The Hoya: The Guide: October 30, 2015

the guide FRIDAY, OCTOBER 30, 2015

The Changing Face of Music KATHERINE RICHARDSON

aren’t and don’t want to compete at a Taylor Swift, Beyoncé level.”

It was 2000, and Napster — an online service that allowed users to swap and download MP3 files for free — was growing at a viral rate. In just under a year, the site’s 20-million-person user base tripled, as people shared artist discographies and top10 singles with a single click. CD sales plummeted. Artists rebelled. The music industry was shaken.

“We were thinking, ‘Something is going to happen with this Internet thing,’” Future of Music Coalition CEO Casey Rae said. “You get the sense that a chunk of the community was freaking out about it, saying, ‘Oh no, it’s completely going to mess up our business models.’

They were right.”

That same year, a group of musicians and artist advocates formed the Future of Music Coalition, a D.C.based nonprofit that advocates for the rights and proper compensation of artists in the evolving industry.

The FMC held its first policy summit in 2000, bringing musicians, producers, major label representatives and government officials together to discuss piracy, CD sales and the death of vinyl; they met in Gaston Hall.

“The idea was, the Internet could actually not be the worst thing in the world for the independent music industry, provided that we pull together and try to figure it out,” Rae said. “And so the very earliest conference reflected that idea. Let’s get everybody who possibly has a stake in this conversation in a room, because it’s just that important. To some extent, that really created the framework for the summit even to this day.”

On Monday and Tuesday, musicians and policymakers gathered at Georgetown again for the summit’s 15th iteration, this time in Lohrfink Auditorium in the Rafik B. Hariri Building. Many of the pressing issues discussed, including music streaming, data, artist compensation and artist advocacy, stemmed from the same discussions at the 2000 summit.

“It’s not like we’ve come out of summit for 15 years with a five-point plan of how we’ll fix the music industry,” Rae said. “But we do promote a more diverse industry that isn’t just one model — respect for artists who

CRAFTING MUSIC’S FUTURE

Hoya Staff Writer

In the past 15 years, Georgetown has hosted major players in music and policy at FMC summits, including musician and author Patti Smith, Fugazi singer and Dischord Records co-founder Ian MacKaye, R.E.M. manager Bertis Downs and various senators and Federal Communications Commission officials.

In panel discussions — this year, on topics ranging from music education to streaming services to the future of radio — participants discussed their perspectives on the industry and engaged in debates. In one particular panel discussion called “Herding Cats in Theory and Practice: Musicians Making Impact,” Grammy - Awardnominated artist Tift Merritt, American Federation of Musicians Executive Board Member Andy Schwartz and Downs, among others, discussed how musicians could make an impact on policy discussions. In another, five music managers, including former Pink Floyd and The Clash manager Peter Jenner of Sincere Management, explored the complicated decisions they have faced in the increasingly digital music world.

The primary demographic of the summit is content creators, namely artists, musicians, songwriters and composers.

The FMC provides some conference scholarships to musicians who cannot afford the $249 general registration fee. The fee, which goes to pay speakers and rent space at the university, is relatively low compared to those of other similar industry conferences, Rae said.

“We want musicians to be able to encounter information that they might not otherwise encounter because they don’t fly around the world to go to all the other industry conferences about the music industry and digital technology,” Rae said.

Despite targeting creative types, the business and policy components attract other music industry members, including producers, lawyers and businesspeople, as well as delegates from the U.S. Copyright Office, the Federal Communications Commission, Congress and the U.S. Patent and Trademark

"We do promote a more diverse industry that isn't just one model — respect for artists who aren't and don t want to compete at a Taylor Swift, Beyoncé level."

COURTESY BIANCA SOLER

The Future of Music Coalition Summit, which took place Monday and Tuesday, focused on challenges and changes in the music industry.

Office.

“Being that we’re in D.C., there’s also a focus not just on the marketplace stuff and how the technologies are evolving, but also public policy,” Rae said.

Students from the Berklee College of Music, Monmouth University, Northeastern University and Georgetown paid $25 to attend this year’s summit.

AN INEXTRICABLE LINK

The partnership between FMC and Georgetown formed naturally, since two founding members of the coalition, Jenny Toomey (COL ’90) and Michael Bracy (COL ’90), attended the university. Rae is also an adjunct professor in Georgetown’s communications, culture and technology graduate program.

