The Hoya: The Guide: March 24, 2017

the guide F R I DAY, M A R C H 2 4 , 2 0 1 7

ILLUSTRATION BY MINA LEE AND AMANDA HU/THE HOYA

FEATURED

GUIDE The ‘Wild World’ of Bastille Instrumentalist Kyle Simmons chats about Bastille’s latest album and its new tour.

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‘T2 Trainspotting’ Amazes After 20 years, Danny Boyle’s follow-up to “Trainspotting” expertly expands on the franchise.

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Not Your Bubbe’s Deli On Rye updates elements of a traditional New York Jewish deli and brings them to Chinatown.

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Migos Shoots for Stardom Though their stage prescence was at times tenuous, the members of Migos show glimpses of greatness.

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SPORTS Predicting NBA Awards

With the NBA regular season wrapping up, take a look at who derserves to win this year’s awards.

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Lacrosse Sliding The men’s lacrosse team lost its second consecutive game to a ranked opponent, falling 11-7 to Loyola.

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THE HOYA

the guide

friday, MARCH 24, 2017

MICHAEL JACKSON, BILLIE HOLIDAY, CHUCK BERRY

Pictured clockwise from top, Michael Jackson, Chuck Berry and Billie Holiday are some of the most enduring black icons of American musical culture. Holiday’s “Strange Fruit” addressed numerous lynchings of blacks and Jackson’s “Thriller” set commercial and cultural records. Berry, who passed away last weekend, was perhaps best known for the 1958 song “Johnny B. Goode.”

A Cultural Crescendo: Black Origins of American Music Mac Dressman and Yewande Ilawole Specials to The Hoya

Nat King Cole. Ella Fitzgerald. Chuck Berry. Aretha Franklin. Kendrick Lamar.

When it comes to understanding the power of black artists in the American musical landscape, there is certainly no shortage of icons from which to choose. In fact, it is impossible to discuss the history of American music without examining the origins and impact of black music. For consumers of music today, the overarching influence of black music is palpable in every chord and lyric.

“You cannot imagine American music without its African influences. It just doesn’t exist,” said Benjamin Harbert, an assistant professor of music in the Department of Performing Arts.

Black music adds a layer of diversity to the American identity and constantly responds to the black American experience. The daily struggles, triumphs, hopes and failures of generations of black Americans are carefully and methodically recorded not only in the pages of history textbooks but also by the music and lyrics of the era.

Spirituals When slaves were brought to America, their music and culture came with them.

Slave owners forced their slaves to convert to Christianity, and, out of this blending of European Christianity and African music tradition, the Negro spiritual was born.

Spirituals not only served as an expression of sorrow but also as a code to orchestrate escapes and rebellions. Music was not just a luxury to be enjoyed in free time but also a necessity to spiritual and physical survival.

Although the commercial popularity of the spiritual died down after the Civil War, they experienced a resurgence during the Civil Rights Movements. In conjunction with gospel music, spirituals were used to express the oppression that still plagued blacks 100 years after emancipation. Often, music historians consider Negro spirituals to be folk music, which, by nature, must tell a story — a clear legacy of African oral tradition.

An example of this continuation is the work of early-20th century composer Will Marion Cook, a native Washingtonian who trained as a concert violinist and studied under Antonín Dvořák. Cook later com-

posed musicals that included elements from African-American folk.

Blues In the early 1920s, blues music began to flourish with the influence of work songs, spirituals and African music. In the harsh South along the Mississippi River under the regime of Jim Crow, blues offered the black community escape from the harsh reality of violent racism.

Blues music was dynamic and diverse, following no strict doctrine and using readily available instruments, sometimes even ones made at home. This trait made blues accessible to all people regardless of their socioeconomic status or race. At a time when black people were not given seats at the table of American culture, they created their own, one that was diverse and eventually dictated music culture for the next several decades.

Jazz Perhaps the most well-known American musical export, jazz was born from a fusion of musical styles in New Orleans, where Africans, white Europeans and French-speaking Creoles coexisted.

Segregation laws passed in 1894 divided dark-skinned Creoles from their lighterskinned kin, which gave black Creole musicians more incentive to associate with English-speaking blacks, resulting in a mixing of their musical traditions. Soon, jazz was brought by black workers on riverboats to places like Missouri and Kansas, and took off in the nightclubs of southern Chicago.

“It is happy-go-lucky, but at the same time very serious tones of a people who were fighting to be heard and fighting against some forms of oppression,” said Maurice Jackson, a professor in the department of history and African American studies.

Musically, jazz is known for its improvisation and experimentation.

“There’s an old saying: You can never step in the same river twice,” said Jackson, referring to the idea that a jazz song is played differently every time, and no two performances are exactly alike.

Jazz is a dynamic genre that welcomes new influences and has a wide variety of styles and forms, such as the easily danceable swing, frantic and highly improvisational bebop associated with Charlie Parker, and experimental, chaotic free jazz of Ornet-

LOUIS ARMSTRONG FACEBOOK

Coming into prominence in the 1920s, jazz legend Louis Armstrong was a trumpeter, composer, singer and actor whose incredibly influential and prolific career spanned five decades.

te Coleman. Just as jazz musicians incorporated other forms of music into jazz — Miles Davis and Herbie Hancock’s renowned infusions of soul and funk, for instance — jazz in turn influences modern albums like Kendrick Lamar’s “To Pimp a Butterfly.” The wordless improvisational scatting of jazz singers like Louis Armstrong and Ella Fitzgerald have also inspired modern music.

“Some people say it is the origin of hiphop,” said Jackson of scatting.

The impact of jazz has reached beyond just music. Bebop artist Dizzy Gillespie’s beret and goatee became trademarks of black countercultural fashion, and celebrated figures such as Armstrong became the faces of black America in their heyday.

“In 1957, during the Little Rock Boycott, Eisenhower tried to get [Armstrong] to go to Russia to say, ‘What you’ve seen on TV is not true. We don’t beat our black people,’” Jackson said.

Musicians also addressed social issues through their work. Free jazz’s avant-garde nature was seen by some as revolutionary social critique, while artists from Max Roach to Billie Holiday released overtly political works including the former’s album, “We Insist! Freedom Now,” and the latter’s famously haunting song, “Strange Fruit.”

Rock ‘N’ Roll Although many would consider rock music to be a largely white genre, many of its origins lie in the black community.

“Part of the exuberance that you hear in early rock ‘n’ roll is tied to the migration of lots of African Americans as part of the war effort to cities and various parts of the country, excited about participating in this industrial boom that America was witnessing,” Harbert said.

Rock ‘n’ roll evolved most directly from the rhythm and blues of the 1940s and ’50s, both of which the record industry categorized as “race music” at the time. Although the first rock music was created with a black audience in mind, white teenagers soon caught wind through radio broadcasts and were drawn to its rougher sound and edgier themes.

Rock ‘n’ roll soon became a mainstream cultural phenomenon, with artists like Little Richard, Fats Domino and Chuck Berry gaining widespread play and popularity. The experiences of the late Chuck Berry, who passed away last weekend, reflect the complicated racial situation of America at the time.

“From the beginning of his career, he played to both white and black audiences,” Harbert said. “He writes about this in his autobiographical writings, about how hard it was to play to both crowds … He tried, through music, to overcome racial divisions between audiences, but, in playing rock ‘n’ roll, he never let go of his roots.”

As rock ‘n’ roll continued to grow in popularity among white audiences, the genre was rebranded by record labels as a white genre, and the relative presence of black artists diminished, with the exceptions of artists like Jimi Hendrix and Prince. Rock was the dominant genre of the mid-to-late-20th century and spearheaded a massive cultural movement that persists today — it is difficult to overstate the significance of its black origins and contributors.

Hip-Hop For many young Americans today, the first thing that comes to mind when “black culture” is mentioned is hip-hop. The term “hip-hop” itself refers to more than just rap music; it encompasses a larger movement stemming from the urban black experience, including elements of expression such as

deejaying, graffiti and breakdancing. Born in the black communities of 1970s New York City, hip-hop was heavily influenced by Caribbean immigrants who brought practices like “toasting,” or rhythmic vocal addresses, to crowds and the use of mobile DJ units to the neighborhood.

Competition has always been a dominant theme in hip-hop, and parties often had multiple DJs competing through volume and song selection. DJs also frequently hired MCs, or “masters of ceremony,” who spoke to hype up the crowd. Rap broke through to the mainstream with the 1979 hit record “Rapper’s Delight” by The Sugarhill Gang, and hip-hop soon became an unstoppable force in modern music. Run-DMC’s 1984 eponymous album was the first to sell 500,000 copies, heralding the dominance of rap in the ’90s and 2000s.

Musically, hip-hop’s defining feature is the use of electronic drums, synthesizers and looped samples from other media to produce unique backing tracks for rappers. In these beats, it is common to hear fragments of soul, R&B and funk songs from previous decades, so listeners can trace a direct lineage from the sounds of the past to the songs of today. For example, Nina Simone’s 1968 song “Do What You Gotta Do” is sampled in “Famous” from Kanye West’s 2016 album “The Life of Pablo.”

Hip-hop continues to have a huge influence on American culture, which can be clearly seen through fashion trends such as oversized athletic jerseys, gold tooth grills and bucket hats. Lyrically, rap has always been controversial, with ubiquitous profanity and frequent themes of violence, drugs and misogyny.

However, it has also served as a vehicle for black empowerment and social commentary, through songs like Tupac’s “White Man’z World” or Kendrick Lamar’s “The Blacker the Berry.” Hip-hop is the culmination of urban black culture, and it shows little sign of decreasing in popularity or importance.

Black Pop Music Modern pop stars of all races would not exist in their current forms without black music. In nearly every genre of popular music, black musicians have had a significant impact. Pop stars like Michael Jackson, Prince, Mariah Carey and Whitney Houston all represent the most recent infusion of black music into the American mainstream. Jackson’s “Thriller” catapulted black musicians to the forefront of the world, with 29 million albums sold.

This widespread appeal represented the changing views of Americans in regards to race — Jackson’s popularity could overcome the racial prejudice that had characterized America for hundreds of years. Into the 21st century, hip-hop and rap became integral parts of the American pop identity.

Black music adds more nuance to the way that America is perceived globally. Hip-hop music has altered the kind of pop music to which Americans listen, adding significant amounts of drums, bass and sampling. The black influence did not end in America, and has spread around the globe with rap and hip-hop scenes developing all around the world.

“Pretty much every style of music had some sort of mixing and separation. The history of the United States is based off of this process, of bringing together and then separating,” Harbert said.

Although black Americans today still face racial inequalities and prejudice in their lives, in forms both old and new, there remains a unifying thread that can be felt in aspects of music and culture — a determination to be heard.

friday, MARCH 24, 2017

the guide

THE HOYA

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FEATURE

UNIVERSAL MUSIC GROUP

Years after their iconic hit “Pompeii,” Bastille’s new album “Wild World” maintains the band’s classic style while exploring fresh perspectives and themes in its reflective lyrics and deep sound. Band member Kyle Simmons sat down to discuss the Bastille’s “Wild World Tour,” which begins March 24.

