The Hoya: The Guide: March 31, 2017

the guide F R I DAY, M A R C H 3 1 , 2 0 1 7

ILLUSTRATION BY HADLEY GREENWOOD/THE HOYA

FEATURED

GUIDE A Week of Creative Expression After a one-year hiatus, GU Arts Week returns to Georgetown to promote the arts on campus.

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‘Life’ Fails to Impress Daniel Espinosa’s latest science fiction thriller squanders its starstudded cast with cheap scares.

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Gnaoua Festival Entrances The Gnaoua World Music Festival brought traditional Moroccan music to the Kennedy Center.

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Luminosity on Stage Singer-songwriter Regina Spektor lit up DAR Constitution Hall, despite her soft-spoken demeanor.

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SPORTS Women Bounce Back

The Georgetown women’s tennis team rebounded from its first Big East loss with a victory over George Mason.

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Lacrosse Looks to End Skid Riding a three-game losing streak, the men’s lacrosse team seeks its first conference win on the road at Denver.

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THE HOYA

the guide

friday, MARCH 31, 2017

SONY PICTURES PUBLICITY

Director Danny Boyle, right, has received critical acclaim for his work, including two BAFTA Awards, a Golden Globe and an Academy Award. Although many may know him for “Slumdog Millionaire,” “127 Hours,” “Steve Jobs” and “Shallow Grave,” his 1996 black comedy, “Trainspotting” won critical acclaim and a cult following. Its sequel was released in January, nearly two decades after the release of the first film.

20 Years Later: A Q&A With Director Danny Boyle Dani Guerrero Hoya Staff Writer

“First there was an opportunity, then there was a betrayal.”

Twenty years have gone by since Mark Renton (Ewan McGregor) left Edinburgh. Much has changed, but just as much remains the same. Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller) and Begbie (Robert Carlyle) are awaiting him in the he ever felt at home.

“T2 Trainspotting,” which premiered March 17, reunites Academy Award-winning director Danny Boyle with McGregor, Miller, Carlyle and Bremner, the original cast of the 1996 classic “Trainspotting.” John Hodge returns as screenwriter, working from Irvine Welsh’s novel “Trainspotting” and its sequel “Porno.”

The Hoya sat down with Boyle, also known for “Slumdog Millionaire,” “127 Hours” and “Steve Jobs,” in an exclusive interview to discuss his long-awaited film and how he revived the cult classic to satisfy fans of the original film around the world.

This interview has been edited for length and clarity, and it contains spoilers for “Trainspotting” and minor spoilers for “T2 Trainspotting.”

Why did you make “T2 Trainspotting” 20 years after the first film came out?

When the first one came out, I think people were so flabbergasted that it was successful, but nobody imagined we would make a sequel because conventionally, sequels, you make them quite soon after the first film. And then Irving Welsh, who wrote the original book, “Trainspotting,” he published his own novel sequel called “Porno,” which was based around the idea of making a porno movie.

Initially, it is very daunting and there is a part of you that thinks you shouldn’t touch it. And we did touch it, 10 years ago when we tried the other adaptation. It was a good sign that we abandoned that because it was an inadequate — an inferior idea, even — whereas this felt right. When John [Hodge] and I went back to it a couple of years ago, it felt more personal, we were more honest about ourselves and our own aging, and we were already prepared to actually allow it into the film more, and of course that’s what the actors responded to as well. It felt like, although you were returning to sacred ground, there was a reason that you could justify doing it.

If you were going to take [the characters] up again, because they held such a high place for people, because there was genuinely an affection. People were talking about characters by their names. Nobody remembers characters’ names in movies.

You remember the actor who played it, but not the actual character name.

But people talked about them, like Renton and Spud and Sick Boy. And so when the 20-year anniversary came up on the horizon, we thought, ‘Should we make it?’

So we met in Edinburgh for a week, me and the two writers, Irving Welsh and John Hodge, and two producers, and so what came out was something a bit more personal, really. And it felt like, you know, 20 years you can’t hide, and I loved that idea.

The film is about time, but it turned out to be much more about how badly men age, really. We hang on to the past. It’s why we are so obsessed with sports — we talk mad about sports — and it is because sports are usually about guys in their twenties being highly competitive. And we love that!

For the rest of our lives, we dream of scoring that final goal, holding the cup. It’s just occupying the past in a way that is not even acknowledging living in the past, it’s like imagining you can still live like that forever.

How do you make something that is new if you base it on nostalgia? Because this is not a look back with loving eyes to any of these characters.

You know, nostalgia — although it has a bad name — it’s a part of all of us, really.

The past is always a part of you. Those who eradicate the past are to be truly feared.

In my reckoning, you have to make some peace with it — Renton does, anyway. He has to return and make some kind of tolerance for what he’s done, and for the losses, you know — his mother, Tommy, the baby — those casualties from the first film.

Spud becomes the narrator of the story as he begins to write anecdotes, sharing them with Begbie and Veronika. Why is Spud ultimately the voice of the film?

One of the few consolations of aging, I think, and [Marcel] Proust thought — not that I’ve read any Proust, but I’ve read some stuff about Proust — is that time loops, it doesn’t just walk in a straight line. Genuinely, the writers and I decided — while not a very popular choice amongst the producers in the studio, because they said, ‘What?

Are you going to spend the end of the movie with two grown men reading stories to each other?’ and we said, ‘Yes, that’s exactly what we’re going to do’ — to bring the loop back to the original novel toward the end.

It felt as something that arrived quite late and it gave Spud, the most hopeless of all the characters in a way, something to rise out of his addiction to heroin. He begins to replace it with the fact that he’s found his voice, and everybody’s always told him that he’s worthless, and useless, and an idiot and stupid. He ultimately finds worth in his voice, that’s the key element in Irving’s book and why “Trainspotting” is such an important novel. It gives voice to people that are marginalized and are regarded as stupid or evil or victims if you pity them, and it gave them an ascendant voice. Spud is writing the first book, that was the idea.

What is the significance of reinterpreting the “choose life” monologue in an era of social media and the internet?

The “choose life” speech is a litany of addictions. What Renton was mocking on the first film were bourgeois addictions, really — you know, the sofa, the washing machine. And obviously, in 1996, there was no Internet, so that was obviously a huge game changer in terms of modern life and the way that people live their lives, and so it felt good that a critic like Renton should commentate as an outsider. It felt right that he should update his monologue.

But of course, he’s doing it live. It’s not a voice over anymore, so he stumbles during it. It becomes more confessional, more personal because it’s not a sardonic, cold-eyeon-the-world look. He is actually quite full of anger and his choices have not worked out, and he’s been left behind. So, when he’s mocking all that stuff — Facebook, Twitter, Instagramming your breakfast — it’s partly because he’s been left behind.

So it’s a very valuable speech. It starts off looking trendy and valuable, but it actually becomes personal and valuable by the end because he says, ‘Choose disappointment … choose not becoming the person that you wanted to be.’ So he is beginning a process by which he is getting his voice back again.

Can I ask you about the music? For the first film, did you think you were going to get the rights to everything?

We put all this music on and everyone said, ‘You’ll never get that, it costs so much

money,’ and we were very fortunate that David Bowie had seen the first film we made, “Shallow Grave,” and really liked it. And because of course, he worked with Lou Reed and Iggy Pop, he knotted through the permissions to use those and we got them, and that was amazing. And, of course, one of the weird things about doing this film was that, since then, Lou Reed has passed away, David Bowie has passed away, and so we tried to include a tiny tribute to both of them.

Did you know you were going to use some of the original songs, especially Iggy Pop’s “Lust for Life”?

Obviously, we had that in our minds. We were only going to use the original music if we could remix it, rethink it or reimagine it, and we were actually very lucky to get a Prodigy remix of “Lust for Life.” The weird thing about a sequel is it has to be the same but different. So the music, you could hear it again, but it wasn’t just a rehashing of the first one. Underworld reimagined “Born Slippy” for us, so you could hear those chords that people recognize, but in a different context — in a much more melancholic context.

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Nostalgia — although it had a bad name — it’s a part of all of us, really.

The past is always a part of you. Those who eradicate the past are truly to be feared.”

DANNY BOYLE Director, “T2 Trainspotting”

Are there any exciting new additions to such an iconic soundtrack?

I found this band called Young Fathers who are from Edinburgh, and ironically they are from the same estate that Irving Welsh grew up on. And their stuff is quite hip-hop, there are three or four songs on the film, and we could have used half a dozen more of them. They just slotted into the film and worked perfectly. They sent us this track, “Only God Knows,” which is a brandnew track they wrote for the film, and they are a wonderful band to get to know. They are really special, one of the best bands in Britain at the moment, for sure.

You talked about improvisation as a director, not in terms of the script but in terms of filming.

I’m interested to know, what were some “happy accidents” in this film?

It doesn’t make sense to the financiers or to the studio because you leave a camera for days, so for instance, in the scene that everybody loves — the normal Catholics’ singalong — you leave a camera on Jonny Lee Miller on the piano. Now, Jonny can’t really play the piano. I mean, he learned some very basic stuff and that suits the character because he is remembering chords from school days, really. But you leave the camera on him for a day, a day-and-a-half, and that makes no sense to the financiers, but what you get out of it is a moment. I don’t know whether you remember in the film, when he first sits down and he plays a chord and then he goes, ‘No.’ It’s just pure genius. If you set it up, you probably wouldn’t get that moment.

It’s probably because Jonny’s forgotten. He’s

probably thinking, ‘Oh no, it’s not this one, it’s that one.’

You get things like that, which you can’t justify to a financier because the cost of leaving that camera rolling for so long for multiple takes — Jonny’s even forgotten it’s there — may not be logical to them. But what you get is these gems out of the actors and coincidences.

It’s a lot of rubbish and wastage — there are many times that you don’t get anything at all — but you do get those pure gems and they’re priceless really, they’re worth a hundred million dollars, you know? Also, I had very quick actors because they value time for little experiments like that, so it’s stuff like that really, which seems so inconsequential, but there is a delight when that moment happens.

Is the film meant to reflect not just the “lads” growing up, but you as well?

Yeah, I mean the other film is very exciting and crazy and bold, but this is more thoughtful — it just inevitably is — it’s much more considered. The first one was chaotic and internal, there’s no sense of place. The first one is about being on your early midtwenties, and as a man, you don’t care about anything really. We’re often accused of it, and quite rightly — it’s reckless, carefree.

And, of course, the point about updating it, we’re saying they’re coming back again after 20 years, which is a huge milestone in people’s lives, is that they will be different. They are the same, but they will be different. And the film will be different as well. But you also have these chaotic scenes where they are trying to enjoy themselves. It’s a slight struggle because it’s not as effortless as when you were in your early twenties.

What was it like getting all the cast and crew together again and how quickly did you guys find that old rhythm from the original film?