“We like the Georgetown environment,” Rae said. “When we look at the creative industries, we also imagine the

public good, we also imagine a social good, the ability to express oneself creatively as a kind of social justice. The values at Georgetown very much align.

And departmentally, there are a lot of great professors who are really invested in these types of conversations.”

Three Georgetown professors — Anna Celenza, Bernard Cook and Thomas Caestecker — participated in panels at this year’s summit. Celenza, who began working at Georgetown in 2006 to develop its American musical culture major program, sends students in two of her courses to the summit for free. One of the courses, a seminar on the music industry, is designed entirely around the summit.

“Up to this point in the semester, all we’ve been doing is preparing so that the students See MUSIC, B2

THIS WEEK FEATURE

LIFESTYLE

‘Deeds, Not Words’ ‘Suffragette’ captures energy of the women’s rights movement JESS KELHAM-HOHLER Hoya Staff Writer

Irving Penn’s ‘Beyond Beauty’

The Smithsonian American Art Museum opened its retrospective exhibit of Vogue photographer Irving Penn’s work. B3

FOOD & DRINK

Pop-Up Restaurants

At Prequel, up-and-coming chefs are given the chance to showcase their work to an audience. B5

ARTS & ENTERTAINMENT

Mikky Ekko @ 9:30

The singer performed a full set preceded by indie-rock band Transviolet last Saturday. B7

THEHOYA.COM/ GUIDE @thehoyaguide

As the big election year approaches, it is easy to forget that women in the United States have only had the right to vote for less than a century.

Surprisingly, “Suffragette,” a new drama that tells the story of the involvement of workingclass women in Britain’s fight for women’s right to vote, is the first feature film to tell the story of the movement.

The film brings us to a small area of London in 1912, where laundress Maud Watts (Carey Mulligan) struggles to make ends meet and is devoted to keeping her husband Sonny (Ben Whishaw) and her son well looked after. We watch her endure terrible working conditions and an abusive boss until she gets to know her co-worker Violet (Anne-Marie Duff) and pharmacist Edith Ellyn (Helena Bonham Carter), who eventually persuade her to join them and follow the admired Emmeline Pankhurst (Meryl Streep) and her radical suffragette movement. The plot proceeds to delve into and expose the violent determination with which these working-class women pursued their right to vote and their continued fight against the government, including Prime Minister H. H. Asquith (who is, rather ironically, the great grandfather of Bonham Carter) and the

police, embodied in the film by Inspector Steed (Brendan Gleeson).

With an emotionally intelligent and honest script, British screenwriter Abi Morgan, known for “The Iron Lady,” delivers a story that varies between shocking, heartbreaking and inspiring, all the while leaving you with the sense that you are seeing a very accurate realization of the actual events. Along with director Sarah Gavron, with whom she worked

before on “Brick Lane” as well as the same producers, Allison Owen and Faye Ward, she scoured archives of diaries, video footage and newspapers to get as full a picture of the working-class woman’s experience as possible. Helen Pankhurst, great-granddaughter of the famous Emmeline, also acted as an advisor.

“I fell in love with this film from the script,” Pankhurst said. “I read it and thought, Wow, we’re focus-

ing on the issues.’ It’s not about little personalities, it’s not about schisms in the movement, it’s really to get people to understand the transition — how somebody changes to that violence — and that was spot-on.”

This is not a film that indulges in the saccharine sentimentality that so often permeates period dramas, especially those with a See SUFFRAGETTE, B4

FOCUS FEATURES

Carey Mulligan as Maud Watts, center, and Helena Bonham-Carter as Edith Ellyn, right, in “Suffragette,” out today. The film follows the British women’s suffrage movement in 1912.

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the guide

THE HOYA

friday, October 30, 2015

FEATURE

Picturing Music in the Internet Age MUSIC , from B1 hit that conference and really understand what’s going on,” Celenza said.

“We’ve talked about copyright laws, we’ve talked about digital media now, we’ve talked about entrepreneurial processes so that they can go to the conference and really network.”

Cook, the director of the film and media studies department, said he encourages his students to attend the summit to network with big names in the music industry.