Kyle Simmons on Bastille’s New Tour and Music

Meena Raman Hoya Staff Writer

British pop-rock group Bastille quickly rose to fame in 2013, following the release of hit single “Pompeii” — one of the most streamed tracks that year. Since then, the band has lost none of its momentum, keeping its schedule full with performances, tours and frequent releases of music, most recently, its sophomore album, “Wild World.” The follow-up to Bastille’s debut studio album, “Bad Blood,” 2016’s “Wild World” explores new thematic and stylistic directions yet retains the band’s trademark upbeat sound and emphasis on thought-provoking lyricism. As the Grammy-nominated group prepares to kick of the North American leg of its “Wild, Wild World” tour on March 24 in Toronto, band member and keyboardist Kyle Simmons spoke to The Hoya in an exclusive interview to discuss Bastille’s latest music.

Some of his responses have been edited for brevity and clarity.

When you were in the studio producing “Wild World,” how was your thought process different than it was for “Bad Blood?” What new directions and themes were you inspired by?

“Bad Blood” was written in such a different environment. It was about, kind of, growing up and finding your place in the world as an adult, whereas “Wild World” is more, “Okay, I’m an adult now, and the world is pretty f- - -ed up.” It’s a pretty

difficult place to live in sometimes, but you can find solace in relationships, and friendships and family. It’s basically just finding out that it’s a bit of a crazy place, hence the name “Wild World.” When the song “Warmth” was written, that’s when all the themes kind of linked, and so we took the lyrics “Wild World” from that song, and that’s what the album ended up being called.

So, would you say the current social and political landscape affected the direction of your music?

I think it’s pretty clear from a few of the songs. It was just, “Wow, there’s a lot s-- -t going on,” and just kind of digesting it, and, sort of, responding to a lot of stuff that’s going on as well.

Did you have any new musical influences with this album that affected its style or genre?

Nothing directly, but, like indirectly, all of us listen to so much different music that there was just loads of stuff that we love about, like, Kendrick. On this album, it was less about having a similar sound, kind of, between songs. We were like, “If we want to write a big, massive guitar, kind of rocky song, then we’ll do it. If we kind of want to write a chilled, electronic synth song, like “Four Walls,” then yeah, we’ll do that as well.” So, musically, it’s pretty sporadic, in terms of the genres.

Bastille is hitting so many cities and major

venues on the upcoming “Wild, Wild World” Tour. What are you most looking forward to, and what can fans look forward to, with the upcoming concert series?

We are so excited to come back out to the States. The last time we were there, we did shows where we went back to the places where we first played, and, so, they were like really small venues, like 200, 300 [person] cap. Now we’ve got a lot more material to play, and we just hope people like what we’ve done with the show.

You are also returning to Coachella in April this year. What is most exciting about playing at that kind of unique festival style venue?

It’s always a good chance to meet up with loads of friends who are in other bands. Coachella, it’s such a staple, it’s such a big thing, and, you know, lots of people go to play, but loads of people go there just to hang out. And it’s such a nice environment, and the weather’s pretty much always nice. And also, we, as music fans, just love to go and see people playing, and the line-up is incredible.

“Good Grief,” the first track on the album, has become especially popular since the album’s release. What was the inspiration behind that track, in particular?

It’s that kind of classic combination, lyrically, quite dark content but framed in quite upbeat, kind of melodic, hooky, kind of, pop music. The song is about

death, basically, and about, kind of, grieving, and sort of the process and mindset during that time. It’s never really about a specific thing, we always leave it a little bit open to interpretation so people can kind of project, you know, whatever they think it’s about.

Do you have any personal favorite tracks on the new album that you in particular really liked to record or perform?

I really like “Fake It.” I just love when the chorus hits, and I remember: We were out, because the guy that mixed it, Manny, he’s from the States, showed it to us, and our chests were rumbling. And then live, as well, “Lethargy,” is one of the songs we really like to play. I think it’s kind of the most indie song that we have on our repertoire.

“Pompeii” was sort of Bastille’s breakout hit.

Do you remember what it was like when that song really started to gain a lot of popularity?

We honestly, genuinely did not expect that to happen. It was just so weird that it managed to strike a chord with so many people in so many places, and that was that kind of moment that we were kind of opened up the world. “Pompeii” was kind of the doorway for us to do that, and the doorway for a lot of people into our music. Honestly, that’s kind of when our lives kind of changed. It was something that we’re so grateful for — our lives have never really been the same since.

Nomadic Brings to Life the Trial of Judas Iscariot Dani guerrero Hoya Staff Writer

From Georgetown’s cocurricular student theater group Nomadic Theatre comes the exceptional “The Last Days of Judas Iscariot.”

Based on the play by Pulitzer prize-winning Stephen Adly Guirgis, this Production follows the appeal trial of Judas Iscariot’s damnation.

In downtown purgatory, an ambitious young lawyer by the name of Fabiana Cunningham, played by Alison Lane (COL ’19), defends one of history’s most controversial figures.

Nomadic Theatre’s socially conscious vision purposefully selected a complex, multi-faceted play that explores several issues that remain relevant in contemporary society.

“This is not one of those plays where there are good guys and bad guys.”

VELANI DIBBA (sfs ’17) Student Director

“Nomadic Theatre is a very socially engaging group. We wanted to take these topics and engage with them in a way that’s respectful and not off-putting for the audience,” student producer Bee Jaworski (COL ’17) said. “It’s very important to put on these sorts of plays with difficult material in them to learn from them, to let that content show us the lessons we can learn from it.”

The play brings in some high-profile witnesses to speak about Judas Iscariot, including Sigmund Freud, Pontius Pilate, Mother Teresa and Caiaphas the Elder. Biblical emblems such as St. Monica, St. Peter and St. Matthew also make memorable appearances, as do Satan and God themselves.

“The play is sort of like a mystery. It’s this uncovering — this unpackaging — of history and time. In doing that, it’s important that we get glimpses of what other people think about Judas. We see it through his mom; we see him through Mother Teresa; and, at the end of the day, we let Judas have his say,” student director Velani Dibba (SFS ’17) said. “Because that really is like a court case works: You hear everyone else’s testimonies. The play allows you to form your own judgements based on who you think you would trust. Would you take [the] saints’ words for it? Would you take Mother Teresa’s word for it?”

A fascinating character, defending attorney Fabiana Cunningham leads the narrative into uncharted territory, questioning each witness’s role in history, as well as his or her own regrets and struggles.

“She is definitely an instigator. She knows

COURTESY BAILEY BRADFORD

Nomadic Theather’s new production explores difficult subjects of betrayal, guilt and redemption through the trial of Judas Iscariot, one of history’s most complex characters. The play provokes dynamic debates about human relations in religion and history. exactly what buttons to push to get the characters to say what she wants them to say. She has this understanding of these people that you wouldn’t expect her to have,” Lane said. “She just knows that there is more than meets the eye to all these different characters and knows what to say that is going to get that out, that hidden truth below what the exterior is. As an audience, we don’t really know what these characters were actually were when they existed, so it’s interesting to see this perspective from a lawyer that is just a woman, not a special character or historic figure.

While successfully raising thought-provoking debates and exploring difficult subjects, the play maintains an uproariously sharp tone, providing audiences with a fair share of laughter. The show explores both the bitter and the sweet behind Judas’ trial.

“It’s a very atypical comedy in the sense that it explores serious subject matter, but, at the same time, we have these lighthearted gags, these higher-level intellectual jokes and these references.” Dibba said. “It has something for everybody, which I think is great, because at the end of the day this play is a model of life — it’s life in a play.”

Notable performances include expert witness Sigmund Freud, masterfully portrayed by Chris Phillips (MSB ’20) and prosecutor Yusef El-Fayoumy, featuring a piercing Benjamin Lillian (COL ’18), who commutes from hell every day to represent God in the kingdom of heaven. Thomas Shuman (COL ’17) seamlessly impersonates both short-tempered Judge Littlefield, stuck in purgatory for the past 140 years, and severe Caiaphas the Elder, cuttingly reflecting on Judas’ historic vilification.

“This is a play about imperfect people. Often times in plays, there’s a tendency, I think, to expect the ideal in a play. So, you look at a character and go like, ‘Oh, the play is saying I should or shouldn’t behave like that person,’ and this is not one of those plays where there are good guys and bad guys; it’s just people doing things that are good and bad,” Dibba said.

Danny Frumento (COL’ 18) steals the show with his charming personification of Satan, fully dressed in Gucci and drinking tall bourbons. Alongside Andrew Schneider (COL ’19), who offers a moving portrayal of Judas, Frumento shines in a bar conversation between the two characters.

“The character of Satan just knows every lit-

tle thing that you hate about yourself, and he knows exactly where each character’s insecurities lie, where their regrets lie, where their sorrows are. He serves as this catalyst for the rest of the characters, because he pulls those out and puts them on the spotlight, just like all Judas’ regrets are on the spotlight, too,” Lane said.

Ultimately, audiences can relate to Judas beyond his historical controversy. His deep regrets and self-punishment resonate as he struggles to find redemption.

“Judas is a kind of representation of those deep regrets that we have. Even though you never really know, you never really find out whose personal regrets are what. Every character across the board has something they regret,” Lane said. “None of them have lived perfect lives, and even though you can only see bits and pieces of that, I think Judas serves that purpose to show that everybody is feeling that fear, that regret and that sadness, and that’s what ties the entire cast together in the end.”

“The Last Days of Judas Iscariot” runs from March 23 to 25, as well as March 30 and April 1 in Village C Theater. Student tickets are $8 and general are $12. Tickets can be bought at the Davis Performing Arts Center or online.

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the guide

THE HOYA

Friday, MARCH 24, 2017

Concert review

This week’S TOP FIVE

Top Five Disney Remakes

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JUNGLE BOOK

The 2016 remake of Disney’s “The Jungle Book” was critically acclaimed for its soundtrack, stellar visual effects and star-studded cast. Among the famous voices filling the roles of the beloved characters were Bill Murray, Ben Kingsley, Idris Elba, Lupita Nyong’o, Scarlett Johansson and Christopher Walken. As newcomer child actor Neel Sethi took the screen, child and adult audiences alike fell in love with Mowgli’s story all over again.

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101 Dalmatians

The 1996 remake of “101 Dalmatians” is the quintessential family comedy.

Starring Glenn Close as Disney’s most fearsome villain, Cruella De Vil, the film garnered commercial and critical success — even receiving Golden Globe Awards and British Academy of Television and Film nominations. The faithful live-adaptation received a sequel four years later, continuing the ever-exciting battle for the Dearlys’ litter of adorable Dalmatians.

LIVE NATION

The “Game of Thrones” Live Concert combined powerful musical performances with stunning visual effects and staging, bringing the brilliant scores to life.

Game of Thrones VERIZON CENTER

matthew trunko Hoya Staff Writer

A sudden thrust of a chorus of violins began the concert with the iconic opening theme of “Game of Thrones.” Smoke billowed from center stage as the Iron Throne rose from beneath.

Giant screens synced with the orchestra’s performance played the “Game of Thrones” title sequence, drawing the audience into the show’s world. The audience was now in Westeros, engulfed by the sounds of crisp strings, thunderous drums and a bellowing chorus. Though at times overwhelming, the “Game of Thrones” Live Concert succeeded in creating an authentic experience through its detailed stage effects and engaging musical performances.