They found it very quickly, the actors. They were right at it, straight away, which really surprised me because I was expecting a kind of hesitancy, and they did feel that right at the early days that we thought, ‘Should we do this?’ But once the actual acting started, the rhythm was perfect. As for me, the main thing I copied from the first film was — in terms of directing — to leave as many decisions as late as possible because I remember doing that in the first film. When you’re doing something very stylized, it can go two ways: it can look like you’ve inserted the actors into it and its highly glossy style —and they move around in it and try to make their mark in it — or you can let it connote the craziness of the characters. And they are crazy characters, they are quite extreme — all four of them — in a way. I mean, Renton less so, but the other three are pretty extreme characters in a way, so I tried to get as much of it to come from them as possible. So, [I was] finding my rhythm back through them, but they found it very quickly.

How much do you feel that Edinburgh itself plays a character in this film?

Edinburgh has changed. It’s a much younger city now, ironically, than it was. The clubs are packed, students are everywhere. And it wasn’t like that when we made the first film.

It was quite a kind of pristine, kind of slightly reserved city, rather middle-class, bourgeoisie town. Now, it’s young, its population are mostly students. Those students are from abroad and from home and they’ve changed the town.

The other thing that’s changed the town is the migrant labor, migrant workers — a lot of them from Eastern Europe — have come into the town and they’ve changed the nature of the town, and that obviously reflects on the character of Veronika as an ingredient in the city that’s changed it.

the guide

friday, MARCH 31, 2017

THE HOYA

FEATURE

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High-functioning failure

Alex Mitchell

Health Fads: A Confused Guide THE BIG MOON

A GU ARTS WEEK

GU Arts Week launched March 27. Consisting of gallery viewings, open mics, musical and theatrical shows, open rehearsals and moderated dialogues, the series of events hopes to provide a casual and enjoyable forum for creative expression.

GU Arts Week Celebrates Creativity Dani Guerrero AND Meena Raman Hoya Staff Writers

As students passed through the weekly farmer’s market on Wednesday afternoon, many were happily surprised to find themselves serenaded by Georgetown a cappella groups. Watching the Saxatones and Superfood light up Red Square reminded marketgoers of just how talented their peers and classmates were, while also highlighting the importance of engaging with the arts on campus.

This pop-up performance was in fact one of the many events packed into GU Arts Week, a yearly Georgetown tradition first established in 2014. From March 27 to April 1, students have the opportunity to attend a number of artistic events, including gallery viewings, open mics, musical and theatrical performances, rehearsals, film screenings and studentled conversations about art. Highlights of the week include productions hosted

by Nomadic Theatre and the Black Theatre Ensemble at the Village C theatre, and Spring Sing, an a cappella concert hosted by the Georgetown Saxatones and Superfood at Gaston Hall.

“All of our events are open to the general public. We try to make events that equally represent all the different art forms in some way so that everyone can see what they want and then dive into it,” Former GUSA Arts Policy Chair and Arts Week Head Coordinator Katherine Rosengarten said. “There’s a little taste of everything, but each event is also catered to being open to everyone, so anyone can come in. It’s an open door, an open invitation.”

Through the sponsorship of the GUSA Arts Policy Team, the Department of Performing Arts, the Corp, GUSA Fund and student contributions through the Student Activities Fee, Arts Week continues to grow and expand, reaching broader audiences.

“I just hope that it keeps happening. The first one was a smaller voice. It wasn’t as loud. I took that vision with the chance of being GUSA Arts Policy Team Chair, which gave us so much funding and such a larger audience,” Rosengarten said.

Arts Week manifests an ongoing con-

versation in Georgetown about the role of the arts in student life and personal development. The arts community has long provided students with both learning and personal development opportunities.

“I think that, with education and with the arts, it’s definitely important to have both sides because, with education, of course, there’s all the practical applications, but, in addition to those practical applications, you are expanding your mind and just bettering yourself as a human,” Don B. Murphy One Act Festival Assistant Stage Manager and Mask and Bauble member Rachel Lock (COL ‘20) said.

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Our hope is that everyone will come away a little bit happier, a little bit less stressed and a little more colorful.

That’s ultimately what art is for, it’s cathartic.”

KATHERINE ROSENGARTEN Head Coordinator, GU Arts Week

The integration of the arts with education reflects Georgetown’s emphasis on cura personalis, or care of the whole person. Students have celebrated this week’s welcoming and dynamic spirit.

“GU Arts Week is amazing, because it shows people on campus who aren’t necessarily part of the arts community just how flourishing and fabulous we are. It shows that Georgetown students aren’t one-trick ponies. We are truly involved in all sorts of activities,” Gracenotes member Elizabeth Kurdyla (COL ‘17) said. “Engagement with the arts is essential to education. My involvement with music has helped me think about challenges in new ways, engage with different points of view and flex my creative muscles.”

Conversation surrounding the arts and arts education has become particularly relevant in light of President Donald Trump’s first federal budget pro-

posal, which eliminates the National Endowment for the Arts and National Endowment for the Humanities. The NEA is an independent federal agency that provides funding for noteworthy artistic projects. Among its historical highlights have been the provision of its first grant to the American Ballet Theatre in 1965, its selection of the design for the Vietnam Veterans Memorial in 1980 and its creation of the NEA Arts Journalism Institutes in 2004 to promote press coverage of the arts.

“Art is always political, and, when politics enter so brazenly into the macroscopic art world, it’s imperative for everyone to take up the standard to take upon themselves the task of looking into what they can do, whether it’s protesting, … donating incrementally to arts programs and non-profits and locally to DC’s art scene … or even just [going] to as many art performances as you can in D.C.” Rosengarten said.

Georgetown’s promotion of the arts demonstrates an increasing national awareness about its collective importance. Arts Week, in particular, embodies the much-needed revival of the relationship between arts and society.

“There’s a beautiful quote etched into a wall of the Kennedy Center by JFK about his aspiration for the United States to become a country in which artistic achievements will have the same societal value and investment as business investments, and doing so will challenge American artists to excel in artistry and creativity,” Rosengarten said. “Art is essential in times like this.”

Ultimately, Arts Week seeks to provide students with a relaxed, fun environment in which to express themselves and break from the routine.

“Our hope is that everyone will come away a little bit happier, a little bit less stressed and a little more colorful. That’s ultimately what art is for, it’s cathartic,” Rosengarten said. “I’ve heard a lot of laughter, I’ve heard a lot of ‘Oh my gosh my hands are messy.’ I’ve heard a lot of pretensions and projections of perfection breaking down inside people.

It’s been an amazing response, and our hope is to keep the energy up so we can keep that invitation going strong and in return, get more of those smiles, messy hands and even inquiries to join into this effort.”

h, spring, the season before bikini season. It is a time of cherry blossoms, light sweaters and mailed legal citations asking that I stop wearing my collection of bikinis. It is also the season in which we begin the annual ritual of attacking every imperfection on our own bodies in preparation for summer.

As the old adage says “let no flab go unturned.” So, as we begin to prepare our bodies for summer months, it is important to take stock of the trendy pre-summer diets and health fads that may prove useful.

Growing up as a chubby child, I had an index of childhood nicknames, including “chumba womba,” “oompa loompa,” “mudpie” and my personal favorite, “blueberry,” which made no sense as I am neither blue nor a delicious, fingersized berry. My childhood heft has made me painfully familiar with the perpetual battle to stay in shape. Oh, to be young and researching the Atkins diet again.

What a time. “Make America Neurotic Again.”

But, as earth tilts its axis back toward the big flaming ball in the sky — all praise be to Utu, Sumerian god of the sun — it is time to dive into some of the most fun health fads and tactics around.

So, let us begin with the jewel of cultural appropriation that we have all deemed acceptable: hot yoga.

Health Fad 1: Hot Yoga Hot yoga: All the fun of loose spandex in a room that is the temperature of a local pottery kiln. If you have ever worked out and said to yourself, “I wish this was much, much worse,” then this is the sport for you. I recently partook in hot yoga sessions at Down Dog on 34th Street — fun fact, that phrase actually increases gentrification by 3.4 percent every time it is said, who knew? — and had a few major takeaways from the experience.

My childhood heft has made me painfully familiar with the perpetual battle to stay in shape. Oh, to be young and researching the Atkins diet again. What a time.

Hindi means very little to me, especially when shouted at me by a blonde woman with six tattoos in a medley of other Eastern languages. I am much better at understanding the whimsical English translations like “warrior pose,” “child’s pose” and “white man who is sweating so profusely that he can no longer balance on his yoga mat.”

We have nowhere near enough respect for room temperature. It is a homeostatic paradise. Oh, sweet, sweet 72.5 degrees, you oft-overlooked mistress. One day, you will be placed ear-to-butt-to-hairless-chest in a hot motel-sized room with exposed brick walls and a shirtless middle-aged man in front of you. The temperature will burn like fire, and they will ask you to stretch. This is the yoga studio punishing you. And then you will give them money and say thank you. So goes the paradox of yoga.

Health Fad 2: Jogging Oh, jogging, like running in place for people who want to get somewhere. Jogging is a fantastic way to tell your body, “I will chronically fatigue you into health.”

And, given that you have the perseverance of Usain Bolt, or a recently divorced father trying to turn things around, you may just tire your body into shape. The trick with jogging is to go slow. Then, go slower. Then, maybe see … a Starbucks?

Will anyone know that you gave up other than you? Why not stop for a few minutes? You technically did do part of a jog.

Then order yourself a venti frappuccino. There is always walking.

Health Fad 3: Walking I told you it was coming. Walking — jogging’s lazy younger brother; it is the sport about which no one can brag. Walking is like hiking for people who do not like inclines or nature. Walking is a godsend because it can be done casually at absolutely any time. Living at the beach and looking to burn a few hundred calories going down the shore? That is a great walk. Sitting at your desk looking to burn a few ten calories walking to buy a Snickers bar? That is still technically a walk. It is the exercise that keeps on giving.

I hope these tips helped as we gear up for summer. If you need any more tips, just text me at (XXX) XXX-XXXX!

STEPHANIE YUAN/THE HOYA

Arts Week was first launched in 2014. This year, it continues to grow and develop, assisted by sponsorships from the GUSA Arts Policy Team, the Department of Performing Arts, The Corp, GUSA Fund and contributions from the Student Activities Fee.

Alex Mitchell is a junior in the College.

HIGH-FUNCTIONING FAILURE appears every other Friday.

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the guide

THE HOYA

Friday, MARCH 31, 2017

feature

This week’S TOP FIVE

Unnecessary Movie Remakes

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The karate kid (2010)

“The Karate Kid” was first released in 1984, receiving universal commercial and critical acclaim. Audiences everywhere fell in love with underdog Daniel LaRusso and his relationship with Kesuke Miyagi, his hilarious mentor. In 2010, the film was remade starring Jaden Smith and Jackie Chan in the roles of student and teacher. Despite its best attempts to recreate iconic scenes from the original, the remake of “The Karate Kid” lacked the chemistry and natural humor that made the film so beloved in the 1980s.

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fame (2009)

The musical drama “Fame” instantly achieved teen classic status upon its premiere in 1980, inspiring young artists and performers across the world to pursue their centerstage dreams.

