Baalke likened the NFL draft to an educated crapshoot. But if that is true, then shouldn’t the 49ers do everything in their power to minimize risk by ensuring that they have superior coaching, even if they happen to miss out on more naturally talented players? Yes, Baalke drafted Colin Kaepernick, but he then put him in a situation that may result in a trade due to his unhappiness with the organization. The 49ers already lack a strong offense — they finished with the league’s lowest points-per-game to-

tal — but if they alienate Kaepernick to the point where he wants to leave, they will be without anything close to a focal point from which to build their offense.

Baalke is directly responsible for this, and York shares in the blame because he has allowed all of this to happen.

Part of the personnel problem has been somewhat out of the 49ers’ control. An unusual number of high-performing players retired relatively early in their careers. In the summer of 2015, the 49ers lost lineman Anthony Davis, star linebacker Patrick Willis and linebacker Chris Borland to retirement, even though they were all at — or had not yet reached — their prime. It is difficult to directly blame management, but when you combine the inherently risky and violent nature of football with the thenand still gloomy future of San Francisco, it is equally hard to advise the players that staying put was a compelling situation.

Finally, in an attempt to atone for their mistakes, the 49ers hired former Philadelphia Eagles Head Coach and General Manager Chip Kelly. The appeal of Kelly is easy to understand. His offenses broke scoreboards at the University of Oregon and showed glimpses of doing the same in Philadelphia, but ultimately, Kelly is too flawed and is the wrong fit for San Francisco.

First, Kelly has never been credited with being a great GM. His personnel moves in Philadelphia cost the Eagles guaranteed money and draft picks while netting little in return. Having a coach who is not a great general manager is fine, but given Baalke’s incompetence, there is no recourse to save the team. Second, Kelly is not a skilled defensive coach. Despite a pricey defense, the Eagles were just below the league average. San Francisco was much lower, showing that it lacks both the coaching and roster to succeed.

It is unlikely that Kelly can be a positive agent for change. Finally, Kelly’s offenses are inconsistent and rely on personnel he simply may not have access to; even with talented offensive players in Philadelphia, the team did not produce much, finishing the 2015-16 season with a losing record.

As Super Bowl 50 kicks off in York’s $1.3 billion stadium, it may be worthwhile to remember why his team is not playing while the teams of two of the better owners in the league, Pat Bowlen and Jerry Richardson, are competing for the ultimate prize. York may not win a Super Bowl any time soon, but with all of the dysfunction, drama and abdication of responsibility, he might just eek out an Emmy or Golden Globe.

Michael Ippolito is a junior in the College. The water cooler appears every Friday.

Pirates Boast Stingy Defense PIRATES, from B10

On the season, Whitehead leads his team in scoring and assists and is second in three-point field goal percentage. He averages 16.2 points, 4.7 assists and 3.1 rebounds per game and shoots 33.6 percent from beyond the arc. Delgado, the team’s leading rebounder and second-leading scorer, averages 14.2 points and 10 rebounds per game. The Pirates have an extremely young roster, with just one senior, guard Derrick Gordon, and a starting lineup of five sophomores.

The calling card for this inexperienced team, which has surprised many teams this season, has been its stingy defense. Currently, the Pirates rank second in the Big East in scoring defense, third in field goal and three-point field goal

percentage defense and second in steals. The Hoyas will have to avoid the scoring droughts that have plagued them at times during the season. With senior guard and cocaptain D’Vauntes Smith-Rivera and sophomore guard L.J. Peak as the only two Georgetown players averaging double-digit points per game, the Hoyas must find a reliable third scorer if they are going to crack a formidable Seton Hall defensive squad.

Sophomore forward Isaac Copeland, who filled that role in the beginning of the season, has since dropped down on Georgetown’s stat sheet. Since the beginning of January, Copeland, who ranked No. 16 overall in the nation by ESPN last year, has scored double-digit points in just three out of his last 10 games and has scored two or fewer points in four out of those 10 games. Also

since January, Copeland is shooting 19-for-75 or 25.3 percent from the field, and is 4-for-31 or 12.9 percent from three-point range. With just eight games left in the regular season and Georgetown hanging on to its hopes of reaching the NCAA tournament, it must win games against teams like Seton Hall to have a shot at playing in the tournament in March. Georgetown still has games remaining against Providence and Villanova on the road and against Xavier (20-2, 8-2 Big East) at home, and with its conference record at 6-4, Georgetown must keep pace with the top half of the Big East if it is to have a shot at avoiding the National Invitation Tournament.