Ramin Djawadi, the composer of the “Game of Thrones” score, directed the orchestra. While the soloists traveled with Djawadi for the duration of the tour, the members of the orchestra and the choir were local musicians. The choir skillfully supported the orchestra with its swelling background vocals, and the orchestra performed music true to the sounds heard from the series.

A significant highlight of the concert was Djawadi’s keyboard performance for the “Light of the Seven.”

The stage design was captivating: Two large circles on each end connected an elevated pathway with spokes curving out from it. The orchestra performed on one end, while the other was used for solos. Above each circle were layers of massive cylinders with screens hanging from the ceiling.

During the performance, soloists went out onto the spokes of the stage and moved into the audience. The concert was dynamic, given that the soloists interacted with both one other and the audience. All of the soloists brought the concert to life by taking on the ethos of “Game of Thrones” characters, through their movements, costumes and expressions during each song.

The horn soloist had the most striking musical impact of the concert. With a multitude of ambient noises, each solo was distinct from the last; this was primarily accomplished through the use of a variety of instruments ranging in size from that of a recorder to that of a stationary Tibetan horn. On television, these sounds fade into the background and thus the audience takes them for granted. Yet, in concert, the audience can recognize the important role that the strange low hums of the horn soloist plays in creating the atmosphere of “Game of Thrones.” The soloist’s passionate performance was one of the highlights of the concert, casting a spotlight on the musical beauty of what is normally disregarded as back-

ground noise.

Each soloist made use of the stage. Transforming with each new song to help frame the scene, the stage created the diverse locations of “Game of Thrones.” For the song “Goodbye Brother,” massive cylinders were lowered as a curtain rose around the first violinist during her solo. The screens on the cylinders transformed into the leaves of a tree, while petals drifted down from the ceiling. During the song “What is Dead May Never Die,” the anthem of the seafaring House Greyjoy, the cello soloist sat at the end of the stage with water splashing in front of him. One of best scene designs was of the show’s Church of the Seven, which was expertly crafted through lighting techniques.

A single massive spotlight, shown through a seven-pointed star, hung from above, casting its shadow across the stage. The audience reacted most, however, to the song “Dracarys.” When the screens displayed the dragons from the show attacking their enemies, large blasts of fire shot up from the stage, matching and amplifying the intensity of the drums.

Though the stage and effects did help to bring the atmosphere of “Game of Thrones” to life, the concert felt overwhelming at times. Often, it was difficult to know where to focus. Giant screens played video clips that sometimes distracted from the performance.

During one of the songs, characters from the show were shown on screen. The audience responded with passion that varied depending on the individual characters. The image of Joffrey Baratheon incited insults and boos, while Daenerys Targaryen received thunderous applause. While experiencing the passion of the “Game of Thrones” fans added to the charged atmosphere of the concert, it sometimes made listening to the orchestra difficult.

A significant highlight of the concert was Djawadi’s keyboard performance for the “Light of the Seven.” Djawadi spoke to the audience about his experience with the show and then walked across the stage and sat down at the piano. The song opened with a simple repeating melody, played softly by Djawadi. Watching the composer of the music perform this emotional solo was an inspiring experience. The song gradually grew more complex, as strings and vocals accompanied his melody. The keyboard rose as the stage began to glow green from below. Reflecting the intensifying playing of Djawadi, the stage lights grew brighter as the melody began to crescendo.

Djawadi’s passion was evident as he played. This main set closer embodied the concert at its best, as the stage effects enhanced — rather than distracted from — the musician’s performance of the incredible soundtrack.

The “Game of Thrones” Live Concert had had an overwhelming amount of movement and effects, but the skillful performances of the musicians and Djawadi in particular are what made the experience memorable. The concert was at its best when the stage effects did not dominate the scene, but rather supported it, letting the music be the focus of the show.

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WALT DISNEY PICTURES

the parent trap

This update of the 1961 film provided audiences with some of the most endearing twins in cinema. The identity-switching sisters, both played by Lindsay Lohan, who successfully reunite their parents delighted audiences across the world. Viewers will never forget Elaine Henrix’s legendary embodiment of the villainous stepmother, always in red lipstick and lavish hats. Iconic yacht dates, epic camping pranks and of course, Dennis Quaid’s famous chili, made “The Parent Trap” the Disney gem that it is today.

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WALT DISNEY PICTURES

beauty and the beast

The newest addition to the list also happens to be one of the best remakes yet. This liveaction and digital hybrid starring Emma Watson and Dan Stevens keeps most of the beloved traditional elements from the 1991 original, while providing audiences with a refreshing take on this classic fairytale. Ewan McGregor as smooth candelabra Lumière and Ian McKellen as charmingly anxious Cogsworth, along with a beautifully composed soundtrack, is bound to excite longtime Disney fans and newcomers alike.

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WALT DISNEY PICTURES

Released in 2003, this vibrant adaptation of the 1976 comedy received massive critical acclaim, crowning Lindsay Lohan as the undisputed queen of teen dramas. This Disney classic entertained families and sparked lively conversations about modern parent-child relationships. Jamie Lee Curtis provided viewers with one of the most hilarious moms ever, and her immediate chemistry with Lohan made them one of Disney’s most emblematic twosomes.

WALT DISNEY PICTURES

freaky friday

WALT DISNEY PICTURES

Photo of the Week | Desert Camel in Qatar

LIVE NATION

Ramin Djawadi, the composer of the “Game of Thrones” score, connected with audience members as he spoke about his own experiences composing for and working on the show.

LAUREN SEIBEL/THE HOYA

friday, MARCH 24, 2017

the guide

THE HOYA

RESTAURANT review

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bake my day

Nina Young

Counting Macros With ‘Food Tetris’

ON RYE

Located in Chinatown, On Rye features delicious Jewish deli fare, including its signature babka ice cream sandwich and chocolate egg cream. The extensive array of gourmet breads makes for an unforgettable experience of true New York deli selections.

Reimagining Classic Deli Comfort on rye

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760 6th St. NW, Washington, D.C. 20001 | Cuisine: Jewish | $ Eleanor Tolf Hoya Staff Writer

Just around the corner from the Verizon Center, the smells of pastrami and latkes spread onto the streets of Chinatown. Entering the new deli-style restaurant On Rye, customers will be greeted by a wall displaying staples from authentic New York Jewish delis, such as cookbooks and condiments, contrasting with the more modern, open layout of the diner, designed by local firm HaptakDemetriou+.

On Rye’s menu succeeds in offering genuine Jewish deli items that can appeal to customers unfamiliar with the specific cuisine. Many selections appear to be basic sandwich-shop fare but with a Jewish twist. The “P.L.T” stands out as a take on the classic BLT, consisting of pastrami bacon, spinach and green tomatoes on challah bread. The “turkey and haroset” sandwich — turkey breast, fennel and apple compote on a Kaiser roll — may strike the unknowing customer as an interesting combination of ingredients, but it is much more: a tribute to a Passover tradition. Haroset, or charoset in Yiddish, is a fruit- and nut-based paste eaten at Passover that symbolizes the mortar used by enslaved Israelites in Egypt, according to the Talmud.

The restaurant is replete with small but noticeable nods to New York Jewish culture. The main soda offered at On Rye is Dr. Brown’s. The brand, created in the late 19th century, was sold mostly to New York delis and door-to-door in Jewish neighborhoods during its first years.

It was one of the few soda options available for observant Jews before Coca-Cola received its kosher certification in the 1930s. These small

but significant details at On Rye attest to its authenticity as a New York-style Jewish deli, while the variety of the diner’s menu allows for a broader customer base. Ilyse Fishman Lerner, the owner of the new deli-style restaurant, hopes the sandwich-based menu can offer the hits that attract people to Jewish delis while also providing selections trendy and healthy enough to keep up with the competitive D.C. restaurant scene.

Before bringing her updated take on Jewish classics to the nation’s capital, Lerner studied restaurant management at the Institute of Culinary Education. Lerner and her husband Jonathan Lerner — grandson of Washington Nationals’ owner Ted Lerner — are both former New York attorneys trying their hand at the D.C. culinary scene. The couple debuted select items pop-up style throughout the city before the restaurant’s opening. They focused on Jewish communities, sampling at the Sixth & I Historic Synagogue, located a few blocks away from On Rye. The couple’s brand received its first major buzz when they sold their signature babka ice cream sandwich at Nationals Park.

One of the Lerners’ main goals in starting On Rye was to offer healthier versions of Jewish deli staples. The signature corned beef and pastrami is made of a leaner, wagyu beef and cooked sous vide, which helps reduce the need for salt. Additionally, the menu offers vegetarian-friendly fare; half the sandwiches already are or can be made meatless. The Reuben, traditionally made with corned beef, is offered with either smoked beets and gouda or mushrooms and charred broccoli. Vegetable latkes with lemon-yogurt sauce are also available to those more health-conscious or veggie-loving

customers.

Some of the most special items, however, can be found on the dessert menu. The chocolate egg cream is made vegan, with no eggs and no cream. The traditional Jewish dessert babka, a spongy cake made of twisted dough and topped with streusel, comes by the slice and as part of an ice cream sandwich. It can even be served as a delicious substitute for French toast during weekend brunch.

Lerner says the restaurant hopes to expand its brunch options in addition to the sandwichbased menu currently offered.

Most hands involved in the making of On Rye head from the D.C. metro area. Although Lerner is a native Floridian, her husband is a native Washingtonian and Georgetown Law alumnus. She has recruited local help, in both the provision of ingredients and production, and thus built the success of On Rye. The breadheavy menu features selections from Uptown Bakers, of Hyattsville, Md., and Leonara Baker, from Arlington, Va. The babka ice cream sandwich, the item that first put the restaurant on the map at Nationals Park, features vanilla bean gelato from the local favorite Dolce Gelato on a chocolate babka.

A few blocks from the Gallery Place metro stop, On Rye is a great new option for a quick meal, especially after a basketball game or for a Sunday brunch excursion. The small but varied menu can appeal to almost any eater — gluten-free, vegetarian or meat lover. The Lerners have merged the millennial-focused D.C. culinary scene with the generational New York Jewish deli in a subtle but effective way. On Rye succeeds in offering food that carries authentic Jewish themes while remaining trendy enough for weekend Instagrams.

restaurant review

Crafty Drinks and Traditional Treats The Royal

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501 Florida Ave. NW, Washington, D.C. 20001 | Cuisine: Colombian | $$ Sarah Dieter

Special to The Hoya

As a small restaurant tucked into a townhouse at the center of the historic Le Droit Park neighborhood near Howard University, The Royal brings together Colombianinspired eats and inventive craft cocktails to give diners an affordable trip around the world.

The Royal was founded in the summer of 2015 by restaurateur Paul Carlson at the site of a previous business, Royal Liquor Store, from which the restaurant gets its name. The son of an American diplomat in Latin America, Carlson found inspiration for The Royal during his many travels, incorporating items that he collected throughout the years into the restaurant’s rich decorations.

With the food reflecting what Carlson and his family love to eat at home, The Royal aims to share with its diners a personal and intimate experience. Carlson also co-owns the restaurant with his sister Katrina, his father Ron and his mother Gloria, whose childhoods in Colombia influenced the many Latin foods that can be found on the menu. Although the menu does feature predominantly Colombian items, dishes have influences from different parts of the world, such as Scandinavia, North Africa and Japan.