“Fame” sparked a loyal fan following, as well, serving as the basis for a number of spin-offs, musicals and television series — even a complete remake in 2009. The follow-up film, however, was criticized for its minimal character development and lack of memorable acting, making fans of the original wish “Fame” had never received the Hollywood remake treatment.

DREAMWORKS ANIMATION

Ramsey Ann Naito, executive producer of “The Boss Baby,” said that she drew inspiration for the film’s two protagonists from the rivalrous relationship between her two sons.

Discussing ‘The Boss Baby’ Jeff Naft

Hoya Staff Writer

“The Boss Baby,” created by DreamWorks Animation, is slated to be released in theaters across America today. Loosely adapted from the 2010 best-selling eponymous picture book, the film stars Alec Baldwin as the “Boss Baby” and features Steve Buscemi, Jimmy Kimmel, Lisa Kudrow and Tobey Maguire. Veteran director Tim McGrath, who directed films like “Madagascar,” “Monsters vs. Aliens,” and “Megamind,” anchors the film.

The Hoya sat down in an exclusive interview with McGrath and Ramsey Ann Naito, the film’s executive producer, to discuss what inspired DreamWorks to produce an animated film about a talking baby. Their responses have been edited for brevity and clarity.

What drew you to this project and what excited you about making this film?

McGrath: In 2010, “The Boss Baby” was fresh off the presses, and DreamWorks looks for interesting stories, and they found that book by Marla Frazee. You’re always looking for a story that you can only tell in animation, and, after seeing this baby in a suit, I thought that it would be cool to springboard into a movie.

Early on, for all of us unanimously, when you think about who is going to be the voice, it had to be Alec Baldwin. We took a baby from “Megamind” and animated some lines from “30 Rock” and showed it to people. Everyone who saw it just got it.

I came at it from the sibling rivalry point of view because I had an older brother, and you fight, and you’re best friends. Fortunately for us, we came out of it as adults being best friends who are closer than ever. This film is really a love letter to my brother, and it’s the greatest character arc we could think of.

Naito: First, I’ve known Tom for 20 years, and we’ve always wanted to work together. I was living in New York when he sent me the script, and when I read it, I thought it literally was a reflection of my own life.

I’m a mom; I have three kids. When my first son was seven, my second son arrived, just like Tim Templeton, and, he was really jealous.

Now they’re a little bit older, but I still live in a house of sibling rivalry where they’re fighting over attention, food — you name it. They’re so competitive, and this movie really related to me.

When you were working on the script, did you have specific people in mind for key roles, or were you looking for actors with a strong history of voice work?

McGrath: It’s actually both: You need the actors, and you need the comedic chops, but, when we do our casting, we do listen for their voices.

Fortunately, we got all of our first choices.

In particular, like Jimmy Kimmel, it’s not necessarily an actor, but his voice is so great, and he’s very funny. When we approached him, he admitted that he wasn’t really an actor, but he is a father and has a daughter, and he felt comfortable being himself and slipped right into that role.

Were there any specific actors or actresses who surprised you with their performances or blew you away with their performances in the studio?

McGrath: There are two surprises I can think of. Lines that weren’t written to be funny Alec made funny, just the way he delivered them. It surprises you. You’re sitting in the room with him, and he says the line off the cuff, and you just start laughing.

The other big surprise was Steve Buscemi, because we had designed a character to be completely different, this kind of rotund, “Trader Joes,” fun-loving guy, and, when Steve approached the role, he liked being the savvy businessman, but he also liked being the baby who would have tantrums. There was just this duality to his character that he kind of pulled out. After hearing his voice, I thought, “This isn’t the right look for Steve’s character,” so we went back and redesigned his whole character.

As filmmakers, what inspires you? What made you fall in love with animation, and what made you fall in love with telling a story?

McGrath: Both of us love storytelling, and that’s really at the heart of film, or theater, or script writing. Storytelling is interesting, because it’s a long process, and it’s problemsolving on the macro level and micro level.

We’re detailed to the frame — all these great milestones that you hit: your first time you crack a scene in writing, the first time it’s realized in the storyboard, the first animation you see. It’s a six-year process a lot of times. Those milestones get you through the end of the day.

Naito: I think what inspired me for this film was that this movie took time in a place when we were young, when there was a time when there were no televisions, no cell phones, no iPads, no videogames.

It really defined Tim’s character and made him a character who had to rely on his imagination and fantasy, and so it celebrates childhood.What I think is great: we were able to go places that we hadn’t seen before and take liberties to create a look that was original and different.

OVERBROOK ENTERTAINMENT

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LAKESHORE ENTERTAINMENT

ben-hur (2016)

The historical drama “Ben-Hur” remains one of the enthralling epics of American cinema nearly sixty years after its initial release in 1959. Thought to be untouchable, “Ben-Hur” was surprisingly remade in 2016, with Jack Huston and Morgan Freeman in the lead roles. Although the remade film had a substantial budget and a plethora of new filming technologies at its disposal, it failed to bring the same power and complexity as its original, and was ultimately a box office failure.

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charlie and the chocolate factory (2005)

“Willy Wonka & the Chocolate Factory” is one of the most celebrated films of the 1970s; it was even selected for preservation in the National Film Registry for its cultural significance in 2014. The Academy Awardnominated film captured audiences with its bright imagery, musical numbers and legendary performance by Gene Wilder as Wonka himself. In 2005, Tim Burton directed “Charlie and the Chocolate Factory,” an entertaining but unsatisfying remake that failed to capture the warmth and eccentricity of Roald Dahl’s novel in the same way that the 1971 original did.

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SEAN DANIEL COMPANY

PLAN B ENTERTAINMENT

ghost in the shell (2017)

“Ghost in the Shell” is one of the most popular Japanese animes of the 1990s, following the gripping story of a cyborg and her security team as they track down a mysterious hacker. The film was based off the wildly popular manga series of the same name, generating major fanfare both in Japan and on a global level. Its upcoming remake, however, shows few nods to its inspiration comic series; the American reboot, for example, has drawn criticism for “whitewashing,” casting Scarlett Johansson in the film’s lead role as the Major.

DREAMWORKS PICTURES

Photo of the Week | Sedona, Arizona

DREAMWORKS ANIMATION

Director Tim McGarth is well-versed in the art of creating successful animated films; prior to “The Boss Baby,” he directed “Madagascar,” “Megamind” and “Monsters vs. Aliens.”

MARINA TIAN/THE HOYA

the guide

friday, MARCH 31, 2017

THE HOYA

restaurant review

B5

On tap

Fresh and Affordable Japanese Fare rolls by u

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2140 F St. NW, Washington, D.C. 20037 | Cuisine: Japanese | $

Anna Jorgensen and Jackie Liang

charlotte lindsay

Crafting A Refreshing Classic

Special to The Hoya

A longtime favorite of Arlington residents, Rolls By U has recently expanded its unique sushi bar experience to Foggy Bottom. Seating approximately 35 people, Rolls By U features trendy sushi burritos as well as rice bowls and traditional sushi rolls.

Located halfway between the Georgetown neighborhood and the White House, the Foggy Bottom Rolls By U is an excellent healthy food option. The Arlington location remains an equally convenient option as a seven-minute drive from campus on the opposite bank of the Francis Scott Key Bridge.

What distinguishes the eatery from crowded, or at least busy, D.C. culinary destinations is that diners receive their food quickly but can stay for hours, playing one of the plethora of board games available to guests and listening to playlists full of throwback hits from the 2000s. The staff is friendly, the restaurant is clean and the service is good, making Rolls By U the perfect place to settle down to avoid the mounting piles of schoolwork. Pick-up orders are available, however, for those who would prefer to get back to Lauinger Library.

The mission statement of Rolls By U reflects the ambience of the place: everything is about giving “the power to the people.” With its setup, similar to that of Chipotle, Rolls By U has done just that. Despite the presence of a more traditional menu offering pre-set items, guests can also elect to customize a bowl, a “rito” — a sushi and burrito hybrid — or a traditional roll. Customers can choose white or brown rice, a protein — raw fish, cooked fish or meat — as well as four vegetables, three toppings and sauces. The ingredients are fresh; chefs can be seen cutting fish and vegetables in the back. In its mission statement, Rolls By U also vows to “provide simple, fresh, flavorful, healthy food that is fully customizable by U” by “sourc[ing] the freshest ingredients and combin[ing] them with healthy sustainable counterparts so U can feel good about what U are eating.”

Rolls By U’s menu succeeds in offering traditional high-quality Japanese sushi but also provides a tasty experience for less adventur-

N ROLLS BY U

Rolls By U offers a flavorful array of sushi rolls and salads at affordable prices. The restaurant recently expanded the franchise, opening a new location in Foggy Bottom. ous sushi eaters. The menu is vast, making it suitable to any taste. My group, for example, had meat-eaters and vegetarians alike, yet each diner was satisfied with his or her fresh meal. The portions are generous and the pricing reasonable, as sushi of a similar quality often costs more at places like Buredo and the portions at other restaurants tend to be smaller. I typically order two rolls at sushi restaurants, but at Rolls By U, one roll is more than enough.

The favorites of my group were the By U Crunch ($11), a delicious roll-up of shrimp tempura, crabstick, cucumber, avocado, wonton crunch, spicy mayo and lettuce, and the aptly named Van Gogh ($14). The Van Gogh roll seemed itself a work of art, featuring fresh tuna, salmon and yellowtail on the inside, as well as avocado, tobiko — or flying fish roe — lettuce, spicy masago, lime and sesame oil. A close runner-up was the Volcano ($13), a more standard but nevertheless exciting roll. A shrimp tempura roll topped with a seared spicy crab salad, the Volcano mainly contains two flavors which combine magically when the roll is toasted. Equally as important as taste, the “ritos” are also Instagram-friendly.

A less adventurous diner might want to

opt for a custom order. I personally ordered a bowl with brown rice, shrimp tempura, tuna, avocado, soy beans, wonton crisp and arugula ($13). My choice was a pleasant surprise, because of the heaping portions, which meant I could take my leftovers back to my dorm room for a midnight snack.

The sides proved equally as delicious as dishes on the main menu itself. The seaweed salad is a good healthy pick, as is the cucumber salad. The perfectly seasoned edamame was easy to share.

As newly converted Rolls By U addicts, my friends and I were thrilled to learn that our new favorite restaurant uses the FiveStars app, a reward program which offers points for every dollar spent. These points may be redeemed at either the Foggy Bottom or the Arlington location and can go toward a free drink, dessert, side or rito. We found this option especially convenient given the restaurant’s delivery option.

Overall, Rolls By U guarantees a good culinary experience. Its hours are great for late eaters — it is open until 10 p.m. on most days — and the delicious food and drinks could not be beaten. With the calm ambience, comfortable location and reasonable prices, customers will certainly be incentivized to go back.

feature

owadays, soft drinks have lost their natural touch. What began in 17th-century Europe as a carbonated drink with natural flavors like lemon juice and honey has now become artificially colored, flavored and sweetened.