The game is scheduled for a 9 p.m. tipoff at the Prudential Center in Newark, N.J., and will be televised on CBS Sports Network.

track & field

Hoyas Focus on Team Mentality Daniel Baldwin Hoya Staff Writer

Following a slew of broken personal records and top finishes at the Pennsylvania State University National Invitational last weekend, the men’s and No. 11 women’s indoor track and field teams will travel to Boston for the Boston University Scarlet and White Invitational.

Both teams will then head to Staten Island, N.Y., for the Villanova Open Ocean Breeze meet, and the men’s team will also send a contingent of runners to the USA Junior Cross Country Championships in Bend, Ore., this weekend.

After an impressive performance by the men’s distance medley relay team and a recordbreaking showing by the women, the Blue and Gray will now turn its attention to other events.

“We want to put great marks up in key events, which will be the 800-meter and the mile on both men’s and women’s side,” Director of Cross Country and Track and Field Michael Smith said. “We want our sprint group to continue to get more experience competing and we’ve got a young group heading out to junior cross country, which is another step along the way of developing national caliber distance runners.”

Graduate student Andrea Keklak has made the most of her opportunities so far this season after regaining her form in the 2015 cross country season. Keklak, after missing the 2015 indoor and outdoor track and field seasons because of an injury, set a Georgetown record

in the 1000m race with a time of 2:42.76. Keklak also helped the women’s distance medley relay squad, achieving a time of 10:54.77, setting another school record.

Smith applauded Keklak’s effort and intensity and the rest of the Hoyas for their performances thus

“They are going up against history with such an incredible tradition. It’s a big deal to make marks in our record book.”

MICHAEL SMITH Director of Track and Field

far.

“We try not to be too high with the individual performances,” Smith said. “We try to remain steady emotionally about what we are doing. As someone who ran at Georgetown, I’m familiar with the history of this place, I recognize how hard it is to break those records. They are going up against history with such an incredible tradition. It’s a big deal to make marks in our record book.”

Georgetown will look to its other athletes in order to continue to build upon its fast starts to the season. Freshman Audrey Belf has carried over her late-season cross country momentum over to the indoor track and field season. Belf recorded a time of 9:21.13 in the

women’s 3000m at Penn State, earning the 12th-fastest time in the event nationally.

Afterward, Belf expressed her excitement about running in her first collegiate indoor race.

“I was really happy with it,” said Belf. “It was my first college distance race indoors, so I was happy to get out there and race in a competitive field.”

On the men’s side, sophomore Joe White will look to build off his impressive performance in the men’s 800m event at Penn State.

White clocked in at 1:47.44, securing third place overall in the race.

The Hoyas will also look to junior Jonathan Green to maintain his intensity going into this weekend.

Green recorded a personal record in the invitational mile with a time of 4:06.97.

Following the two-day meet at Penn State, Keklak and White each received Big East Track Athletes of the Week recognitions in the women’s and men’s divisions, respectively.

Despite the individualistic nature of track and field events and the impressive personal times recorded last weekend, Smith said he believes both the men’s and women’s squads are running for the team rather than focusing on individual statistics and awards.

“I think we are on a mission and are concerned with putting Georgetown in the place it should be in national track and field. People are looking at doing their job for their team, putting their individual marks aside and really making sure we are doing our job as a team.”

SPORTS

Women’s Basketball Georgetown (12-9) vs. Marquette (11-11) Friday, 7 p.m.

McDonough Arena

FRIDAY, FEBR UARY 5, 2016

TALKING POINTS

MEN’S TENNIS Georgetown heads to Princeton this weekend for its only Ivy League match of the season.

See B8

“

NUMBERS GAME

Being able to come off that road swing with three straight road wins, it shows our growth.”

HEAD COACH NATASHA ADAIR

MEN’S BASKETBALL

GU Seeks Key Conference Win

2

The number of players on the men’s basketball team averaging double digits in points.

WOMEN’S BASKETBALL

AIDAN CURRAN Hoya Staff Writer

After suffering a tough loss to Butler (15-7, 4-6 Big East) Tuesday night, the Georgetown men’s basketball team (13-10, 6-4 Big East) looks to get back on track Saturday night on the road against Seton Hall (16-6, 6-4 Big East).

The Pirates, led by Head Coach Kevin Willard, are enjoying one of their most successful seasons in recent history, and they have the potential to reach the NCAA tournament if they can keep up their strong play. Seton Hall defeated Providence (18-5, 6-4 Big East) on the road at the Dunkin Donuts Center in January and lost to Villanova (19-3, 9-1 Big East) at home by just one point.