When my party arrived at the restaurant, we found it teeming with hip twenty-year-olds sipping cocktails with fashionable names such as “Rum for It!” ($12) and “The Monks Made Me Do It” ($12). The Royal does not offer full table service, so we went up to the crowded counter to place our order before finding a place to sit at the bar, where we were served our meal.

The deliciously filling hearts-of-palm arepa ($11) proved a great way to start off our culinary journey. Pan-fried hearts of palm were packed along with cotija cheese into the arepa pocket, covered with a spicy chipotle mayo. I expected the arepa to be soft and its contents to fall out at every bite, but I was pleasantly surprised to find a good amount of crunch without too much of a mess.

Other items that my party sampled included the delicious sauteed squid and shrimp ($16), featuring a trendy skillet filled with large squid and shrimp dressed in a perfectly balanced

amount of citrus. The dish was topped off with a large piece of toast that could be used to collect the leftover juice at the bottom of the skillet.

However, the next few dishes proved not as tasty as the first two. The empanadas ($6) looked like fluffy little clouds of pork but felt like a corndog with the corn breading overpowering the meat inside. The cheese arepa ($9) was also bland and disappointing. Despite unexpected disappointments given the good start, we did end on a good note, with the house fries smothered in aji amarillo mayo.

The large-cut fries came with a side of ketchup and presented the perfect amount of crispness — not so strong as to cover each ingredient’s taste and not so bland as to go unnoticed.

Although the restaurant describes itself as a “bar and kitchen,” it focuses mainly on drinks.

The place is often praised for the quality of the

liquor and the simplicity of the drinks.

Open at 8:00 a.m., The Royal offers an assortment of breakfast arepas, sandwiches and “house creation” coffees. One such coffee is called the “Cold Hearted” ($4.50), a concoction made up of chilled espresso, vanilla, steamed milk and cocoa drizzle. With the excellent ambience and array of caffeinated beverages, the place is a great destination for students looking for new hangouts to spend hours working on their homework or studying for their next test.

Overall, I had a very good experience at The Royal. The great hours, the overall delicious food and the crafty drinks really speak to the foodie hidden in all of us. Despite being a bit of a drive from campus, about 20 to 30 minutes, any Georgetown student who has the time and a pretty penny to spend

I

t’s Lent, and you know what that means: dietary restrictions on top of fasting. I am a particularly big fan of Lent; it helps you temper yourself, learn about other modes of living and eating, and gain empathy for those who have less.

The different ways to fast are myriad. Recently, however, fasting from food in particular has fallen off the public radar. Many who undertake the task choose to give up aspects of their lives such as social media instead.

As a diehard fan of dietary restrictions, I choose to fast every year. This is why I do not drink carbonated beverages and can make some killer vegan cupcakes, and also why I know different diets work for different people. This week’s dietary plan comes straight from the experts. By the experts, I mean my co-worker at The Tombs, Xinwei Zeng (NHS ’17), a beautiful female bodybuilder who served as both my inspiration and my coach.

She calls it “food tetris.”

Macronutrients, or “macros,” are what make up the calories in your food: fats, carbs and proteins. The diet is essentially centered on the idea that counting calories doesn’t work; counting macros does. It is not just about how much you eat but rather what you eat.

Although it does sound like that pesky paleo diet I wrote about in my first column, there is an essential difference. The paleo diet restricts your dietary options; “food tetris” does not. When counting macros, you can treat yo’self every day while keeping healthy.

“Food tetris” is a diet based on your body mass and dietary habits. You calculate how many macros you should eat to achieve what you want — to bulk, to tone or to maintain — then work out your food consumption beforehand and follow through. I used the iPhone app, Mymacros+, to track mine this week.

Overall thoughts: I loved, loved, loved counting my macros. Zeng’s name for the diet, “food etris,” really does it justice. It was fun to take a break and calculate what I had to eat each day to meet my macros — and horribly exciting to look forward to food rather than having to shy away from it. The biggest difference I found between counting macros and the paleo diet was that the former curbed cravings; when you’re loading up on protein, it’s rather difficult to feel hungry. When you are having a candy bar every day, it is difficult to scarf down that pint of Ben & Jerry’s later that night. Counting macros kept me conscious of what I was eating, which kept me healthy and confident in what I ate.

I also tried to hit the gym for something other than cardio this week. As a long-distance runner, I have never felt too inclined to brave the testosterone-clogged weight area of Yates Field House before, but I did it. I even made it to the gym six-out-of-seven days of the diet during midterm season! It was fun to try something different, and I have a much better understanding of those intimidating muscle machines now.

Although my endorsement is fine, at the end of the day, I’m no bodybuilder. I asked Zeng to give us some feedback on what it is like to live counting macros and constantly toning up at Georgetown. Some of her answers have been edited for clarity and brevity.

How did you get started?

I was first getting started in weight training about three or four years ago, and was following some fitness accounts on Instagram. Back then “clean eating” was generally the norm in the bodybuilding circles, but this was also about when Dr. Layne Norton put out his first video on metabolic damage and started to become really popular as a contest prep coach.

At the time, he and a few others were really pushing flexible dieting and macros and I think I was just at the right place at the right time. Macro-based dieting was just getting popular, and I decided to try it.

To whom would you not recommend a macro diet?

Anyone who is happy with his or her current weight, diet and athletic performance, and anyone who is currently suffering from or undergoing treatment for an eating disorder. Contrary to what a lot of online quacks say, counting macros will not solve your issues with food. True, it will show you that a carb is just a carb, but counting macros can become just as neurotic and cause the same restrictive tendencies as any other eating disorder.

Other thoughts?

At the end of the day, macro-counting is just another tool to help with nutrition management. Just because a food “fits” in the numbers doesn’t mean it’s the best choice. Of course, counting macros isn’t for everyone.

Certain macro ratios won’t work for everyone.

If you want to try macros, don’t be afraid to adjust things so that you feel your best. I prefer high-protein, high-carb and moderate-fat counts, but I know plenty of other people doing low-carb, high-fat and look and feel great!

Or, if you are vegan or have digestive issues, then high-protein might not be feasible, and that’s okay too. Track for a week, take notes on how you feel and adjust as necessary.

The Royal

Located in the middle of historic neighborhood Le Droit Park, The Royal offers customers a Colombian twist on traditional cocktails and delicious regional treats.

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

For the full interview with Zeng, check out BAKE MY DAY online at thehoya.com.

Nina Young is a sophomore in the School of Foreign Service. BAKE MY DAY appears every other Friday.

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the guide

THE HOYA

Friday, MARCH 24, 2017

Movie review

SONY PRODUCTIONS

“T2 Trainspotting,” the long-awaited sequel to Danny Boyle’s 1996 black comedy “Trainspotting,” follows the lives of a group of Scottish heroin addicts 20 years after the events of the first film. Although cast members were at first hesitant to star in the sequel, it proved to be a worthy endeavour, receiving positive critical response.

T2 Trainspotting Starring: Ewan McGregor, Ewen Bremner Directed by: Danny Boyle Mateo Garnica Hoya Staff Writer

The 20-year hiatus between the creation of “Trainspotting” and its sequel left some questions about the viability of a follow-up storyline about the misadventures of a group of Scottish heroin addicts. Director Danny Boyle’s numerous attempts to put together a sequel were foiled by cast apprehensions toward a second film, successive failed attempts to create a viable script and a decade-long falling out between the original film’s lead actor, Ewan McGregor, and Boyle. Despite the skepticism surrounding “T2 Trainspotting,” the film proves a worthy sequel to the original cult classic.

Beginning 20 years after the events of the first film, the sequel’s major thematic elements differ from the original. Whereas the first “Trainspotting” was a story of escapism, youthful angst and addiction, its sequel explores the consequences of hedonism, the search for redemption and the strong allure of nostalgia. Nostalgia is the driving force for the characters as their present lives offer them no approximation to the high they got from heroin. Spud, played by Ewen Bremner, has a frayed relationship with his wife and child due to his addiction. Renton, played by Ewan McGregor, is seeking closure with his friends after he absconded with $16,000 they all received in a drug

deal. Begbie, played by Robert Carlyle, grapples with questions of fatherhood in the face of his imprisonment. Sick Boy, played by Jonny Lee Miller, hopelessly seeks fulfillment in a sham romance with a Bulgarian prostitute. Reminiscing on their past seems easier than looking at the bleak prospects of their future. Their ambivalence toward any form of responsibility 20 years prior has left them with little to call their own. In spite of this seemingly dour context, “T2 Trainspotting” maintains the comedic element of the first film with countless memorable performances, both through the visceral physical changes they undergo and complex mental neuroses. Sick Boy and Spud expertly embody the unique mental processes of addicts with their lack of inhibitions and the warping physical effects of years of narcotics use.

However, their addictions are not the sole distinguishing characteristic of these performances, for these two actors explore the anguish and personal pain of their characters, albeit with a good amount of comic relief. Begbie returns as Begbie and captures the viewer’s attention not only with his verbal incoherence and manic violent nature, but also with an exploration of the character’s complex family life. McGregor returns to the role of Renton with the same charisma and complexity that captivated audiences in the first film. Although the comedic highs stemming from his performance in the sequel

 are not equal to those of the first film, he charts a new course for the character centered on disillusionment and redemption. While seamlessly returning to their iconic roles, the cast provides new and entertaining perspectives on their characters’ mental states and personas.

Scotland offers more than just a scenic backdrop for the plot developments of the film. With relatively new developments in the region, from deindustrialization to British modernization, Edinburgh plays as significant a role in shaping the narrative as the characters. The Scottish experience of urban blight and deindustrialization affected the life opportunities available to the characters. While the urban landscape is punctuated by some notable modern developments and encroaching gentrification, the overall barren state of the city partly explains the characters’ drives for escapism through narcotics. This urban decay is contrasted with the scenic beauty of the Scottish Lowlands. The tale of Renton’s 20-year abstinence from heroin runs parallel to the awe-inspiring panoramic views from Holyrood Park, in stark contrast with the dilapidated housing projects across Edinburgh.

The long-standing cinematographic partnership between Boyle and Anthony Dod Mantle surfaces throughout the course of “T2 Trainspotting.” The past innovations in cinematography pushed by Boyle and Mantle culminated in an Oscar win for their work on “Slumdog Mil-

lionaire.” This boundary-pushing camerawork continues in the “Trainspotting” sequel with handheld cameras capturing unique, genuine moments imperceptible in traditional film mediums. Although Boyle opted for a digital medium in this sequel, there are several profoundly surreal moments captured by Mantle’s camerawork, particularly in a scene where several of the characters revert to using heroin in an abandoned apartment block. The cinematography of this piece is a testament not only to Mantle’s keen eye, but also to the chemistry between him and the editing staff.

“T2 Trainspotting” explores new grounds of a familiar subject, offering an interesting viewpoint on the effects of addiction while captivating audiences with layered characters delivered by a gifted cast. Boyle’s ability to make such heavy subjects accessible speaks to the strength not only of the source material written by Irvine Welsh, but also to Boyle’s directing prowess.

The film effectively intertwines the thematic elements of nostalgia and redemption with the characters’ personal narratives, creating a compelling overall plot arc. In all, the film is a worthy successor to the original film and should satisfy most fans of Boyle’s cult classic.

Interested in winning two tickets to “T2 Trainspotting”? Check out our giveaway on blog.thehoya.com.