However, traditionally flavored drinks like ginger beer and root beers are gaining traction again.

Craft sodas are an emerging niche within a larger nonalcoholic beverage market, sold in locally sourced restaurants, health food stores and farmers’ markets. Soda options are going back in history for inspiration to brew and sell more authentic hand-crafted sodas.

Stephen Norberg, founder of craft soda company Thunder Beast, never felt like he had a traditional path in mind.

During his time at Harvard University, Norberg recounts that he “was the guy having wild root beer keg parties in his dorm room.” It was not until after graduation that he realized he had a unique passion for root beer.

As someone who always pursed his interests, Norberg decided to go out on a limb to follow a dream, starting his own craft soda company. As Norberg tells it, he first started in his kitchen but then “put all the money I had in the world into equipment that, in theory, was supposed to make root beer.”

Through sustained trial and error and even building his own bottling device along the way, he would eventually start his company: Thunder Beast.

Although there is no formal definition for craft soda, craft sodas tend to use more real ingredients as compared to generic name-brand sodas — instead of artificial flavoring extracts, real spices like cinnamon, cloves and vanilla are used. As Norberg puts it, craft sodas have “something to it that is not just the mixing up of a lot of artificial flavoring.”

Craft sodas are an emerging niche within a larger nonalcoholic beverage market, sold in locally sourced restaurants, health food stores and farmers’ markets.

FESTIVAL GNAOUA ET MUSIQUE DU MONDE

Hicham El Kebbaj, artistic coordinator of the Gnaoua Music Festival Tour, described the Gnaoua tradition as a blend of different sounds, instrumental techniques and languages. The musical style traces its origins to the African slave trade.

Festival Explores Gnaoua Identity jose villalobos Hoya Staff Writer

The Gnaoua Festival Tour 2017 stopped in D.C. on the night of Mar. 18 for a muchawaited performance at the Kennedy Center for the Performing Arts. Before the show, Hicham El Kebbaj, the artistic coordinator of the tour, sat down in an exclusive interview with The Hoya to discuss the meaning and history of the Gnaoua musical style, both in the context of Moroccan society and through his personal experience.

El Kebbaj explained the historical and societal context of the development of Gnaoua music, denoting its origins in the African slave trade. The descendants of Sub-Saharan West African tribes shared their rites, sounds and prayers with North Africans in the form of music to create a syncretic musical art form. In attempts to honor their ancestors and share their stories, these tribes promoted their own heritage and history while also largely influencing the development of a new artistic movement in the Northwest African region of the Maghreb.

El Kebbaj described Gnaoua tradition as a series of “mystical rhythms, a mix of African languages and Arabic,” one that has historically attempted to share its melodies and stories and learn from those of others.

This spirit led to the creation of the Gnaoua World Music Festival 19 years ago. As the festival looks ahead to its 20th anniversary, it continues to pursue the goal of promoting its mission.

El Kebbaj’s words, however, faltered in explaining the emotional connections, deep religious purpose and powerful messages embedded in the chants and rites of Gnaoua. Although his English is nearly flawless, El Kebbaj struggled with the inherent indescribability of the meaning of Gnaoua

music. He instead recounted the general ideology behind some of the lyrics that called upon helpful protectors from a world beyond nature — sometimes during healing practices, other times during animistic rites. Regarding the existential elements of the Gnaoua discipline, El Kebbaj explained that people ultimately derive their own personal interpretations from the music. Aside from religious tradition, it is “a music of grooves and feeling,” as he put it, that we can all benefit from.

The show opened with the entrance of the Gnaoua trance masters, from the back of the hall, weaving between rows and chanting while they clapped their krakebs. These castanet-like instruments made of iron are thought to mirror the reverberating sound of shackles shuffling, echoing the pain and struggles of slavery. The main instrument used was the gambri, which El Kebbaj described to as “the grandfather of the bass guitar.” Its main face, over which cords are strung, is made of stretched goat skin and, when hit, can produce sounds and notes of its own. Therefore, the gambri acts as both a string and percussion instrument, allowing for a unique combination of sounds and rhythm that is otherwise unattainable.

The Gnaoua World Music Festival arose 19 years ago in Essaouira, Morocco to revitalize the value of a traditional art form endemic to the region. Since then, Gnaoua music has regained admiration in the region, with people listening to it for comfort and guidance. The genre has continued to innovate, integrating new sounds as it holds dialogue and cultural exchange with the world at its core.

Master Hamid El Kasri demonstrated this development in the second half of his performance, as he coalesced Gnaoua sounds, other traditional music styles from around the world and modern elec-

tronic sounds. El Kasri admitted, however, that he and many other staunch supporters of Gnaoua do not always approve of this change, advocating for traditional Gnaoua sounds like the ones presented by Master Abdesslman Alikane at the beginning of the performance. Surprisingly, according to El Kasri, many people today who listen to the music do not actually understand the words.

“It’s very little Arabic,” he said. “These are mostly chants derived from ancient tribal languages.”

As the show continued, a group of women in the audience became participants in the show, inadvertently sounding off their own verses in a way that perfectly complemented the rhythms of the Gnaoua masters on stage. The women matched the masters’ pitch and intensity while turning the show into a forum for conversation.

Most of the audience seemed perfectly in tune with the masters, clapping and humming in sync, and switching tempo immediately when needed. Although other audience members could not comprehend the meaning of the lyrics, they nonetheless appeared very affected, able to find their own meaning in the music.

Between the deep and heartfelt hums, clapping of krakebs and strumming of the gambri, I found myself in a frenzy of sound and emotion faced with hopes and fears, clarity and confusion, feelings of both understanding and absolute cluelessness. The ability of Gnaoua music to transform listeners’ physical states only points to its intensity as an internal experience, truly living up to its reputation as “trance music.” I left the performance unable to fully understand or describe the music I heard, but perhaps that is simply a part of the experience of which El Kebbaj would approve.

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

With over 600 brands of root beer in the United States alone, Norberg wanted to do something unique with his drink.

The namesake “root” in root beer is sassafras root. Since the Food and Drug Administration banned the use of sassafras in commercial foods for its potential hallucinogenic effects, most root beers in the United States use imitation sassafras or natural substitutes.

In comparison, Thunder Beast’s root beer only uses essential oils, spices and extracts. Norberg’s root beer also uses honey give the brew a thicker and creamier body.

Currently offering a maple and butterscotch flavored root beer, Thunder Beat also produces a seasonal root beer in a cinnamon and caramel flavor. Coupling flavors “good in dessert but not commonly found in drinks,” Norberg aims to layer flavors together in order to build up the most complex taste possible.

Thunder Beast does not just serve root beers; ginger beer uses actual ginger root, providing a stronger spice and flavor not found in generic brands that prefer artificial flavoring. By balancing this ginger root with pure cane sugar and carbonation, the ginger beer has a refreshing yet fiery kick.

Additionally, Norberg is planning to create a new line of cream sodas. Although cream soda is conceptually simple, soda flavored with vanilla extract and sweetener, he aims to use this simplicity to his advantage.

“Starting with something so simple has a lot of opportunity to combine it with things to create something more complex,” Norberg said.

Eventually, Norberg’s goal is to have three flavors in each of his soda line-ups.

Starting his own craft soda company has not always been easy, but Norberg’s hard work has paid off — he plans to expand his soda to the greater DMV area soon.

As Norberg says, “Getting into the soda business is not something you just start from the ground-up unless you really love it.”

Even as Norberg plans to distribute Thunder Beast beyond where it was born, for now, you can find Norberg’s Thunder Beast stall every Wednesday at the Farmers’ Market in Red Square.

Anna Jorgensen and Jackie Liang are sophomores in the College. ON TAP appears every other Friday.

B6

the guide

THE HOYA

Friday, MARCH 31, 2017

Movie review

SKYDANCE MEDIA

With disturbing scenes and thrilling themes, director Daniel Espinosa’s science-horror film “Life” is not for the faint-hearted. Despite stellar performaces and advanced special effects, the film wastes its potential to effectively link topical scientific developments with innate human fears by squandering it in a clunky, inefficient script.

Life Starring: Jake Gyllenhaal, Rebecca Ferguson Directed by: Daniel Espinosa Kathryn Lenihan Special to The Hoya

Director Daniel Espinosa brings extraterrestrial life on Mars to audiences in “Life,” in which a rapidly evolving life form that could lead to mass extinction on Earth threatens a crew aboard the International Space Station. With diverse characters played by an A-list cast, including Jake Gyllenhaal and Ryan Reynolds, it is a must-see. Cinematographer Seamus McGarvey, who recently worked on “Nocturnal Animals,” brings stunning zerogravity images to the silver screen. However, once chaos is unleashed on the ISS, these images turn horrifically gory.

After the six-member crew receives samples from Mars, it is up to scientist Hugh Derry (Ariyon Bakare) to discover if any of the cells show signs of life. Once the single cell begins to move, the crew informs the base on Earth that there is indeed life beyond our atmosphere. The reactions down on Earth are appropriate.

After the crew communicates its discovery, an elementary school wins the lottery to name the alien, calling it “Calvin.” The

cell rapidly grows into an autonomous living thing that is “all muscle, all brain and all eye.” More powerful than any human being, the creature begins to grow just as rapidly as does the fear on board the ISS.

“Life” has blatant similarities to Ridley Scott’s 1979 science fiction horror film “Alien.”

This film is not for the faint-hearted; there are scenes of twisting limbs and curdling blood that are surely shocking.

The official trailer for the film starts with a voiceover of John F. Kennedy’s 1962 “moon” speech: “There is no strife, no prejudice, no national conflict in outer space as yet. Its hazards are hostile to us all. Its conquest deserves the best of all mankind, and its opportunity for peaceful cooperation may never come again.”

The Lost City of Z

This initial monologue indicates that “Life” contains a deep intellectual message about mankind, questioning existence and the potential for extraterrestrial life to naturally select human beings out of the universal picture. However, the film serves more as a horror film full of jump scares and shock value that will make audiences cringe and continuously cover their eyes.

Ultimately, the film’s potential subjects are thinned out by sensational sequences filled with vicious, stomach-turning props.

Outstanding performances from Gyllenhaal, Bakare, Reynolds and Rebecca Ferguson, redeem the film by connecting the audience to the backstories of each crew member. Gyllenhaal plays Dr. David Jordan, the crew’s medic, who has been up in space for the longest among the group — almost a dangerous amount of time for any human being. However, he is not particularly eager to return to Earth any time soon. Bakare plays the crew’s scientist Hugh Derry, who is paraplegic down on Earth, but in zero-gravity space is able to fly with the same ease as any other astronaut. Reynolds stars as mission specialist Rory Adams, after re-

 portedly turning down Gyllenhaal’s lead role due to a change in his schedule. Ferguson, as the level-headed quarantine officer, proves to be an audience favorite as she keeps the crew calm and controlled — that is, until things go south.