“FMC enables our students and faculty to meet and to talk with artists, managers, programmers, record label executives, digital consultants, politics, policy-makers and many others invested in the cultural significance of music,” Cook wrote in an email to the hoya.

WGTB Georgetown Radio Events Coordinator Bianca Soler (MSB ’16) participated in a panel on the future of radio after networking with FMC staffers at a previous summit. She said Georgetown’s location in D.C. makes it the perfect place to discuss policy that deeply affects artists.

“In D.C., we have access to really making a change,” Soler said. “Really having policymakers present who have heard about the issues in the music industry and changed their vote. That was the main reason I think it was in D.C. There have been a lot of important people from Congress and from the FCC who have been present, and I think that’s what really makes

the FMC Summit a policy summit.

That’s why I think the Georgetown community has really supported it.”

A Changing Landscape According to the 2014 Nielsen Music U.S. Report, on-demand streaming jumped 54 percent last year, with 164 billion songs streamed through platforms like Spotify and Pandora.

In contrast, physical and digital albums and track sales declined by 14.9 and 9.4 percent, respectively. The growth of streaming services and music piracy, among other factors, has cut into artists’ profits. According to Spotify’s revenue model, artists make as little as 0.6 cents every time their song is streamed; to make $100 in royalties, a song must be played 16,666 times.

In a panel discussion on musician impact, Merritt said that the music industry is failing.

“I’m a working musician and I make records and I write,” Merritt said. “In essence, I have a small business, and I’ve watched the economy of this small business pretty much fall to pieces over the course of the last 10 years because of the changes in the music economy.”

Merritt explained that making an album automatically puts small artists into debt that is nearly impossible to recoup through online streams and tours.

“I hemorrhage money when I go on tour with a full band,” Merritt said. “I stay up at night worrying about how

COURTESY BIANCA SOLER

General registration tickets to the summit cost $249, although the FMC provided $25 tickets for students and free artist scholarships.

I can pay these 50-year-old men what they deserve, because they’ve spent their whole lives studying their instruments. They’re true craftsmen.”

To Jenner, who managed Pink Floyd with its original lineup, the digitization of the industry has proven disastrous, making artist-fan connections less personal and minimizing opportunity for innovation. In the late 1960s, Pink Floyd’s success grew out of the psychedelic underground London music culture, its fame built on a thriving fan community.

Jenner said the growth of electronic music can be attributed to the fact that the music is simply cheaper to make. An artist does not have to pay a drummer or guitarist like Merritt, but can produce the sounds himself on a keyboard instead. Jenner said the craft associated with making music is becoming less important in an age of digitally created sound and auto-tune.

“It’s all part of a ‘deskilling’,” Jenner said. “There’s becoming less and less people employed in music, and yet the number of pieces of music is expanding and expanding. The machine is such a great opening, but it seems to be closing so many doors because people don’t want to go out. They’re just sitting at home on Facebook and playing games and maybe making their own records instead of going out. It also undermines community. They’re not going out to shows and they’re not meeting each other there.”

Content Creators Coalition Executive Director Jeffrey Boxer, who works to advocate for artist rights through lobbying and unionization in D.C., said that artist engagement and honest discussion is key to solving some of the industry’s major problems.

“The music business has lost 60 percent of its value in the last 15 years,” Boxer said. “If there was an inside industry solution to this problem that did not require new pathways and helping musicians stand up for themselves, people in the industry would have fixed it. Nobody gives up 60 percent of their industry value willingly.

Nobody.”

To develop solutions, Boxer said it is necessary to form advocacy groups and work with lawmakers to affect change and ensure fair pay for all content creators.

“If you want to talk about the fact that your music being taken from you is unfair, that’s a political conversation, except we have a political system that’s set up not to listen to it,” Boxer said. “You overcome that by organizing.”

Where Music and Policy Intersect Since the FMC’s inception in 2000, the group has aimed to actively affect music policy discourse in the District through lobbying and re search projects.

The nonprofit, in addition to or-

COURTESY BIANCA SOLER

Musicians, songwriters, managers and policymakers met Monday and Tuesday to discuss topics like the future of radio and streaming. ganizing the summit, submits artist testimony to lawmakers, translates difficult-to-understand contracts and laws for musicians and creates original research on topics including artist revenue streams and commercial radio.

Over the past 15 years, they have researched and worked with policymakers on issues such as copyright, net neutrality and artist compensation.