Movie review

Beauty and the Beast

Starring: Emma Watson, Dan Stevens Directed by: Bill Condon

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Meghan DeCourcey Special to The Hoya

It is a story that everyone knows — the tale as old as time. Yet somehow, the live-action digital remake of “Beauty and the Beast” still dazzles and leaves the audience longing to be a part of its enchanting world, even after 26 years. It is a difficult task to take a Disney masterpiece and make it unique and fresh, but director Bill Condon (“Dream Girls,” “Gods and Monsters”) does exactly that in his first film with Walt Disney Pictures.

For the most part, the remake stays true to the original plot of the 1991 animated classic, but there are some modern updates that serve to add more depth. The backstories of the characters are further developed, which leads to more dynamic characters. The childhood of the Beast (Dan Stevens) is explained as well as the untimely death of Belle’s (Emma Watson) mother. Additionally, the lives of the staff in the palace, such as Mrs. Potts (Emma Thompson), Lumière (Ewan McGregor) and Cogsworth (Ian McKellan), are enhanced. The curse on the castle is also expanded in fuller detail, creating a tense environment within this magical world.

The special effects in the film are stunning, as one would expect of a Disney production.

Since many of the characters are objects, like Plumette the feather duster (Gugu MbathaRaw), Maestro Cadenza the piano (Stanley Tucci) and Madame Garderobe the wardrobe (Audra McDonald), the artists had to make them look realistic but still maintain a certain level of charm and humanity. The audience needs to get to know these characters on a personal level to root for their freedom, and the special effects artists succeed in this daunting task.

Likewise, Belle’s little town and the castle itself are astonishing visual marvels. During Belle’s musical sequences, she twirls through a field that seems to be endless. The scenery is beautiful and captivates the audience.

Additionally, many of the musical numbers in the film are spectacular. During the classic song “Be Our Guest,” Lumière leads the kitchenware in a performance that ends in fireworks from a champagne fountain. “Be Our Guest” is not the only song from the 1991 version, composed by Alan Menken, that made it into the remake. Beloved fan favorites like “Something There” and “Beauty and the Beast” are also in-

WALT DISNEY PICTURES

“Beauty and the Beast” is one of many Disney remakes released in the past few years. Although considered a faithful adaptation of the original animated classic,the live-action film also expands on the backstories of its main characters. cluded in the film. One of the best numbers is “Gaston,” sung by LeFou (an ideally cast Josh Gad), Disney’s first openly gay character. The whole bar comes together in a dance routine to boost the ego of the already vain Gaston (Luke Evans). What is more exciting about the music of the film is that Menken and his writing partner, Tim Rice, wrote three new songs exclusively for the film.

Besides the stellar and noteworthy ensemble cast, the iconic duo at the heart of the film delivers incredible performances. Belle seems to be a role made for Watson, best known for her role as the bookish Hermione Granger in the “Harry Potter” series. Watson exhibits Belle’s intelligence and imagination effortlessly. Her patience when interacting with her father, Maurice (Kevin Kline), is genuine and kind. She also brings out strength and confidence in the character, perhaps more actively than in the 1991 version. Her counterpart, Stevens, best known as Matthew Crawley in

“Downton Abbey,” portrays the transition of the Beast from monster to gentle creature masterfully. As a result, the romance that blossoms between the two is believable and does not seem forced.

It would not be “Beauty and the Beast” without the signature yellow ball gown, which is updated to be even more glamorous. Costume designer Jacqueline Durran, who also designed the costumes for “Anna Karenina” and “Pride & Prejudice,” worked with Watson to create updated costumes that allowed for movement to reflect Belle’s active character.

Her unmistakable blue ribbon and dress now include detailed embroidery and even pants.

Since life in the castle is extravagant, the wigs, makeup and costumes for palace characters are over-the-top and striking. Although the clothing of the townspeople is a little simpler, there are still intricate details.

Many may think of “Beauty and the Beast” as a story just for children, but the plot itself

is more complicated with themes like mob mentality and the dangers of small town life.

It is a tale that will delight younger audiences as well as older audiences looking for a story with twists and turns or a nostalgic walk down memory lane. The comedy and the musical numbers along with the serious moments of the film complement each other nicely and transform this fairy tale into a story of tragedy, hope, magic and love. As Disney continues its successful streak of live-action remakes — following “Alice in Wonderland” in 2010, “Maleficent” in 2014, “Cinderella” in 2015 and “The Jungle Book” in 2016 — many skeptics have been swayed that these much-beloved films will not be ruined by an update. For the live-action remakes to come, most notably “Mulan” in 2018, “Beauty and the Beast” is more proof that these animated classics can be refreshed without ruining their original appeal, introducing a new generation to the iconic characters and stories of the past.

the guide

friday, MARCH 24, 2017

÷

THE HOYA

ALBUM review

Ed Sheeran

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MUSIC

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New Releases

olivia jimenez Special to The Hoya

Singer-songwriter Ed Sheeran rapidly rose to fame with the release of his debut album “+,” pronounced “Plus,” in 2011, despite having produced countless extended plays beforehand. Since the release of “+,” the British pop sensation has consistently remained high on the charts with an ever-growing fan base and impressive list of musical accolades. Sheeran’s newest album “÷,” pronounced “Divide,” is no exception to his track record of hit releases. In the album, Sheeran experiments with edgy and inventive sounds not present in his previous albums. Although these changes have resulted in mixed reviews for the album, Sheeran’s bold, unique and stylistic choices should be acknowledged. Although there are still classic Sheeran songs on the album, “÷” is Sheeran’s most fearless effort.

Categorizing Sheeran’s music as a whole is often difficult, as he is known for producing music that pulls inspiration from a variety of genres. In his earlier albums, the singersongwriter relied solely on his guitar and voice with the occasional use of percussion.

Part of his identity as an artist is his ability to perform solo with just a guitar and foot loop pedal. However, in his 2014 album “x,” pronounced “Multiply,” Sheeran began experimenting with a variety of instruments to create new sounds, imaginatively mixing his acoustic style with hip-hop and soul.

The album “÷” opens with the song “Eraser,” featuring Sheeran’s popular slow rapping style and reminiscent of “The Man,” a track on “x.” The sound is mainly acoustic with some secondary background instruments.

Although this is not the standout song on the album, it presents poignant insights into Sheeran’s problems with fame and the music industry. His mention of his “pain eraser” suggests his use of substances to cope with “the root of all evil” — fame.

“Eraser” is followed by one of the singles from the album, “Castle on the Hill,” a song centered on Sheeran’s adolescence in Suffolk, England. Tinged with nostalgia, “Castle on the Hill” is most notable for its lyricism that accurately captures the feelings associated with adolescence. He integrates specific aspects of his personal life, such as names and specific incidents, transforming them into universal symbols. Ultimately, he succeeds in making his music a platform for storytelling rather than simply a vehicle for pop music.

DOMINO

ASYLUM

Considered Sheeran’s most personal work to date, the album “÷” represents an experiment in stylistic creation, incorporating sounds from rhythm and blues and soul.

The following song, “Dive,” moves away from Sheeran’s classic sound by introducing R&B and soul to his collection of genres.

Other songs similarly break from Sheeran’s traditional sound, including “Barcelona” and “Bibia Be Ye Ye.” Both songs feature foreign languages, Spanish and the African dialect Twi, respectively. “Barcelona,” with its feelgood upbeat tempo and background whistling, is an enjoyable song, but does not stand out lyrically. “Bibia Be Ye Ye,” which means “all will be well” in Twi, is especially unique, containing a cheerful beat and seamlessly integrating the Twi language.

“Shape of You” is the most notably popular song on the album, which comes as no surprise. Initially written for Little Mix and then Rihanna, “Shape of You” was not written with Sheeran’s identity in mind, which is apparent in the tropical house beat. While not particularly poetic, the beat of the song is infectious. The song, which was reworked greatly

by Sheeran after he decided to perform it, still resembles Sheeran’s previous work, like “Drunk” from “+.”

The next song, “Perfect,” is the first song Sheeran wrote for the album and presents more of Sheeran’s trademark sound; however, it is not the most innovative or expressive.

Sheeran has acknowledged that all the positive love songs on the album were written about his current girlfriend. “Perfect” is one of the most classic love songs on the album, rivaled

only by “Hearts Don’t Break Round Here,” by far the sweetest song featured on “÷.”

“Supermarket Flowers” is simply the most melancholy and heartbreaking song on the album, based on the singer’s reaction to the death of his grandmother. Sheeran’s emotion is apparent in his voice, which he referenced in an interview with MTV about “÷.” “That’s my first reaction for anything that happens to me.

Good or bad. Pick up a guitar,” Sheeran said.

Sheeran closes out the album with “Save Myself,” ending on a sentimental note. The lyrics and melody create a chilling yet beautiful sense of hope, especially when Sheeran sings “Cause I’m not like my mom / Cause she just smiles and I’m complaining in a song / But it helps / So before I save someone else, I’ve got to save myself.” The song is intensely emotional, emphasized by Sheeran’s voice cracking and accompanied by a stunning musical setting of strings and piano.

The album “÷” is Sheeran’s most personal work to date. Although the tracks receiving the most mainstream attention are standouts, Sheeran’s latest album has its hidden gems in the form of songs brimming with both romance and authenticity. His music is not just emotionally charged, but also delves into new stylistic territory with the incorporation of rhythm and blues and soul sounds, collaborations and foreign influences. Sheeran is maturing by taking risks on “÷,” and they are certainly paying off.

concert review

Migos

ECHOSTAGE

liam o’donnell Special to The Hoya

“Migos is bigger than the Beatles.” What started as a satirical comparison has become a near serious debate. Sparked by the inescapable single “Bad and Boujee,” which topped the Billboard charts for three weeks, Migos’ new stardom has caused many to reconsider this old joke and wonder if it may not be a joke at all. At this year’s Golden Globe Awards, Donald Glover — often known by his stage name, Childish Gambino — thrust the argument into the spotlight when he crowned Migos the “Beatles of our generation.” Soon after, dozens of think pieces spiraled out from every music publication evaluating Glover’s “blasphemous” claim. At the peak of all this controversy, Migos’ sophomore record “C U L T U R E” was released, earning the group its first number one album and universal critical acclaim.

Two months later, the buzz generated by the band has not died down. Migos is in the midst of its “C U L T U R E” tour and is on the path to establishing itself as a permanent superstar, with charismatic appearances on “The Ellen DeGeneres Show” and “Jimmy Kimmel Live!” The spotlight reveals that the three performers complement each other both musically and beyond. Their force is collective; when watching their television performances, it is impossible to ignore parallels to the Beatles’ inaugural performance on “The Ed Sullivan Show.”

Although many question whether or not the members of Migos are superstars, the group’s 12:30 a.m. arrival for a 9 p.m. performance at Echostage reveals that it clearly has no doubts about its status.

When DJ Khaled’s booming voice finally announced Migos, the trio started the show performing the titular track from “C U L T U R E.” Due to a combination of the long wait and the three deep album cuts that opened the concert, it was not until the fourth song that the crowd got into the show. The thematic strings on “Deadz” morphed tentative head nodding into full-on jumping and arm waving as everyone in the audience powerfully shouted the chorus to the song. The infectious energy of the group had finally reached the crowd.