“Life” has blatant similarities to Ridley Scott’s 1979 science fiction horror film “Alien,” in which a highly aggressive extraterrestrial lifeform stalks and kills a crew on board a spaceship. The main distinction between the two is that “Alien” takes place 200 years in the future, whereas “Life” takes place in present day, making the affair all the more frightening.

While the plot is seemingly unoriginal, it had tremendous potential for a message linking current scientific strides to outer space and the human fear of unknown potential lifeforms. However, this momentum is lost in the inefficient script, dealing instead with more superficial subjects about extraterrestrial life.

Despite this oversight, “Life” emerges as a successful science-horror film that is guaranteed to shock, frighten and entertain audiences.

Movie review

Starring: Charlie Hunnam, Sienna Miller Directed by: James Gray



Ben Macher

Special to The Hoya

In “The Lost City of Z,” director James Gray’s adaptation of the eponymous book is a tremendous depiction of obsession and the drive to find truth in human history. In contrast to many historical action movies, “The Lost City of Z” connects with its audience on an emotional and philosophical level, while still providing nonstop entertainment.

Set in the first quarter of the 20th century, “The Lost City of Z” follows the true and inspiring story of British Colonel Percival Fawcett’s relentless search for a lost civilization deep within the Amazon jungle. Played by Charlie Hunnam (“Sons of Anarchy,” “Pacific Rim”), Colonel Fawcett is sent by the London Archaeological Society to assess the changes to the border between Bolivia and Brazil. As Fawcett completes his assigned task and ventures further into the exotic terrain, he discovers remnants of an advanced ancient civilization. Tenacious in his appeals to prove the existence of the ancient city Z, pronounced as the British “zed,” Fawcett obtains enough funds for two additional expeditions. Supported by his caring wife (Sienna Miller) and loyal companion (Robert Pattinson), Fawcett sets out on his quest and to prove the existence of his lost city.

The film succeeds largely due to Gray’s ability to effortlessly convey a multitude of messages to his audience. Gray presents his central message of the human desire to accumulate knowledge with Colonel Fawcett’s relentless determination to change common British perceptions of the South American population. Gray adds a rare dimension to his film with Fawcett’s sympathetic view toward the indigenous Amazonian people.

With colonialism a major theme of the film, it is noteworthy that “The Lost City of Z” presents a British character that regards the indigenous and ancient civilizations of South America in a sympathetic light. Fawcett sees the native peoples as equals and constantly spars with the British court over the labeling of the population as “savages.” Fawcett believes that if he can find concrete evidence for the city’s existence, he can change this pervasive British belief.

Gray also subtly presents social com-

blEecker street media

Director James Gray’s “The Lost City of Z” not only suceeds in creating engaging philosophical and emotional dialogue while maitaining the main properties of the film’s historical action genre and exploring themes of colonialism and gender equality. mentary on gender equality in early 20thcentury Britain. Miller is excellent in her performance as the supportive housewife of Colonel Fawcett. Nevertheless, both Gray and Miller enhance the role of Nina Fawcett by giving her an argumentative personality that constantly clashes with Hunnam’s character over a woman’s place in the workforce.

Miller’s performance serves as a reminder that gender equality has been an ongoing issue since the early 20th century and still has a long way to go.

Even though Gray’s message is brought out by the effective performances of the cast, the character development seems forced at times, somewhat detracting from the film’s grandeur. With Hunnam’s character, there is

always a sense of questioning in the film as to why he cares so much about the lost city.

The film does not provide any satisfactory answers, making Hunnam’s character often appear artificial and thin. Additionally, Colonel Fawcett’s son Jack, played by Tom Holland (“Captain America: Civil War”), has supposedly loathed his father his entire life due to Colonel Fawcett’s detachment. However, Jack instantaneously forgives his father and joins him on his third expedition. Due to the instant reconciliation, the father-son relationship seems involuntary and false in the characters’ remaining time on screen.

Reminiscent to the quality of 2015’s “The Revenant,” the cinematography from “The Lost City of Z” is nothing short of spectacu-

lar. Throughout the film, vibrant shades of green shine on screen. From the rolling hills of Northern Ireland to the dense jungles of the Amazon, cinematographer Darius Khondji’s camerawork further enhances the highly emotional, philosophical and historical film.

James Gray’s “The Lost City of Z” does beautifully in its attempt to create philosophical and emotional dialogue, while maintaining the film’s historical action genre. The film’s artistic perspective does not impede its ability to provide entertainment for a wide variety of audiences. Despite the artificial character development, “The Lost City of Z” is a prime representation of what a historical action movie can be.

the guide

friday, MARCH 31, 2017

Ransom 2

MUSIC

ALBUM review

Mike WiLL Made-It

B7

THE HOYA



New Releases

noah hawke

Special to The Hoya

Michael Len Williams II, known professionally as Mike WiLL Made-It, is a record producer known for his gritty trap beats and collaboration with other southern hip-hop mainstays like Young Thug, Juicy J, Lil’ Wayne and Rae Sremmurd. He has also been a very successful crossover producer, most notably on Miley Cyrus’s 2013 “We Can’t Stop” and Beyoncé’s 2016 “Formation.”

In his first studio album, “Ransom 2” — a follow-up to 2014 mixtape “Ransom” — Mike WiLL Made-It collaborates with several other hip-hop artists, including Lil’ Wayne, Swae Lee, Future, 2 Chainz, Migos and Gucci Mane, whose jail time delayed his verse contribution and consequently, the album’s release by over a year. In the words of Mike WiLL MadeIt, he “can’t drop a trap tape without the trap god.” Gucci Mane has been featured on every project Mike WiLL Made-It has released and has become a necessary presence in his music Mike WiLL Made-It’s typical production style is prevalent on the album, using beat and writing assistance from only a select few close friends like Resource and Marz. His close control and ownership over the development of the project makes it a very cohesive listen, showcasing familiar strong, atmospheric trap sounds and authoritative verses from rap’s finest. The album does not feature many radio hits, but does provide a balanced track list, emphasizing Mike WiLL Made-It’s production skills and vision equally with the vocal skills of some very famous names.

The album begins with “On the Come Up” featuring Big Sean, and is a powerful opening track with a dramatic bass line to emphasize its operatic soprano sample. Big Sean, Detroit’s poster boy for the rise to industry fame and its associated struggles, helps develop the track’s theme of grinding for success and refusing to stop, a message which permeates the first half of the album.

Lil Yachty, one of rap’s youngest stars on the rise, spits aggressively over one of the album’s hardest beats on “Hasselhoff,” but finds minimal success in the heavier rap style. Although “Hasselhoff” is a noble attempt at expansion from an artist whose style typifies the happiness and exuberance of youth, the stylistic digression from his usual work does not, and the song’s packed innuendos create repetition that is difficult to listen to. The same goes for the single

TOP DAWG

EARDRUMMERS

After collaborating with numerous industry stars, Mike WiLL Made-It released his debut album lays down award-winning beats while continue to showcase contributor talents.

“Gucci on My,” featuring 21 Savage, Migos and YG, which includes uninspired verses by some usually productive artists, creating a notable gap in quality in this portion of the narrative. “Oh Hi Hater” continues Mike WiLL Made-It’s trend of dismissing his doubters, and focuses on the construction of a successful vision, although it lacks memorable qualities.

“Perfect Pint,” arguably the best track on the album, highlights the strengths of Kendrick Lamar and Gucci Mane, also featuring Swae Lee and Slim Jxmmi of Rae Sremmurd, a group founded by Mike WiLL Made-It. Swae Lee delivers his signature airy vocals on the chorus, while Gucci Mane raps in detail about his post-prison life. Lamar comments on gang culture in the United States and his home town of Compton, rapping in a staccato flow, “Everybody a Crip til’ they black and blue / Everybody a blood ’til they hemorrhaging.” The first instance of the emotional, human side of the album, “Perfect Pint” is a masterpiece in its own right.

“Aries (Yugo)” is likely the most surprising track on the album. Pharrell Williams, the song’s featured artist, is not the typical artist who collaborates with Mike WiLL MadeIt, but, like he does with almost everything he touches, makes the album great. “Aries (Yugo)” represents the dichotomies of human nature through Williams’ alter-egos, Skateboard P and Station Wagon P. On “Faith,” Lil’ Wayne takes the chance to show off his witty lyricism and a slow delivery, encouraging others to “always have faith”

that they can “scrap and get it out the mud,” and rise to success despite obstacles. One of the most polarizing but talented rappers of the generation, he provides an excellent song as the album nears its conclusion. The beat from “Faith” cools down, melting into Chief Keef’s unexpectedly melodic vocals on “Come Down,” a direct contrast to the first song on the album. Chief Keef, who has been relatively quiet for years since his rough, raw raps on hit songs like “Don’t Like,” is an example of an artist who continues to develop and showcase more rounded talent portfolios.

This track, followed by an outro, marks the end of the main project. However, “Nothing is Promised” offers a reminder to listeners that despite hard work and dedication, success is not a guarantee.

Overall, the highlights of “Ransom 2” significantly outweigh the album’s low points, and make for a cohesive and enjoyable project.

The contributions of Lamar, Swae Lee and Williams highlight an all-star trap project with a welcome, emotional message. Mike WiLL Made-It does what he is best at: laying down award-winning beats and showcasing the diverse talents of a wide range of collaborators, even pushing them out of their comfort zones with mixed success. The album’s speakerdestroying beats, combined with its melodic piano arrangements, complement each other, creating an original sound. Although many years in the making and delayed on multiple occasions, “Ransom 2” is worth the wait, delivering what fans expected and more.

concert review

Regina Spektor

DAR Constitution Hall sarah dieter

Special to The Hoya

Some critics say that gone are the days when musicians created their own music, dreamed up their own lyrics and provided their own accompaniment. Songs are now mainly produced for mass culture, with a songwriter inventing lyrics to hand over to a production company which creates a melody that will end up in the hands of a popular music group.

This leads to the manufacturing of a fun, but repetitive, song. They might even say that music has lost its personal touch.

Regina Spektor breaks the trend of monotony in the music industry through her ability to transform her imagination and exceptional piano skills into a soulful and spell-binding album, which is the basis for her latest U.S. tour, “Remember Us to Life.”

One of Spektor’s latest stops on her tour was at the DAR Constitution Hall, a spacious concert hall that hearkens back to the times of our Founding Fathers, featuring Greco-Roman columns and patriotic American symbols along the walls. The stage was set with a simple black background that would suddenly burst into color from the lights behind the band. Spektor’s accompanists featured a drummer, a cellist and a keyboardist, who backed her up as she sang and played a black grand piano center stage.

The acoustics in the room are one of the venue’s best assets, something Spektor quickly discovered after she first came out and noticed that the audience could hear her trying to whisper to her drummer about the first song, “On the Radio.” Starting off on a light note, Spektor excited her audience with her amazing range and steady vibrato. Spektor’s audience featured a wide range of fans: young adolescents coming with their parents to their first concert, young women in their twenties who could sing all of Spektor’s songs by heart and middle-aged couples coming to listen to the raw voice of the vocalist.