In their last game, the Pirates defeat-

KARLA LEYJA/THE HOYA

Sophomore guard Dorothy Adomako scored 24 points and seven points in Georgetown’s wins over Providence and Creighton, respectively.

Hoyas Return After Road Wins

“The teams that don’t get as much appreciation are just as tough to battle ... because they’ve got some key players.”

MOLLY O’CONNELL

D’VAUNTES SMITH-RIVERA Senior Guard

road — that’s pretty good.”

In its matchup with Marquette earlier this season, Georgetown The Georgetown women’s bas- took a commanding lead in the ketball team (12-9, 5-6 Big East) first half. The Hoyas led by 10 returns to McDonough Arena points at the conclusion of the this weekend after winning first quarter and then strung three straight together a 7-0 games on the run in the secroad. George- “Those last three ond period to town will face games — Villanova, extend their off against conadvantage to 18 ference rivals Providence, points. Going Marquette (11into the locker 11, 6-5 Big East) Creighton — the room at halfand DePaul (17Georgelight bulb came on.” time, 7, 9-2 Big East) town led by 12.

— two teams Marquette NATASHA ADAIR that have alstarted the secHead Coach ready beaten it ond half deterthis season. mined to get “Being able to come off that back into the game. The Golden road swing with three straight Eagles were able to pull within road wins, it shows our growth. two points with 5:33 remaining It shows our maturity,” Head in the third quarter, but a tipCoach Natasha Adair said. in basket by freshman guard “Those last three games — Vil- Dionna White got the Hoyas lanova, Providence, Creighton — back on track. With 1:00 left to the light bulb came on. They’re getting it. … Three games on the See MARQUETTE, B9

Hoya Staff Writer

ed the Marquette Golden Eagles (15-8, 4-6 Big East) by a score of 79-62. The current Big East Player of the Week, sophomore guard Isaiah Whitehead, scored a game-high 21 points while sophomore forward Angel Delgado had a double-double with 19 points and 13 rebounds. Whitehead also added eight assists, six rebounds, three blocks and two steals. This season, Georgetown has struggled to defend breakout guards on opposing teams — Providence junior guard Kris Dunn scored 26 points last week against it — so limiting Whitehead will be key.

“The teams that don’t get as much appreciation are just as tough to battle night in and night out [because] they’ve got some great players,” senior guard and co-captain D’Vauntes Smith-Rivera said of Big East competition early in the season. “But hopefully at the end of the race, we’re on top.”

DANIEL KREYTAK/THE HOYA

See PIRATES, B9

Sophomore guard L.J. Peak scored a season-high 22 points against Butler and is one of two Hoyas averaging double digits in points per game with 10.8.

SUPER BOWL COMMENTARIES

Broncos’ Defense Must Carolina’s Postseason Stifle Running Game Dominance Poses Threat Eighteen Super Bowls ago, the Denver Broncos made history by winning their first title after defeating the heavily favored Green Bay Packers. During the trophy presentation, owner Pat Bowlen declared, “This one’s for John!” in reference to John Elway, the hall-of-fame quarterback who put this team together and is now the general manager. In 2014, Bowlen was diagnosed with Alzheimer’s disease and has not attended a game this season. Bowlen will not be in attendance at the Super Bowl this weekend in Santa Clara, Calif.. Like Bowlen now, and the entire team in 1997, the Broncos are underdogs again. However, there is still reason to hope and believe that Denver can win this one, and win it for Bowlen.

The Broncos will rely on what got them to the Super Bowl in the first place: defense. The Broncos, by most statistical measures, boasted the league’s best defense over the course of the 2015 season and were at their best two weeks ago against quarterback Tom Brady and the New England Patriots. Denver pressured Brady all afternoon and hit him 23 times. Just as they did two weeks ago, Denver’s major pass rushers, Von Miller, DeMarcus Ware, Derek Wolfe and Malik Jackson, must find ways to pressure the Carolina Panthers quarterback Cam Newton and force mistakes. By forcing Newton to throw on the run or into tight coverage windows, Denver’s ball-hawking secondary should have opportunities to knock down or intercept passes. If Denver can win the turnover battle, then it can pull off the upset.