“The crazy thing is that, back in the ancient times, some of the stuff that got floated as potentials became reality on the marketplace side or definitely informed the policy discussion and outcomes,” Rae said. “A really clear one would be net neutrality. There’s a lot of people involved in this policy debate going back 10 years, but we were there right at the beginning.”

Rae said that in addition to FMC’s work, he has noticed that discussions at summits have led to real policy changes. Senator Al Franken (D-Minn.) participated in a summit discussion about net neutrality in 2009, which Rae said helped the senator develop a robust platform supporting the issue.

The FCC ruled in favor of net neutrality in February.

“It ended up being a core platform for [Franken], to this day,” Rae said.

“He really found his voice on that issue at our event. After his keynote, he sat down with Mike from R.E.M., and they talked more about it. That moved the needle and created the opportunity for more folks in our community to talk about the issue.”

The summit has also affected radio deregulation policy following the Telecommunications Act of 1996. A 2002 FMC study found that two companies controlled 45 percent of radio

industry revenues and 42 percent of listeners, and explained that this oligopoly was harmful to the diversity of the music industry. In 2003, the then-FCC Commissioner Jonathan Adelstein commended the study.

“We were sending letters to the FCC and Congress signed by rock stars. Summit is the place where a lot of this context can emerge,” Rae said.

“Congress is taking it very slowly, but examining copyright rules and laws.

We want to make sure whatever the proposals are adequately reflect the views of creators.”

As policy changes in the next 15 years, Rae said he hopes the FMC Policy Summit will be at the heart of the discussion, working through issues in the heart of Georgetown’s campus.

“I can’t predict with certainty what’s going to be the thing that moved the needle,” Rae said. “But after 15 years of doing this, we still have plenty of opportunity to highlight issues and demonstrate values coming from the people that we care about and, most importantly, help them develop their own sense of agency.”

As the music industry evolved from 2000 to 2015, the FMC has remained invested in its future, spreading its roots in the Georgetown community. To Rae, the symbiosis between the summit and the university is extraordinary.

“All of these things that inform the conversation that we have within Summit get reflected out back to the entire university and the folks who attend and the professors and scholars who participate or observe the event,” Rae said. “That’s a really beautiful thing. That’s why Georgetown.”

center stage

A Place for Theater, Onstage and Offstage Andrew Walker (SFS ’16) on drama, senioritis and future plans lINDSAY LEE

Hoya Staff Writer

Andrew Walker (SFS ’16) has been involved in a show on campus for almost every semester he has been at Georgetown, even though as an international politics major with a certificate in women and gender studies, he has no immediate plans to pursue theater or music after graduation. Even so, Walker is far more than an actor. Given his former roles as director, set designer and arts advocate, there are few individuals who are as inclusively involved as him in Georgetown’s arts community. the hoya sat down with Walker to discuss acting, the arts and plans after college.

Tell me about your involvement on campus over the past three-and-ahalf years in the arts?

When I first came to Georgetown, I was really excited about getting involved in theater. I auditioned for all of the shows that we were doing in the fall semester. I ended up being cast in a co-production between our department of performing arts and Nomadic Theatre, and that’s kind of where I found my home that year was in theater at Georgetown. I also did “Spring Awakening,” which was the Mask and Bauble musical. And then sophomore year I joined the Georgetown Phantoms. I was also in GUSA that year as the co-secretary for the subcommittee on creative expression. And the two big things we did out of that subcommittee was the report on the state of the arts and creative expression. We sent out a survey to 28 co-curricular groups and just asked for responses about their space allocation and funding allocation, and we got some really insightful responses that I

Jinwoo Chong/THE HOYA

Andrew Walker (SFS ’16) on the set of Nomadic Theatre’s fall show, “afterlife: a ghost story,” for which he co-designed the set.

really hope has helped drive some of the GUSA legislation and programming for the arts. Since then, the other thing that has come out of that committee is Arts Week, which is an eight-day event that just celebrates all of the artistic things that are happening on campus.

Did you always plan to get involved in the arts when you came to Georgetown?

I definitely wanted to do theater. And that was the thing I did right away. And then my sophomore year I really missed singing. I had grown up doing choir, and I thought a cappella would be a really good outlet for that so I joined the Phantoms. I think GUSA pushed me into more of an administrative role, so not only was I performing but I was also being an advocate for the arts, which was exciting.