Spektor herself projected a sense of calmness, quietly thanking her audience each time a person would yell out, “We love you Regina!” This was in stark contrast to her powerful voice, which belted out, “Everybody’s time has come /it’s everybody’s moment except yours,” in one of her more contemplative songs, “Tornadoland.” Featuring the music of a full orchestra, the indie-pop singer brought together prolonged pauses and the prominent cello sounds to create an upbeat song that entranced the audience.

Spektor then moved on to the song, “Ballad of a Politician,” but not before capitalizing on the moment to share her feelings about inclusivity. “This is everyone’s America; this is everyone’s Washington D.C.,” she said as the audience

applauded. Spektor, originally from the former Soviet Union, sometimes even incorporates Russian, Latin and French into her music which can be heard in her album “Soviet Kitsch.”

Moving through her set list with the occasional small pause, Spektor gracefully sang each of her songs, some more recognizable than others. Spektor is widely known in the anti-folk world; her broad array of songs ranges from silly, nonsensical pieces to more pop-influenced ballads and appealed to everyone in the audience.

“I just like her because she inspires me to have fun and to not look at the world so seriously,” said a 25-year-old woman named Julia attending the concert. “She’s who I was in high school: that awkward kid looking for a way to express myself.”

It seems that Spektor can appeal to her audience by giving those who feel like they do not belong hope that, one day, they will be heard. As the concert went on, many of the audience members set-

tled into their seats to listen to Spektor speak about her life as an immigrant and the music that formed her journey as a young singer.

After leaving her audience with the song “Us,” from her 2004 album “Soviet Kitsch,” Spektor quickly came back for an encore and finished the night with “Samson,” a melancholy and serene song alluding to Samson and Delilah from the Bible. While filing out of the concert hall, many of the spectators commented on how well-balanced the concert was, leaving them content and even more enamored with the singer.

Spektor has been a part of the music scene for 16 years and certainly knows how to move her audience. Although EDM and rap music rule the music charts today, artists like Regina Spektor maintain the practice of complete personal involvement in the music process, bringing together a diverse group of fans to share in a fun night of musical talent and true art.

kendrick lamar ‘the heart part 4’ Songs like “The Heart Part 4” remind listeners just why Kendrick Lamar is one of the most celebrated artists in the rap game today. The musician’s latest single is set against a minimalist instrumental arrangement, letting the spotlight shine on his legendary lyrical verses. “The Heart Part 4” covers broad territory, as Lamar raps about the madness of the political world, rap industry and his own life — even dropping hints about his upcoming studio album, to be released April 7.

RCA

zayn, partynextdoor ‘still got time’ ZAYN partnered with Canadian rapper PARTYNEXTDOOR on his latest single, “Still Got Time,” a mellow, summer track with an instantly catchy hook. The singer’s soulful voice effortlessly weaves with PARTYNEXTDOOR’s smooth — albeit electronically engineered — vocals, creating an easygoing listening experience, perfect for warm beach days. Although he certainly has the skills of a pop powerhouse, ZAYN continues to take cues from rhythm and blues and hip-hop performers; “Still Got Time,” for example, is reminiscent of Drake’s lyricism and sound.

WARNER BROS.

gorillaz ‘andromeda feat. d.r.a.m.’

This past week, British virtual band Gorillaz released four new tracks in anticipation of its upcoming fifth studio album, “Humanz.” “Andromeda,” the group’s standout single, maintains an even, upbeat electronic sound, interspersed with science fiction sound effects and the softened vocals of both Gorillaz’s lead singer, 2D, and guest rapper D.R.A.M. The unexpected cross-genre collaboration between the artists creates a compelling and memorable listening experience, in spite of the track’s simple background arrangement.

LOMA VISTA RECORDINGS

local natives ‘i saw you close your eyes’

SARAH DIETER/THE HOYA

Singer and songwriter Regina Spektor delivered a spell-binding and intimate performance, continuing to demonstrate her penchant for acoustic, organic and personal music and lyrics.

Los Angeles-based indie-rock band Local Natives recently dropped its first single of 2017, “I Saw You Close Your Eyes.” To unlock listening access online, fans need to verify via webcam that they are, in fact, closing their eyes — an effort by the band to create a more focused listening experience. Perhaps complying with the band’s wish is best; free of distractions, listeners have the chance to hone in on and connect with the the track’s melancholic message. “I Saw You Close Your Eyes,” too, offers a glimpse into the Local Natives’ new experimental sound, fusing a strong string arrangement with unique instrumental additions, like the cowbell.

B8

sports

THE HOYA

friDAY, MARCH 31, 2017

track & field

softball

Runners Thrive In Raleigh Margo Snipe

Special to The Hoya

COURTESY GUHOYAS

Junior centerfielder Theresa Kane recorded two hits in four at-bats in Georgetown’s 3-2 loss to Creighton on Sunday. Kane has totaled 26 hits, scored 24 runs and has driven in five runs this season.

Hoyas Look to Regain Confidence Mary Burke Hoya Staff Writer

Despite loading the bases in the bottom of the seventh inning, the Georgetown softball team failed to tie the game, ending the contest with two flyouts and falling to Creighton by a score of 3-2 on Sunday.

Georgetown (8-19, 1-2 Big East) Head Coach Pat Conlan voiced her confidence in her team’s ability to improve upon its performance against Creighton (11-17, 2-1 Big East) ahead of its home series against the Providence Friars (8-16, 0-3 Big East).

“We swung the bat well on Saturday and played really good defense. Sunday came down to a hit or a play and sometimes that’s the way our game goes. It’s definitely a game of inches. If we have that same kind of effort this coming weekend, we are in a good situation,” Conlan said.

Conlan also commented on the cutthroat competition within the conference, especially when it comes time to compete in the Big East and the NCAA tournaments.

“The great thing about our conference is that there is a tremendous amount of parity.

Game in and game out, every score is tight and on any given day I think anyone in our conference can beat one another,” Conlan said.

The Creighton series allowed Georgetown’s young pitching staff to gain experience as conference play picks up. Freshman pitcher Anna Brooks Pacha started in the circle for the first and third games of the series, striking out 19 between the two contests. Conlan spoke highly of her performance.

“She was throwing excellent pitches that were getting put into play where we wanted them — easy pop-ups and easy ground balls. She gave us an opportunity to win both games that she started, and that is all we can ask of any of our pitchers,” Conlan said.

Junior center fielder Theresa Kane was named to the Big East Weekly Honor Roll for her contributions this weekend, as she boasted a .455 batting average in the series against Creighton. Kane also is second in number of hits for the Hoyas with 26 overall, following sophomore infielder Mallory Belknap’s 40 hits.

“I am really proud of the effort that we had, and we are

going to keep working hard all the way through the lineup,” Conlan said.

With their first conference series behind them and the next one imminent, the Hoyas look to make minor changes in their preparations to better take on the Friars.

“The great thing about our conference is that there is a tremendous amount of parity.” pAT CONLAN Head Coach

Conlan reviewed scouting reports on Providence to better tailor Georgetown’s offensive approach to fit its pitching style. Conlan also took note of the types of hitters the Hoya pitchers will be facing, so the mound is familiar with the game the coaches will call.

“The core of our practice always stays the same, but we try to change those details based on the report,” Conlan said.

The Hoyas are looking to

their narrow loss to the Blue Jays — what Conlan referred to as a “nail-biter coming down to the last out of the game” — and overall series loss as motivation to succeed against the Friars.

“They were heartbroken on Sunday, and I want them to be heartbroken because they played a great game.

Now we have to keep playing harder, have to be a little bit stronger, have better quality at-bats, all while keeping the same focus and intensity,” Conlan said.

Conlan also emphasized how impressed she was with the Hoyas’ performance against Creighton and her enthusiasm for both the game against Providence as well as the remainder of the season.

“From freshman to senior, from our leadoff hitter to our No. 9 hitter, from our base runners to our pinch hitters, everyone just played their role really well, and I’m excited to see what the rest of the season looks like,” Conlan said.

Georgetown hosts Big East rival Providence for a threegame series at Guy Mason Field this weekend, beginning Saturday at 12 p.m.

The Georgetown men’s and women’s track and field teams continued their upward climbs toward national titles and personal records at the Raleigh Relays, the team’s first meet of the outdoor season, hosted at North Carolina State University March 24 and 25.

“The momentum coming off of indoors is always really powerful,” said Interim Director Julie Culley. “Opening this weekend at the Raleigh Relays is probably the earliest that we have opened in a long time.”

The prompt start to the outdoor season gives the Hoyas more time to prepare to compete and earn their place at the NCAA finals in June.

Friday evening’s competition saw three personal record performances in the women’s 1500-meter run from juniors Piper Donaghu (4:22.48) and Autumn Eastman (4:31.94) and graduate student Jocelyn Hubbard (4:36.36). Donaghu’s time of 4:22.48 placed her fourth among more than a hundred athletes competing in the event. Donaghu was pleased with her time, considering it was her first 1500m run of the early season.

“I am really excited to see what I can do because this was my first 1500m and it was a PR, so I am excited to see how much more I can lower that time,” Donaghu said.

Senior Emma Keenan also paced Georgetown’s team performance, running a time of 57.25 in the women’s 400-meter event, which secured her a spot in the top 20 of 77 competitors.

On the men’s side, freshman Quincey Wilson finished with a time of 49.17 in the 400m dash, placing No. 14 in the event that featured over 50 competitors. Additionally, Wilson, junior Nick Sullivan and seniors Nathaniel Gordon and Daniel Anderson finished fourth in the men’s 1600m sprint medley with

a time of 3:30.13.

Georgetown added three more top-10 finishes on the final day of competition. Both the men and women had top-10 performances in the 4x400m relays on NC State’s Paul Derr Track. The men placed second with the same group of four from Friday with a time of 3:14.47. Juniors Jody-Ann Knight and Aleta Looker and graduate students Carey Celata and Jocelyn Hubbard placed 10th, running 3:50.74 in the event.

Senior Nathaniel Gordon opened the outdoor season strong in the men’s 800-meter event with a time of 1:51.39, more than three seconds faster than his best time during the 2016 outdoor season.

“The momentum coming off of indoors is always really powerful.”

Julie culley Interim Director

The upcoming weekend poses a unique challenge for the Hoyas as they split for three different competitions in three different locations.

“We have people intending on qualifying for the regional championship this weekend depending on the location they are in,” Culley said.

“The expectation is that we are going to have as many, if not more, [athletes] headed into Oregon, where the NCA A finals are, in June.”

Georgetown will send competitors to the Colonial Relays in Williamsburg, Va., Florida Relays in Gainesville, Fla. and the Stanford Invitational hosted at Stanford University this weekend, with all three competitions beginning Friday.

TENNIS

the water cooler

Welcome to the Family GU Bests George Mason T

o the incoming coach of the Georgetown men’s basketball team: First, welcome to the Georgetown family. Above all else, that is what we aspire to be on the Hilltop and what connects all Hoyas, past, present and future. We are all excited that you are now a part of this family because we share the same goal: returning Georgetown to its rightful place of national basketball prominence in a manner consistent with the values all Hoyas share.