Similar to New England, Carolina’s biggest receiving threat is its tight end, Greg Olsen. Olsen is Newton’s favorite receiving target and the Broncos must limit Olsen’s ability to get

open downfield. Two weeks ago, Denver’s defense as a whole successfully contained New England tight end Rob Gronkowski for three quarters in the AFC championship game. The Broncos will likely match linebacker Brandon Marshall and safety T.J. Ward against the 6-foot-5 tight end. By providing a safety over the top to help the linebacker, Denver will force Newton to make difficult, high-risk throws. On the outside, Carolina’s receivers do not pose a big challenge for Denver’s corners and Carolina would be ill-advised to try one-on-one matchups down the field as Aqib Talib and Chris Harris Jr. are two of the best corners in the league.

Even with all this, Denver must still stop the Carolina running game, which features a combination of Cam Newton, Jonathan Stewart and Michael Tolbert near the goal line. Denver prides itself on stopping the run, and making the Panthers a one-dimensional offense will be a major goal for the Broncos’ defense. To say Denver’s offense has been underwhelming this postseason is probably a compliment.

Denver has been abysmal on third down plays and in the red zone basically all season, and that simply will not be enough against a talented Carolina defense.

Denver needs to get its playmaking receivers involved early and spread the Carolina defense out enough to set up the run game. A downplayed weapon could be tight end Owen Daniels, who caught two touchdown passes against New England.

If Denver can run the ball, it can control the clock and just maybe put up enough points to win its third Super Bowl.

MICHAEL IPPOLITO is a junior in the College.

The last time the Carolina Panthers played in the Super Bowl, it was 2004. They lost the championship game to the New England Patriots, an American Football Conference team led by a young Tom Brady capturing his second Super Bowl ring. This Sunday, the Panthers will again face off against a superior quarterback in the big game, but this time, in the form of Denver Broncos quarterback Peyton Manning. However, based on the Panthers’ outstanding defense, multi-faceted running game and versatile quarterback, this year’s Super Bowl will likely tell a very different story than it did 12 years ago.

The Broncos’ defense kept them at an elite level this season — especially while undergoing the turmoil of having to sit Manning and start inexperienced Brock Osweiler — and led the league in overall and passing defense. However, it would be a mistake to consider the Panthers’ defense inferior by comparison. The Panthers ranked sixth in the league in overall defense, behind the Broncos, Seattle Seahawks, Houston Texans, New York Jets and Arizona Cardinals — and the Panthers have already beaten two of those teams. They also boast some of the best individual defensive players in the game: Luke Kuechly, Josh Norman and Jared Allen, to name a few.

Even though Super Bowl 50 will likely be a defensive battle, it’s important to note that Carolina’s offense has been effective this postseason. The Panthers have made winning two playoff games look pretty easy — they knocked off the defending National Football Conference Champion Seattle in a 31-24 finish, which saw Carolina rack up 31 easy points in the first half. The lack of offense in the second half was concerning, but the Panthers put any fears of inefficacy on offense to rest when they cruised past the Arizona Cardi-

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nals in a 49-15 victory in the NFC championship.

Meanwhile, Denver’s path to the Super Bowl has been the complete opposite. The Broncos slipped past a Pittsburgh Steelers team led by an injured quarterback whose main offensive weapon, wide receiver Antonio Brown, was out with a concussion. The Broncos then barely edged the Patriots in a game where just a rare missed extra point by the Patriots ultimately accounted for the 20-18 final score.

Is it true that Manning boasts Super Bowl experience that Panthers quarterback Cam Newton does not? Yes. But remember where that experience led him last time on football’s biggest stage: a 43-8 loss at the hand of the Seahawks — then led by second-year quarterback Russell Wilson — in Super Bowl XLVIII. If experience couldn’t get Manning a win against a tough defense after he had played for the entire season, what can he do after sitting on the bench for half of the season? Very little.

With Carolina playing as well as it is, experience at the quarterback position is essentially irrelevant. Newton is enjoying the season of his life, totaling 35 passing touchdowns and 10 rushing touchdowns in the 2015-16 season. Not only does he effectively distribute the ball to the likes of tight end Greg Olsen and wide receiver Ted Ginn Jr., he also poses a triple threat alongside running back Jonathan Stewart and fullback Michael Tolbert.

As exciting as it would be for all football fans to see Manning rise from the ashes and capture a championship in what will likely be his last chance as a professional football player, it is not too difficult to project the Panthers as the winners of Super Bowl 50. If Carolina can build off its momentum and continue its postseason dominance through the final game, the Lombardi Trophy is not far away.

MADELINE AUERBACH is a junior in the College.