The next four songs were two old singles, “Hannah Montana” and “Fight Night,” paired with two older album tracks, “What the Price” and “Brown Paper Bag.” Although the atmosphere remained energetic, it was clear that the effectiveness of the group’s songs was decided by the strength of the hook. The backtrack was louder than the live vocals, so many of the verses sounded drowned out, and the crowd’s excitement tapered off significantly while waiting for the chorus to come back. Part of this can be attributed to

the fact that Echostage is a venue designed for electronic music, making the balance set for the instrumental higher. Group members Takeoff and Offset’s lack of skills on the mic did not help the situation. They repeatedly mumbled in low tones, which made their lyrics almost inaudible.

This was not an insignificant issue, and unfortunately detracted from the quality of the show, proving that the members of Migos lack the stage presence of superstars. The chemistry in the music does not make it to the stage. Quavo was the only band member who appeared to feel natural on stage. He was constantly dancing around and speaking to the crowd, while Takeoff and Offset stood around and failed to interact with the crowd. In fact, their tour DJ, DJ Durel, played the role of Quavo’s partner in crime, as the two had conversations before each song to hype up the crowd and set the tone.

It was one of these conversations that set up the best moment of the concert. DJ Durel asked Quavo, “What did your momma tell you?” Quavo deflected the question to the crowd, which resoundingly answered, “Not to sell work!” These chanted lyrics

kicked off the band’s single “T-Shirt,” easily the most spirited song of the show. All three members of Migos gave their best performances, with Offset’s final a capella verse being the highlight. The trio fed off the crowd’s peaking energy as Quavo went into an improvised freestyle praising the reception D.C. was giving them.

The momentum from “T-Shirt” was carried into the final song as Migos ended the show with its defining hit “Bad and Boujee.” Accompanied by striking lasers and on-screen fire animations, the band capitalized on the anticipation built by saving the song the crowd wanted most for last. These final two performances were the group’s very best and left the audience in a frenzy. Migos ultimately put on a polarized, but at the very least, entertaining show. There were stretches where the group lost the crowd due to mumbling vocals and poor stage presence, but these moments were outweighed by mighty choruses and the final two performances. Migos may not have proved to be on the same level as the Beatles, but it did show enough superstar potential to prove that, one day, it might not be totally out of the question.

Real estate ‘After the moon’ Brooklyn-based indie band Real Estate recently released its fourth studio album “In Mind,” a bold foray into the world of jangle pop — a subgenre of pop rock reminiscent of the 1960s. With its guitar chords and whispered lyrics, “After The Moon,” the fourth track on the album, is perhaps the best example of the dreamlike genre. The wistful song follows a relaxed, simple melody, with lead singer Martin Courtney softly crooning, “The distance to the next star / Is less than the one between our hearts.”

ATLANTIC

weezer ‘Feels like summer’ Although cherry tree season is only just starting in D.C., Weezer’s latest track “Feels Like Summer” may have its listeners in a different mindset. The track starts off at a simple, slow pace, but builds up to a catchy, party-ready hook, featuring lead singer Rivers Cuomo’s clean, electrified vocals. The band’s newest song is all about experimenting, fusing its traditional guitar-heavy rock sound with percussion and touches of electronic music.

OVO SOUND

drake ‘glow feat. kanye west’ Drake recently released “More Life,” a project described by the artist as a curated “playlist” featuring 22 new songs, among them, several musical collaborations — even one with iconic rapper Kanye West. West does not just make a fleeting appearance on his duet with Drake; he raps and sings for at least half of “Glow.” With a simple instrumental arrangement and well-chosen sample from rhythm and blues band “Earth, Wind & Fire,” “Glow” gives the rappers a chance to show off their lyrical chops.

IGNITION RECORDS

milky chance ‘blossom’

YUNG RICH NATION

Migos has been compared to the Beatles, and not without reason. During its latest performance at Echostage, the trio showed glimpses of potential despite a delayed start and low energy.

German folk band Milky Chance just dropped “Blossom,” its second studio album. Its title track, and the album’s opener, is lively; lead singer Clemens Rehbein’s raspy voice brings a sense of vibrancy and warmth to the simple acoustics. With an up-tempo beat, a simple, if at times repetitive, hook and a taperedout conclusion, “Blossom” is sure to be an instant addition to any indie playlist.

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THE HOYA

AT THE BUZZER

SOFTBALL

Forecasting NBA Awards

FILE PHOTO: JULIA HENNRIKUS/THE HOYA

This season, senior catcher Gabriela Elvina is hitting .339 with 10 RBIs and two home runs. Elvina had three hits and two runs in Georgetown’s victory over St. Bonaventure.

GU Offense Comes to Life MARY BURKE

Hoya Staff Writer

The Georgetown softball team has reached the halfway point in its season, fresh off a successful weekend in Wilmington, N.C., at the Lafayette Ford Lincoln of Fayetteville Showcase where the Hoyas finished 3-2 in their final preconference tournament.

Senior catcher Gabriela Elvina said the team viewed this past weekend as an opportunity to fine-tune crucial skills before facing its Big East opponents.

“We went in there thinking that we just wanted to get all the pieces – pitching, defense, fielding – to come together so that we’d be ready this weekend for Creighton,” Elvina said.

The Hoyas showed offensive prowess, averaging 9.2 runs over 5 games, including two wins over St. Bonaventure, a two-game split against UNC Wilmington and a loss to UMass Lowell.

Elvina noted that the team has been consistent at getting runners on base, and the scores have reflected such developments.

Elvina, along with sophomore Mallory Belknap, stands out as the team’s strongest offensive threats for the Hoyas with batting averages of .339 and .422,

respectively. Elvina commented on a strong emphasis on clutch hitting and executing the at-bats with runners on base. A strong offensive performance overall will help lead the team to victories.

“We definitely are prepared for [the] Big East right now,” Elvina said.

Although Georgetown sits at 7-17 nearing the middle of the season, the team does not believe its record is entirely indicative of its performance and abilities. In practices, the Hoyas have been focusing on the repetition of swings, ground and fly balls, and communication to improve its gameplay.

Georgetown boasts a pitching rotation consisting of entirely freshmen. As catcher, Elvina has a direct relationship with the pitchers and is excited about their recent development.

“Seeing them gain that experience and the confidence that they have this past weekend is what we need for them heading into the Big East. We know that there are a lot of veteran pitchers on other teams, but so long as we have their backs on defense, I think they’re going to do an awesome job,” Elvina said.

Head Coach Pat Conlan expressed her anticipation for the next half of the season,

friDAY, MARCH 24, 2017

including conference play.

“The exciting part for the remainder of the season is that up to this point I don’t think we have even come close to playing our best softball. This team has a great deal of upside, and it is exciting every time we step on the field to see how much better we become,” Conlan said.

With the start of Big East matchups comes the eagerness for the conference competition. In Elvina’s past three years on the team, three different schools have won the Big East championship, intensifying the level of competition in the conference.

“Our focus continues to be one game at a time. We work hard not to look ahead or behind. Every game we play in conference will be a dog fight,” Conlan said.

The Hoyas are excited to start conference play with two consecutive weekends on their home field. Conlan also expressed her confidence in the student-athletes and enthusiasm for this upcoming weekend.

“The team is ready and excited to show teams what the Hoyas are capable of,” Conlan said.

The Hoyas host Creighton (9-16) in a three-game series starting this Saturday at 12 p.m. at Guy Mason Field.

Most Valuable Player: James Harden This year’s MVP race has long been headlined by two perennial all-stars: guards Russell Westbrook and James Harden. Westbrook, lauded for his uncanny ability to generate triple-doubles — recording 34 this season — has led the Durant-less Oklahoma City Thunder to a respectable 41-30 record.

Harden, who leads the league with 11.2 assists per game, has redefined his offense under new Head Coach Mike D’Antoni and has helped the Houston Rockets clinch a playoff berth with a 49-22 record. Westbrook and Harden are averaging 31.4 and 29.4 points per game, respectively, but Harden gets the MVP nod for his team’s better record.

Defensive Player of the Year: Rudy Gobert While the flashy pick might be forward Draymond Green, Utah Jazz center Rudy Gobert quietly became the best rim protector in the NBA. The Frenchman averages a career-best 2.6 blocks per game, ranks second in the league in defensive win shares and currently allows the lowest field goal percentage at the rim at 41 percent. Since his promotion to starting center two seasons ago, Gobert has anchored the Jazz’s defense, one that has seen a rise from the No. 27-ranked defense at the time to best in the league now.

Rookie of the Year: Dario ŠariĆ Between the strong 2016 draft and the debut of highly touted center Joel Embiid, the Rookie of the Year award was sure to be competitive. However, Philadelphia 76ers forward Ben Simmons was sidelined all year with a foot injury, and Embiid later joined him after a promising start to the season. Forward Brandon Ingram struggled during his rookie campaign, shooting only 29 percent from deep after a blistering 41 percent at Duke. This

track & field

has left the door open for another 76ers rookie, forward Dario Šarić. Šarić averages a modest 12.6 points, 6.3 rebounds and 2.2 assists per game.

While Šarić’s stats are not wildly impressive, he has been the bright spot for a basement-dwelling team starting to make a resurgence.

22.9 points, 8.4 rebounds, 5.4 assists, 1.9 blocks and 1.7 steals per game, all of which are major improvements from last year. Antetokounmpo remains a poor three-point shooter.

Despite this, he has increased his field goal percentage from 53 percent to 56.6 percent and his free-throw percentage from 72 percent to 78 percent. By all accounts, Antetokounmpo is the most improved player in the league, capped off by a starting spot on the 2017 All-Star team for his first bid.

Evan Couture

Coach of the Year: Quin Snyder Utah Jazz Head Coach Quin Snyder might not be the popular pick but has quietly led the Jazz to their best season in recent memory. With injuries to guards George Hill, Rodney Hood and forward Derrick Favors, Snyder did not have much to work with, yet found a way to maximize the utilization of his star players, namely forward Gordon Hayward and center Rudy Gobert.

The Jazz play at one of the slowest paces in the league and are renowned on the defensive end, meaning that opponents play at their pace and have a difficult time capitalizing on scoring opportunities. This is the tempo that Snyder has set for Utah, as he intelligently relies on the veterans — guard Joe Johnson and forward Boris Diaw — to help implement his philosophy for the team.

The Jazz currently sit as No. 4 in the Western Conference at 44-28 and are ahead of teams like the Los Angeles Clippers and Oklahoma City Thunder.

The Jazz are typically seen as a perennial sixth or seventh seed in the West, but Snyder has his team outperforming and looking to carry that momentum into the playoffs.

Westbrook and Harden headline the race for the league’s MVP. Sixth Man of the Year: Eric Gordon While much of Houston’s success can be credited to Harden, the addition of guard Eric Gordon has provided a spark off the bench all season. The Indiana product scores 16.4 points per game on 38 percent shooting from beyond the arc, helping him win the three-point competition during the NBA All-Star Skills Challenge.

Houston’s bench received a major boost by trading for guard Louis Williams, but Gordon remains the first off-the-bench in Houston and sees a little over 30 minutes of playing time per game.

Most Improved Player: Giannis Antetokounmpo It was only a matter of time before forward Giannis Antetokounmpo took the league by storm.