That said, we can understand some trepidation on your part because you are involved in the first real coaching search for Georgetown since the late Nixon administration. We also know that you are probably aware of how the last era ended: the commentary, the petition and whatnot.

Believe me, this is not our nature. We do have high expectations and are not afraid to hold power accountable, but we also possess high levels of understanding and patience.

Going forward, you have the full faith and confidence of all Hoyas — it is our job to help you become the most successful coach possible.

One of the easiest and most important things you can do is talk to us, the students. We understand that we are neither the current boosters cutting five-figure checks, nor are we ultra-powerful alumni who can command some sort of insider-access. We know athletics does not need our money, but just because we are students does not mean we are not important. We just want to be acknowledged by more than a generic 45-second speech at Hoya Madness.

Being part of our family also implies that we are part of yours. We do not expect a Christmas card or an invite

to your Thanksgiving dinner, but any small gesture of your time would be greatly appreciated. Personally, we do not think this is radical. John Calipari does this at Kentucky.

Mike Brey does this at Notre Dame. The interaction does not even have to be about basketball. You are more than a coach — you are a leader on our campus. Talk to us about management or leadership or perseverance or, really, anything you want. If you speak, we will listen. We want to feel accounted for.

Michael Ippolito Do it for your self-interest.

This is Georgetown, so everything is political. This is the easiest thing you can do to build immediate goodwill and political capital. We know bringing Georgetown back will not happen overnight.

The short-term hiccups will come, but being able to personally identify with the man serving as the coach or recollecting that one positive interaction, however brief, will reaffirm our commitment to you.

I have no doubt that you are an upstanding citizen with integrity, but the difference between hearing about who you are and experiencing who you are is night and day.

We have no doubt that you are aware of some of our biggest problems as a team. We foul and turn the ball over too much, we cede far too many offensive rebounds and perhaps most importantly, we

have lost the expectation to win. This speaks to the heart of our discontent. The disappearance of the team’s unwavering pride and identity is what disappoints so many Hoyas.

College basketball is not what it was in 1984 when Georgetown could bully and intimidate its way to victory before tipoff, but that is okay.

What we seek and what we need is something to commit to. If we want to go the Anthony Solomon offensive route of pace-and-space with lights out shooters, so be it. If we want to retain our traditional defensefirst mindset but simply improve fundamentally and on execution, we are all game — just let us know who we are and what we can become.

Finally, the last piece of advice I suggest is to acknowledge your imperfections. Fans are going to constantly hyperanalyze your lineup choices, second guess your play calls and probably get too emotional about a Wednesday night game against Seton Hall. But it is what we do, and it comes from love. Granted, we are going to be wrong vastly more often than we are right, and you will be right far more often than you are wrong, but there will be cases in which you are wrong. No coach is always right and if the Pope is not infallible, then neither are you.

If you make a mistake, just say so. We will forgive you because that is what families do.

We want the same thing, and we are committed to helping you get there. It will not be easy, but adversity makes success all the sweeter. Welcome to Georgetown, coach.

Sincerely, Hoyas everywhere Michael Ippolito is a senior in the College. The Water Cooler appears every other Friday.

Christopher Gay Special to The Hoya

After losing a tight match against St. John’s in its Big East opener, the Georgetown women’s tennis team defeated the George Mason Patriots 6-1 on Monday with strong singles play.

Despite the defeat to St. John’s (12-3, 4-0 Big East), Georgetown (9-4, 0-1 Big East) was able to put it behind them to beat George Mason (9-7, 0-3 Atlantic 10).

“They just get stronger and stronger as a team whether we lose or win. They treat every match as an experience, so whether we win or lose, they’re just getting tighter as a group,” Head Coach Gordie Ernst said.

The Hoyas started off strong by sweeping all three of the doubles matches to grab the first point of the match. Georgetown continued its dominance in the singles matches by winning five of the six matches.

Senior Victoire Saperstein, junior Sara Swift and sophomore Sydney Goodson all cruised to comfortable straight-set victories at positions one, two and three, respectively. At the No. 5 position, junior Daphne de Chatellus won a close first set in a tiebreaker and won the second set 6-1. Senior Madeline Foley was victorious in a hard-fought match at the No. 6 position. After winning the first set 6-2, Foley dropped the second set 3-6 and then won the tiebreaker 10-6 to take the match.

Coach Ernst has been changing his positions of late in search of the optimal lineup. Over the last three matches, nine different players have competed in the six singles spots. Including doubles, Ernst

COURTESY GUHOYAS

Junior Daphne de Chatellus won her singles match in a 7-6, 6-1 finish in Georgetown’s win over George Mason. has sent out 11 different players. Despite the change in lineup, Georgetown has maintained a high level of play.

During the aforementioned three-game stretch, the Hoyas are 2-1 with the sole loss being the close match with St. John’s. Switching the lineup and remaining victorious speaks volumes of the team’s depth. Coach Ernst could not speak highly enough about the group’s teamwork.

“I have close to a perfect team in that regard. We just have kids who would run through a wall for each other,” Ernst said.

In particular, coach Ernst praised Madeline Foley’s team spirit and effort.

“She’s a senior who hasn’t

had a chance to play a lot, but it doesn’t matter,” Ernst said. “She still puts in the work like she’s getting ready for a match. She supports her teammates, been a great captain, great teammate, and she went out against George Mason and won a tight match at No. 6.”

The team played Towson (85, 1-1 CAA) Thursday, but the results for the women’s match against the Tigers were not available for press time.

After the Towson match, the women will have a slight break before returning to action. The Hoyas look to grab their first conference victory of the season when they host DePaul (8-6, 0-1 Big East) April 8 at 12 p.m.

SPORTS

friDAY, MARCH 31, 2017

THE HOYA

THE ANALYST

men’s lacrosse

Manziel’s Flawed Character Raises Multiple Red Flags CHRISTOVICH, from B10

COURTESY GUHOYAS

Senior midfielder Devon Lewis scored a pair of goals and added an assist in Georgetown’s 11-10 loss to Marquette on Saturday. Lewis has notched six goals in addition to two assists in six games this season.

GU Faces No. 6 Denver on Road DENVER, from B10

increasing the guys’ tempo and the thought process so they don’t just throw the ball at the goal.”

An offensive bright spot for the Hoyas this season has been a vastly improved performance at the faceoff X, led by junior faceoff specialists Riley Mann and Peter Tagliaferri. The duo has combined for a .502 faceoff win percentage so far this season, compared to the .381 percentage Georgetown finished with last season. Tagliaferri currently ranks No.15 nationally in faceoff wins.

Warne said he has been pleased with Georgetown’s collective efforts at the faceoff, both at the X and on the wings.

“Pete Tagliaferri and Riley Mann — those guys at the X are giving us a chance,” Warne said. “They’re doing

a really good job compared to where they were last year at this time.”

“We have to find a way to get out of the gate a little bit quicker and a little more focused.”

Kevin warne Head Coach

Continued faceoff success will be crucial for Georgetown in tomorrow’s matchup, as Denver currently boasts the best faceoff specialist in the nation in junior Trevor Baptiste.

Baptiste sets the bar with a current .723 faceoff win

percentage.

Baptiste’s 20-of-26 performance at the X was crucial in Denver’s most recent contest, a close 12-11 win over No. 15 Towson (4-3) last weekend. Now approaching its conference opener Saturday, the Pioneers look to continue the prolific success they have achieved in the Big East over the past few seasons. Denver has largely dominated the Big East since joining the conference in 2014, earning three straight regular-season titles and two Big East tournament championships.

In Georgetown and Denver’s last meeting, Denver dominated on the offensive end, staging several unanswered streaks and earning a decisive 17-4 victory. The Hoyas have not defeated the Pioneers since becoming conference rivals.

Another offensive threat

for Denver is senior attack Connor Cannizzaro, who currently leads the Pioneers on offense with 30 points this season and notched two goals and five assists in last year’s contest against the Hoyas.

While a strong defensive effort will be crucial in Saturday’s game, Warne said the Georgetown offense also needs to step up to control the pace and keep Denver’s possessions limited.

“We’re going to have to play really well in the goal, and we’re going to have to make stops defensively,” Warne said. “They’re very skilled, but if we have a plan where we can control the tempo, I think by having possession, scrapping at the X and doing some different things that they haven’t seen yet from us, that will help us get in that position.”

Saturday’s game is slated for 3 p.m. at Denver.

Hoyas Host Surging Owls the Hoyas with 21 goals this season, three fewer than her entire freshman year total. Gebhardt credits hard work and teamwork for her team-leading goal total.

“We have played against a lot of zones, so working the ball around on offense and keeping our offense moving really opens up those opportunities to get those points on. I think our overall offense working together has been a big factor this year, not just individual dodges and stuff,” Gebhardt said.

On her improvement since last season, Gebhardt turns to her practice technique.

“I’ve been working on a

lot of inside shooting and stuff and stuff off of small openings and zones, because that has been a lot of the defense that we’ve been playing against.

Shooting a lot more and working on a lot of finite stick skills,” Gebhardt said.

Georgetown now shifts its focus toward another conference foe, Temple (8-2, 1-1 Big East). Senior attack Brenda McDermott leads the Owls with 19 goals and 22 assists while sophomore midfielder Amber Lambeth has contributed 17 goals for Temple this season. In net, freshman goalie Maryn Lowell has totaled 52 saves this season and 79 goals allowed in 10 games, win-

was cut from the Cleveland Browns early in 2016 after various issues with the law, which included threatening his girlfriend, getting into fights and substance abuse.

What are Manziel’s 2016 highlights? A dismissal of his domestic violence case in December and his alleged achievement of sobriety without seeking professional help.

If Manziel were to join the Saints, they would go from being led by one of the most morally upstanding quarterbacks to one of the most ethically challenged figures in NFL history.

By merely entertaining the idea of giving Manziel a chance, the Saints could be perpetuating a twisted culture of forgiveness that unfortunately pervades professional sports.

Athletes are given second chances that no other normal person would receive.

The Saints would have one of the most ethically challenged NFL players if they were to sign Manziel.

This is not to say that second chances are not an incredible opportunity to rehabilitate a fallen figure; C.C. Sabathia announced he would enter an alcohol rehabilitation center at the end of the 2015 season and was back in full force in 2016. Josh Hamilton was the poster child for overcoming substance addiction until his relapse in 2015. Michael Vick seems not to have incited any dogfights since his conditional reinstatement to the NFL in 2009.

However, this begs

the question of whether Manziel deserves another chance.

The Saints’ passing up on Manziel due to his troubled character would make a statement against the NFL’s status quo.

Perhaps it is too early to say — if Manziel can prove he can stay focused on football, then maybe he has grown out of his reckless lifestyle. But even if he did, the Saints are not the team for him. Manziel needs an on-field mentor, which Drew Brees might not be capable of being if he retires before Manziel re-enters football.