Known as the “Greek Freak,” Antetokounmpo stands at a towering 6 feet 11 inches with a staggering 7-foot-3-inches wingspan, yet can move with as much grace as a point guard. In his fourth year in the league, he boasts

Evan Couture is a junior in the McDonough School of Business. At The buzzer appears every other Friday.

WOmen’s LACROSSE

Hoyas Earn All-American Comeback Bid Falls Short Margo Snipe

Special to The Hoya

Straight out of indoor competition marked by personal records and consistent teamwork, the Georgetown men’s and women’s track and field teams have capped off the season with the NCAA Indoor Championship in College Station, Texas, and have since transitioned into outdoor competition.

This year, the men’s track team ended the indoor season placing 16th, the best team finish at the NCAA Indoor Championship since 1995. It did so with the help from All-American junior Joe White’s bronze performance in both the men’s 800-meter finals and the distance medley relay.

Georgetown totaled eight All-American honors in five different events between seven athletes at

the NCAA Indoor Championship. In the 800m, Joe White was named First Team All-American clocking 1:47.79. As a unit, senior Scott Carpenter, graduate student Darren Fahy, freshman Quincey Wilson and sophomore Spencer Brown earned All-American titles for their thirdplace finish in the DMR. “When I came in as a freshman, I saw plaques in the coaches’ offices from All-Americans of past years. I have always wanted to get one of those and I wasn’t really sure if that was totally attainable,” Carpenter said.

Senior Jonathan Green also earned his first AllAmerican honor for his time of 14:00.95 in the men’s 5000m finals, securing a place on the second team.

For the women, junior Kennedy Weisner joined some of her male counterparts earning All-Ameri-

can recognition with second team honors with her mile run of 4:47.60. Her time was just short of landing her a spot in the mile finals.

Following the NCAA Indoor Championships, the U.S. Track & Field and Cross Country Coaches Association announced that the Georgetown men’s track and field team is tied for ninth for the NCAA Division I John McDonnel Program of the Year Award for the 2016-2017 academic year. The award recognizes cross-country and indoor and outdoor track and field teams with the most success each year at the NCAA Championships. The Hoyas were the sole Big East member to achieve a ranking.

Georgetown now moves into the outdoor season as they take on the Raleigh Relays in Raleigh, N.C., on March 24 and 25.

COURTESY GUHOYAS

Senior Scott Carpenter was named a First Team All-American for Georgetown’s thirdplace finish in the distance medley relay at the NCAA Indoor Track & Field Championship.

Dan Crosson Hoya Staff Writer

In its final nonconference game, the Georgetown women’s lacrosse team lost against the Loyola Greyhounds 11-7 on the road Wednesday night.

The Greyhounds (2-6, 1-0 Patriot League) blanked the Hoyas (3-6, 1-0 Big East) in the first half, owning a 6-0 lead at halftime. Georgetown struggled to gain possession, winning one draw control the entire half. Georgetown Head Coach Ricky Fries credited Loyola’s domination of draw controls and a poor start for the Georgetown offense for the lopsided first half.

“Two things, actually multiple things probably more than two. One, they dominated on the draw controls, so possession was in their favor. We did not clear the ball very well.

Then when we actually got the ball on offense, we were really tentative and stagnant and turned the ball over a number of times,” Fries said.

The Greyhounds’ offense was led by sophomore attack Hannah Powers who scored five goals, four of which came in the first half. Senior attack Cami Whiteford and junior midfielder Hannah Savage finished with two goals each.

Georgetown remained scoreless for the first five minutes of the second half until sophomore attack Taylor Gebhardt scored her 17th goal of the season off an assist from sophomore midfielder Francesca Whitehurst. Gebhardt finished the game with three goals on seven shots to bring her season goal total to 19.

Whitehurst led the Hoyas with three assists, bringing her season total to 14. Sophomore attack Morgan Ryan followed close behind, notching two goals.

Senior attack Kate Snouffer and freshman attack Emily Ehle both scored one goal for the Hoyas. Senior goalkeeper

COURTESY GUHOYAS

Sophomore attack Morgan Ryan scored two goals in Georgetown’s 11-7 loss to Loyola on Wednesday.

Maddy Fisher had two saves and allowed eight goals in 32 minutes played before getting replaced by sophomore goalkeeper Haelle Chomo who allowed three goals on nine shots.

Despite the slow start, the Hoyas went on a 4-0 run with ten minutes left in the game to close the gap to 10-7, until Loyola scored with just over 90 seconds left. Coach Fries said that winning draw controls 9-4 in the second half helped the Hoyas flip the momentum.

“We evened up the draw controls — ended up 10-10 over the course of the game. We were a lot more fluid on the offensive end of the field and played with a higher sense of urgency,” Fries said. “Basically, that’s what we talked about, today is the ‘Why’ and trying to figure that out because we can’t wait till we are down and then show up. We have to start like that. If we’re not good enough to beat a team then we aren’t good enough, but if you are good enough to beat a team, then you need to show up from the very beginning and play 60 minutes and not 20.”

The women’s lacrosse team finished its nonconference part schedule with a 2-6 record. Coach Fries said that

while the results were disappointing, the team is focused on making the most of its conference schedule.

“Non-conference schedule is difficult by design, so disappointed in the results obviously, but feeling prepared for going into the conference and excited to have eight games left in the season. Now it’s an eight game season and we’re in control of where we end up.

Nobody will remember the first nine games, depending on what we do with the last eight,” Fries said.

Georgetown’s next game is against the Connecticut Huskies (3-5, 0-1 Big East) Saturday.

Junior attack Grace Nolan, with 20 goals and 15 assists, and senior attack Jacqueline Jordan, with 17 goals and 8 assists, lead the Huskies’ offense. “[UConn is a] scrappy team.

They are in a similar position to ours as far as youth — a lot of their top players are younger.

They’re going to be aggressive and feisty. We’re going to have to be able to focus on us but also be able to handle, kind of, the B.S. that comes along with playing a chippy team,” Fries said.

The Hoyas’ game against the Huskies is Saturday at 1 p.m. at the George J. Sherman Family Sports Complex in Storrs, Conn.

SPORTS

friDAY, MARCH 24, 2017

THE HOYA

THE ANALYST

BASEBALL

Teams Must Monitor Arms CHRISTOVICH, from B10

COURTESY GUHOYAS

Senior infielder Jake Kuzbel recorded two hits and two RBIs in Wednesday’s game against Coppin State. He has a batting average of .385 and is second on the team with 23 RBIs so far this season.

Superko Leads GU to Road Victory COPPIN, from B10

Superko has pitched 21 innings with a 2.49 ERA and 14 strikeouts.

“I’ve just been trying to get ahead of hitters and not beat myself by walking guys,” Superko said. “I just really try to throw my pitches in the spots they need to be thrown and let the defense behind me work.”

On Wednesday, the Hoyas returned to the Hilltop to play in the familiar confines of Shirley Povich Field for the first time all year, hosting the Coppin State Eagles (3-12, 2-1 MEAC).

“I mean it’s nice to be at Povich, but you still got umpires and an opposing team and you got to throw a little white thing over the plate and hit it with a stick.

It’s baseball. Personally, obviously it’s nice sleeping

“Mike and Jake put a lot of pressure on opposing pitching staffs,” graduate outfielder Zach Racusin said. “They’ve been doing a great job. It’s just a lot of fun to be in a lineup where we feel like any given inning, any given at-bat, we can get hot. It makes my job a lot easier.”

Racusin is a graduate transfer from Marist College. In his first year with the Hoyas, he has taken on a leadership role and has drawn high praise from Wilk.

“We’ve been trying to inject what he brings to us, a lot of energy and really good focus, into this team,” Wilk said. “It’s a very good thing for this club, especially the young guys, to see a veteran never take anything for granted. As a coaching staff, when you can point to a peer and just say ‘do that,’ ‘play like that,’

in your own bed and having dinner with your own family, but still, when you got down to it, it’s baseball,” Wilk said.

“I just really try to throw my pitches in the spots they need to be thrown and let the defense behind me work.”

Kevin superko Junior Pitcher

Georgetown defeated Coppin State 14-4 with offensive contributions from junior infielder Jake Bernstein and junior outfielder Michael DeRenzi, who both recorded four hits in the game.

‘that’s what we’re looking for,’ it’s an easy lesson.”

The Hoyas hope to carry their two-game winning streak north to Rhode Island, where they play Brown (4-6) in a three-game weekend series.

“The next step for us is seeing what we do against quality pitching,” Wilk said. “I think we will be challenged at Brown. I know they have a couple of guys that have been really good against top-20 teams.

I’m looking forward to that challenge and seeing who we really are.”

The three-game series against the Bears begins Saturday with a doubleheader. The first game will be played at 11 a.m. followed by the second game at 2 p.m. The series finale will follow Sunday at 1 p.m.

All games are scheduled to be played at Murray Stadium in Providence, R.I.

Hoyas Prep for Big East Spencer’s three assists.

Loyola responded to Georgetown’s run with a pair of goals to tie the game heading into the fourth quarter. Loyola continued to take momentum as they scored backto-back goals in the span of a minute in the fourth quarter to take a 10-8 lead at the 7:56 mark.

Bucaro chipped at the lead with his third goal of the game, but the Greyhounds put another shot in the net with only 1:20 left to put the Hoyas down 11-9. Junior midfielder Craig Berge began the comeback bid with his second score of the game with 58 seconds left. The Hoya

defense came up with a big takeaway and got their offense possession with about 20 seconds left on the clock, but Georgetown could not get a clean look to try and force overtime.

Time expired before they could get a shot off.

Now looking forward to the Big East season, the Hoyas hope to take the lessons of a tough nonconference slate in preparation for Marquette (3-2), Georgetown’s Big East season opener. Georgetown’s rigorous non-conference schedule included five teams currently ranked in the top 20 in the nation, and two in the top 5, including No. 2 Notre Dame and No. 5 Hofstra.

Georgetown’s Big East

after two short innings during a spring training game, regardless of the potential media and fan speculation this action created.

But other similar cases, such as those of Chapman, illustrate a more precarious debate: how to maximize a pitcher’s ability while simultaneously protecting his arm.

Unlike many baseball issues that exist only at certain levels, the question of protecting pitchers transcends all levels of the game. With conflicting science and quickly rising injuries, managers such as Bochy and Maddon are often guessing when gambling with their pitchers’ arms.

In recent years, protecting young arms has become increasingly difficult. Little League to Minor League coaches everywhere wonder how to protect pitchers from the epidemic of arm and shoulder injuries, most notably the elbow tendon injury that requires the famous Tommy John surgery.

Tommy John surgery is, of course, not career-ending; Many argue that after the surgery, pitchers return with even nastier pitches than they had before. The surgery requires moving a tendon from another part of the pitcher’s body to his elbow and takes about a year of recovery time.

Though not necessarily meant for young pitchers, as the injury causing the surgery is usually due to overuse, the last few years have seen a sharp rise in youth players and rookies requiring the surgery.

Experts have yet to agree upon a definitive reason for this phenomenon, though many theories exist for why youth players often find themselves in the overuse situations that Chapman found himself in last fall.

One theory blames the rise of the epidemic in the popularity of travel, summer, fall and winter leagues for young pitchers. The pressure to join off-season leagues is stronger than ever before with

the increasing strength and competitiveness of this generation’s baseball youth. But a magic number of innings, outs or pitches at which to cap a young pitcher remains unknown.