It is also futile to argue whether — under the assumption that Manziel stays clean — his skill set would work as a New Orleans Saint. The Saints’ offensive strategy is an unclear mess and most likely will be for the foreseeable future until Brees retires and Payton can examine what kind of quarterback is available on the market in real time. In this offensive instability, Manziel would not be a viable candidate.

The Saints should pass on Manziel because he would not be a good fit on the Saints’ unstable offenseHowever, the Saints’ passing up on Manziel due to his many transgressions against the law would make a statement against the NFL’s status quo, an absurd idea on par with Sean Payton’s Super Bowl play calling.

Amanda Christovich is a sophomore in the College. THE ANALYST appears every Friday.

baseball

WOMEN’S LACROSSE

CONNECTICUT, from B10

B9

ning five of them.

Coach Fried stressed the importance of his team playing to its strengths this weekend.

“It’s a conference game again. Everybody is fighting to be one of those top four teams — only four out of the ten get to go to the Big East tournament.

Instead of us focusing on what they are going to bring us, it’s us focusing on us getting better and pushing ourselves physically and mentally to make sure we are broadening our game. That’s our big focus this week,” Fried said.

Georgetown’s game against Temple is set for Saturday at 1 p.m. on Cooper Field.

COURTESY GUHOYAS

Senior infielder Jake Kuzbel hit a two-run home run in Georgetown’s 6-2 loss to Navy on Wednesday. Kuzbel ranks second on the team with 26 RBIs this season.

Squad Relies on Pitching NAVY, from B10

FILE PHOTO: STEPHEN COOK/THE HOYA

Junior midfielder Hannah Seibel has notched nine goals on 29 shots and is tied for second on the team with seven assists in 10 games this season.

for, and what the coaching staff looks for, is how we respond to plays like that,” Kuzbel said. “If we bounce back the next inning by putting quality at-bats together and some runs across the board, nobody cares that we hit into double plays from the previous innings.”

Senior pitcher Nick Leonard started the game for the Blue and Gray, going five and two-thirds innings while allowing three runs on nine hits and two walks with three strikeouts.

“Nick needs to be better, he knows that, just wasn’t a good start,” Wilk said. “It wasn’t terrible, by any stretch, it just wasn’t who he usually is. The bottom line is that he gave us a chance to win, but I guess we expect more out of Nick. Nick expects more out of himself.”

Despite Wednesday’s loss, Georgetown’s starting pitching has been strong with a 3.32 ERA over the past six games.

“I thought our starters at Brown threw very well. I was very happy. Starting pitching hasn’t been our issue,” Wilk said.

In his last start against the Ivy League’s Brown (6-8), senior pitcher Simon Mathews struck out 10 batters while only allowing two runs over seven innings.

Matthews looks to continue that success against George Mason (9-15, 2-1 A-10) this weekend.

“I think it was one of my better starts of the year just in terms of competiveness level,” Mathews said. “But on the other hand, any game I start and we don’t win is a disappointment. I’d like to carry over that competitive factor but sure be able to do more for the team next

time.”

The Hoyas are looking to rebound from their loss Wednesday in the upcoming three-game weekend series against the Patriots.

“Going into the weekend, we are looking to get that competitive edge back at the plate,” Kuzbel said. “We have one more practice before our series against George Mason, so we will work hard on the areas that need improving.

That begins with having the confidence to go out and win the ball game.”

The series begins with a double header Saturday, with the first game beginning at 12 p.m. followed by the second game at 3p.m. The series finale will take place Sunday at 1 p.m. All games will be played at George Mason’s Spuhler Field, with live statistics and streaming available through GUHoyas.com.

SPORTS

Women’s Lacrosse Georgetown (4-6) vs. Temple (8-2) Saturday, 12 p.m. EST Cooper Field

FRIDAY, MARCH 31, 2017

TALKING POINTS

SOFTBALL After losing two straight games, Georgetown hosts Providence this weekend for a three-game series.

See B8

“

WOMEN’S LACROSSE

Hoya Staff Writer

The Georgetown women’s lacrosse team remained undefeated in conference play, defeating Connecticut 14-6 last Saturday on the road behind a strong performance in net by senior goalie Maddy Fisher, finishing with 15 saves in the game.

Georgetown (4-6, 2-0 Big East) Head Coach Ricky Fried noted the importance of getting a win against Connecticut (3-6, 0-2 Big East), a conference rival, on the road.

“Obviously at this point every win is a big win, especially in conference.”

RICKY FRIED Head Coach

“Obviously at this point every win is a big win, especially in conference against a conference rival. It’s very satisfying to go on the road and come away with a victory that we haven’t had in a couple years,” Fried said.

Coach Fried also praised Fisher’s performance against the Huskies, as her

It’s very satisfying to go on the road and come away with a victory.”

HEAD COACH KEVIN WARNE

8

The number of Georgetown players who scored in Saturday’s victory over Connecticut.

MEN’S LACROSSE

Offense Propels Hoyas on Road DAN CROSSON

NUMBERS GAME

efforts earned her Big East Defensive Player of the Week.

“That’s one of the biggest reasons we went to a zone, because we trust her.

She’s very fundamentally sound. She’s always in the right spot, and when we give up the shots that we want to give up, she’s generally there to make the save. That’s not a knock on the saves she made, but she is in the right place at the right time we have a tremendous amount of confidence in her,” Fried said.

Georgetown’s offense featured eight different Hoyas scoring goals.

Sophomore attack Morgan Ryan and junior midfielder Hannah Seibel commanded the Hoyas’ offense with three goals each.

Ryan also tallied a teamhigh of three assists in the victory. Senior attack Kate Snouffer and sophomore attack Taylor Gebhardt both notched two goals.

Senior attack Jacqueline Jordan had two goals for the Huskies while senior midfielder Molly O’Reilly, junior attack Grace Nolan, senior midfielder Ally Tilley and senior midfielder Emily Giumetti had one goal apiece.

Thus far, the Hoyas’ offense owes a lot to Gebhardt who currently leads

Sophomore midfielder Patrick Aslanian scored a goal and contributed an assist in Saturday’s loss to Marquette.

Aslanian has tallied three goals and five assists and has started in four of Georgetown’s nine games this season.

See CONNECTICUT, B9

See DENVER, B9

COURTESY GUHOYAS

GU Aims to End 3-Game Losing Streak ELIZABETH CAVACOS Hoya Staff Writer

Following back-to-back one-goal losses, the Georgetown men’s lacrosse team aims for greater scoring efficiency and a stronger start in its upcoming conference matchup at No. 6 Denver this Saturday.

The Hoyas (2-7, 0-1 Big East) are coming off a loss in their conference opener to the Marquette Golden Eagles (4-2, 1-0 Big East) — the reigning Big East champions — at home

last Saturday. A slow start mired Georgetown in a five-goal deficit by the end of the first quarter, and although the team clawed back in the second half, its comeback attempt was cut short in the 11-10 defeat.

Redshirt junior attack and co-captain Peter Conley, senior midfielder Devon Lewis, freshman attack Jake Carraway and sophomore attack Daniel Bucaro all contributed two goals apiece in the loss. Conley, Lewis and Carraway each chipped in lone assists as

well.

Head Coach Kevin Warne said Georgetown’s failure to pull out wins in its close losses is a result of a weak opening tempo rather than an inability to complete late-game comebacks.

“We have to find a way to get out of the gate a little bit quicker and a little more focused,” Warne said. “We’ll change our warmup this week just to get the guys in tune more, and hopefully that will kickstart the game mode.”

BASEBALL

Another area where Georgetown looks to improve is in finishing shots and finding greater efficiency on offense.

“It’ll be a big emphasis for us over the next couple of weeks, just learning how to score,” Warne said.

“We’ll put our guys in situations where they have to think fast, be able to finish under pressure and find a place in the net that’s open and put it there. The only way you can do that is

THE ANALYST

Squad Silenced by Navy Pitching MITCHELL TAYLOR Special to The Hoya

COURTESY GUHOYAS

Junior outfielder Michael DeRenzi ranks first on the team with a .398 batting average while hitting a team-high three home runs and driving in 28 runs this season.

Navy pitching stifled the Georgetown baseball team last Wednesday at Shirley Povich Field, silencing the Hoyas’ offense in a 6-2 Georgetown loss.

Senior Jake Kuzbel notched his second home run of the season, but it was not enough to overcome the Hoyas’ inconsistent pitching.

“I was disappointed in the entire game, quite frankly,” Georgetown (14-11) Head Coach Pete Wilk said. “I didn’t think our energy was up where it should’ve been, where it needs to be. We overlooked a decent team, despite numerous warnings from the coaching staff not to do so.”

The heart of the order powered the Navy (16-9) offense, with their two, three and four hitters going a combined 10-14 with four runs driven in. Navy’s pitching staff kept Georgetown’s bats quiet all game, with the Hoyas’ scoring coming from a two-run home run from Kuzbel in the 3rd inning.

“The outcome of the game is always the first thing that matters to me. I feel just as good about hitting a home run myself as I do watching a fellow teammate hit one.” Kuzbel said in an email to THE HOYA. Georgetown successfully put its leadoff runners on base in the 7th and 8th innings, but both rallies were erased by a pair of double plays by the Navy defense.

“It’s obviously difficult whenever we hit into double plays, but what I look See NAVY, B9

Visit us online at thehoya.com/sports

Amanda Christovich

Saints Should Avoid Manziel

I

t had been a while since the football world has heard from former Cleveland Browns quarterback Johnny Manziel until he had breakfast during Super Bowl week with New Orleans Saints Head Coach, Sean Payton.

When news of this breakfast — and its suggestion of the Saints’ interest in Manziel — broke, speculation soared. Sean Payton and the Saints are expected to begin scouting for a replacement for Drew Brees in the coming seasons. Despite Brees’ incredible statistics, the 38-year-old quarterback is reaching a long and successful career’s end.

The Saints’ dynamic and pass-oriented offense may retire with Drew Brees and be replaced with a new offensive structure that might better fit his replacement. It is perfectly understandable that Payton would be meeting with and considering quarterbacks with vastly different qualities from Brees.

What is truly shocking is Payton admitting to his interest in getting to know Manziel as a potential Brees replacement. However, in a statement on the Saints’ website, Payton officially

discredited any serious talks between him and Manziel to bring the former quarterback onto the Saints this season. Nevertheless, Payton did not dispel the idea that Manziel could be a possible candidate in the future.

Entertaining the idea of replacing Drew Brees with Johnny Manziel is absurd and reckless.

Payton is typically characterized by a good kind of absurdity. For example, he is notorious for risky playcalling, such as the famous onside kick to open the second half of Super Bowl XLIV. But in this instance, there is nothing good about Payton’s absurdity. Entertaining the idea of someday replacing Drew Brees with Johnny Manziel is more than simply absurd. It is reckless.

The most obvious red flag in considering Johnny Football is his troubled past. He See CHRISTOVICH, B9