And with this competitiveness comes the desire to gain a competitive edge, which could perpetuate a second theory for the overuse phenomenon: the appearance of breaking balls at the youth level.

How to protect pitchers has become more elusive as science has progressed.

Throwing a curveball in Little League has always been considered a cardinal baseball sin, but recent data has illustrated that curveballs do not necessarily adversely affect a young arm as always believed.

Additional data has combatted the subsequent theory that the danger in throwing breaking balls lies in a lack of correct mechanics, as studies have found youth players are more mechanically sound than originally thought.

Thus, how to protect pitchers has become more elusive as science has progressed. The surgeries to fix the problems are largely successful, but the methods to protect pitchers from these increasingly popular surgeries leave something to be desired.

Perhaps instead of putting so much time, energy and money into debating how to shave five minutes off a game, Major League Baseball should dedicate more resources to researching and regulating pitching issues, as it concerns the safety and development of baseball players of all ages.

Amanda Christovich is a sophomore in the College.

THE ANALYST appears every Friday.

TENNIS

MEN’S LACROSSE

GREYHOUNDS, from B10

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foe, Marquette, comes to Cooper Field the winners of two straight games and features a Tewaaraton Watch List player, senior attack Ryan McNamara.

McNamara has been a thorn in the side for the Hoyas, scoring an overtime game winner against Georgetown as a freshman in 2014 and notching a career-high five goals against the Hoyas in last season’s matchup. The Hoyas will look to slow down McNamara and the Golden Eagles to claim a win in their Big East opener.

Georgetown takes on Marquette in the team’s first Big East action of the season at Cooper Field on Saturday. Opening faceoff is set for noon.

COURTESY GUHOYAS

Freshman Ian Witner has a 15-3 record in doubles matches this season. Witner and his partner, sophomore Michael Chen, won their match at No. 3 doubles 7-6 (9-7).

Men Build Confidence EPHS, from B10

FILE PHOTO: DANIEL KREYTAK/THE HOYA

Sophomore attack Daniel Bucaro scored three goals and recorded an assist in Wednesday’s loss to No. 18 Loyola. Bucaro leads the team with 24 goals.

someone, but Sydney used those losses to her advantage,” Ernst said.

Goodson defeated her Williams opponent 6-3, 3-6, 6-4 in the No. 4 singles match, while sophomore Risa Nakagawa provided the clinch point with a 6-2, 4-6, 6-4 triumph in the No. 3 match. Rounding off Georgetown’s successful day, senior Sophia Barnard rebounded from a first set loss to prevail 2-6, 7-5, 6-1.

After a week-long break from competition, the Georgetown men’s team (3-7, 0-1 Big East) returns to conference play against St. Johns University in Flushing, N.Y. this weekend.

Coming off a 5-2 loss to Xavier, the Hoyas expect a similar tough competition against the Red Storm.

Ernst insists that the team’s success will depend on their confidence.

“The guys now believe in themselves enough that it will come down — even St. Johns is pretty good and they win the Big East a lot — to a handful of points … The question is, can we win those [points]. Can we be better on that day? ” Ernst said.

Following the conference match against St. Johns, Georgetown will travel upstate to face Marist University (6-2) in Poughkeepsie. The Red Foxes host the Hoyas in the midst of a hot streak,

as they have won five out of their last six matches.

Marist may have cooled down, however, as the match with Georgetown is their first competition in nearly two weeks. For the Hoyas’ third match in three days, they will host Bates College (1-4, 1-1 NESCAC).

The men’s team begins its weekend of competition against St. John’s at 10 a.m. Friday before travelling to Poughkipsee, N.Y. to take on Marist Saturday at 11 a.m. The Hoyas finish the weekend back in D.C., hosting Bates at 11 a.m.

Sunday.

The women’s sole competition of the weekend is at St. John’s on Friday at 12 p.m.

SPORTS

Men’s Lacrosse Georgetown (2-6) vs Marquette (3-2) Saturday, 12 p.m. EST Cooper Field

FRIDAY, MARCH 24, 2017

TALKING POINTS

WOMEN’S LACROSSE Georgetown prepares for Big East foe Connecticut this weekend after losing to Loyola on Wednesday.

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BASEBALL

Special to the Hoya

The Georgetown baseball team kicked off its home season this week with a win over Coppin State at Shirley Povich Field.

Wednesday’s home opener came after a weekend series against the Big South’s Gardner-Webb, in which the Hoyas dropped two of three games.

Inconsistent pitching in key situations contributed to the Hoyas’ (13-8) early struggles over the four-game stretch. Senior starting pitcher Simon Matthews fell to 2-2 on the year, allowing five earned runs on 10 hits and two walks over four innings of work during the 8-1 series opening loss against the Bulldogs (10-12).

“This kid has a six ERA. That’s not Simon Matthew. It isn’t.”

PETER WILK Head Coach

Georgetown Head Coach Pete Wilk was quick to defend the senior’s recent struggles.

“Simon hasn’t been Simon,” Wilk said. “If he’s

Every game we play in conference will be a dog fight.”

HEAD COACH PAT CONLAN

9

The number of scholarship players set to play for next season’s men’s basketball team.

MEN’S LACROSSE

Hoyas Drop 2 Of Their Last 4 MITCHELL TAYLOR

NUMBERS GAME

him, we’re going to win a lot of games. And he knows that. The kid has a six ERA. That’s not Simon Matthews. It isn’t.”

Gardner-Webb handed Georgetown another tough loss Saturday, in which they capped off a ninth inning rally with a walk-off sacrifice fly in the 10th.

“I mean it’s disheartening,” Wilk said. “We put the gun to our own head.

We loaded the gun and put it next to our head by walking guys and hitting guys.

That loss was self-inflicted.”

However, the Hoyas recovered by winning Sunday’s series finale 4-2 behind a strong effort by junior pitcher Kevin Superko. The starter tossed seven strong innings, allowing two runs on seven hits while striking out a pair.

“Gardner-Webb was a really aggressive team,” Superko said. “They swung at a lot of first pitches and wouldn’t really go deep into counts. I just kept trying to throw a good, quality first pitch, so if they swung at it they would make bad contact. And for the most part, that happened Sunday.”

Superko improved to 3-1 on the year, continuing his stretch of success on the mound for Georgetown.

Over his past three starts,

Senior defenseman Charlie Ford has started all eight games for the Hoyas this season. He collected two ground balls in Wednesday’s 11-10 loss to Loyola. He has tallied 15 ground balls and forced seven turnovers this year.

See COPPIN, B9

See GREYHOUNDS, B9

FILE PHOTO: CLAIRE SOISSON/THE HOYA

GU Drops Close Game to No. 18 Loyola CAMERON PERALES Hoya Staff Writer

The Georgetown men’s lacrosse team closed off the non-conference season with a heartbreaking loss at Loyola University Maryland, dropping the contest 11-10.

The matchup pitted the Hoyas (2-6) against the No. 18 Greyhounds and came down to an exciting finish in which Georgetown had an opportunity to force overtime in the last 20 seconds but could not find the back of the net.

The contest opened with Loyola jumping out to a quick 3-0 lead before redshirt junior Peter Conley scored the first Georgetown goal and hit a major career milestone. His opening, unassisted goal marked the 100th point of his career, making him the 21st Hoya to reach this mark in program history.

Conley’s historic score was the only Hoya goal of the first quarter, and the Greyhounds took a 4-1 lead into the second. After trading scores at the start of the

second period, the Hoyas’ offense came alive. Behind shots from Conley, sophomore attack Daniel Bucaro and freshman attack Nick Carraway allowed Georgetown to tie up the game at five. However, momentum equalized as Loyola answered with two goals of their own, taking back the lead at the half, 7-5.

At the start of the second half, Georgetown found its rhythm and blitzed Loyola for another run of three goals, this time taking the lead off the stick of Bucaro,

TENNIS

8-7. The defense tightened up during the two Hoya runs led by junior goalkeeper Nick Marocco, who recorded a season-high 17 saves with 13 coming in the first half. Marocco also made this his sixth doubledigit save game of the season.

The Hoyas’ defense could not keep the Greyhound’s offense at bay, a scoring unit led by junior midfielder Jay Drapeau’s three goals and sophomore attack Pat

THE ANALYST

Women Rally to Defeat Williams EVAN MORGAN Hoya Staff Writer

COURTESY GUHOYAS

Sophomore Risa Nakagawa won her No. 3 singles match against Linda Shin 6-2, 4-6, 6-4 on Tuesday in Georgetown’s victory over Williams.

In a continuation of its successful 2017 campaign, the Georgetown women’s tennis team defeated Williams College on Tuesday at Georgetown Visitation.

Head Coach Gordie Ernst has preached consistency and effort all season — two traits the Hoyas continue to embody on the court.

The Hoyas’ (8-3) match against the Ephs featured an inauspicious start, as the Blue and Gray fell 2-1 in the doubles point. The duo of senior Margaret Psyhogeos and sophomore Sydney Goodson, competing in the No. 2 position, provided the sole doubles point with a 6-3 victory.

Junior Daphne de Chatellus then fell to the No. 6 singles match to put the Hoyas in an immediate two-point hole. However, Georgetown rallied to win the next 5 points on its way to defeat Williams.

Highlighting the successful comeback was the top of the Blue and Gray’s singles lineup, including senior Victoire Saperstein and junior Sara Swift.

Saperstein dominated her opponent in a clean 6-0, 6-0 sweep, while Swift did so in a 6-2, 6-2 triumph. To round out the comeback, the Hoyas relied on a trio of gritty three-set victories.

Goodson in particular, earned Ernst’s praise.

“I can’t speak highly enough about Sydney’s performance. Yesterday in singles, she played a girl who’s beaten her a number of times in the juniors, and that usually wears on See EPHS, B9

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Amanda Christovich

MLB Should Protect Pitchers

P

otential panic ensued Tuesday for San Francisco Giants fans when ace Madison Bumgarner suddenly left a Cactus League game after only two short innings of stellar pitching.

After further explanation from manager Bruce Bochy, it became clear that the reason for this was not a masked injury, but rather a precaution to protect Bumgarner’s arm from overuse before a season in which the pitcher expects to take on a sizeable and important workload.

With the recent rise in serious pitching injuries, monitoring pitch counts and innings pitched has become an increasingly debated issue.

Take, for example, the much-criticized usage of former Chicago Cubs reliever Aroldis Chapman during the 2016 World Series. Cubs manager Joe Maddon decided to have the closer pitch multiple games in a row for more innings than Chapman was used to throwing.

Especially in Games 5-7, Chapman was clearly overworked, tasked with making 16 outs in a span of four days and having a pitch count of a whopping 107.

Though at the time Chapman said he was ready to pitch however Maddon saw fit — the Cubs were playing in the World Series, after all — later in December, Chapman admitted even he did not agree with Maddon’s borderline exploitation of his arm.

Monitoring pitch counts and innings pitched has become an increasingly debated issue.

Chapman maintained the velocity and movement on his pitches throughout the World Series, contributing largely to the Cubs’ victory. Maddon believed Chapman’s heavy workload was a necessary evil to get his team the title — and in all fairness, he was right.

But the question remains: Is exploiting a pitcher’s arm appropriate, even in the World Series?

It was a simple, responsible and intelligent decision to pull Bumgarner See CHRISTOVICH, B9