Looking back as a senior, what do you think are some of the greatest problems facing the arts on Georgetown’s campus?

I would say the biggest thing that we don’t necessarily have control over but can lobby for is transparency and space allocation. It’s so limited on campus, which is what I think a lot of groups don’t know, and so it’s frustrating when you don’t get the exact place and the exact time you’re looking for. But I think if we knew why that was the case and knew who was rehearsing where at what times it would be just really helpful for there to be more of an understanding about saving space on campus.

I would also say we could really use a greater sense of artistic community just because it’s very focused on “this is my group and this is what we’re doing this year.” But when it becomes a broader thing about being mutually supportive of all of the arts on campus and really seeing other people’s performances and

going to other people’s events.

Can you talk to me a little bit about mentorship within the arts community at Georgetown?

One of the things that I started doing in theater was directing. I assistantdirected a play for one of my really good friend’s thesis and it was a co-production between Nomadic and the department. His name is Brendan Quinn (COL ’14) and he guided me a lot and taught me a lot about theater, which I then applied when I directed my own show. It was the Nomadic and Mask and Bauble co-production “Killer Joe,” which was last spring semester. And I think he’s my most direct connection with mentorship. But then I think the other really cool thing that we have, and you see it in a lot of Georgetown clubs — it’s so mutually supportive of each other. I have a pretty wide range of things that I’ve done in theater. I’ve acted. I’ve directed and I’ve been a lead designer on a show, which is not that uncommon.

And it’s because we’re all constantly teaching each other new things. I think that’s the really unique thing about our community, but also makes sense in Georgetown where you do have all these student-run clubs like [Georgetown Emergency Response Medical Service] or [Georgetown University Alumni and Student Federal Credit Union] or The Corp, where it is students helping each other.

I think that’s a neat thing specifically in our theater community in Georgetown.

You’ve done a really wide range of things, from acting in musicals to directing a play to doing set design.

If you had to choose, what would you say was the most meaningful process that you’ve been a part of?

It’s very hard to choose, but I would say directing the main stage for “Killer

Joe” was really an exciting and special opportunity. I always say it’s the best work I’ve done in any discipline. Thematically, the show is really challenging. There are several scenes of violence and domestic abuse and sexual assault.

And I think we did a good job of making the actors feel safe in the room. And I think that’s what I was most proud of was the community that we formed in that process and making each other feel safe and being committed to why that show is important.

So that’s kind of another realm of Georgetown arts that you are going to try to tackle. How do you think this will be different? Are there any experiences you’re going to try and take forward from it?

Being in musicals, I feel very safe.

There’s a different style of acting. You learn a lot of your lines through song. In “The Metal Children,” which is the show I was just cast in, my character opens the second act and it’s a six-minute monologue. So it’s just a lot more lines.

Do you plan to go into theater or music in the future at all?

I don’t, not explicitly, as a career in either theater or music.

What kind of experiences do you think you’ll take forward into whatever field you eventually decide to go into?

I think the biggest thing is just that art is important. It can absolutely be applied to my career. I think I have a really strong sense of how I present myself to other people, especially with body language, and that totally comes from an acting background. But just in terms of life more generally, I think art as an expression is so important as a different kind of way to communicate ideas.

the guide

friday, october 30, 2015

Resurrect The Date

The Cereal Dater

Welcome To My Struggle

T

his is a story about Cookie Crisp. We met freshman year and occasionally said hi, usually just in passing. I never thought about him until one particular Lauinger Library encounter our junior spring semester after which I thought to myself, “He’s cute.

I’d date him.” Yes, this was all set in motion because of one late night on Lau 2. No, I didn’t even look slightly puttogether that night.

A few weeks ago, I ran into Cookie Crisp on my way home and asked him on a date, just to see what would happen. For some reason, he said yes, and I proceeded to share my excitement with all my friends and even one of my friend’s mothers.

One friend commented, “He doesn’t look like your type. He doesn’t look like he lives at Yates.” Yet, the first date went well. I forced myself to relax more, ask questions and try to be who I am with my friends.

Afterward, when my friends asked whether I liked him, I found myself asking myself the same question, only to admit with defeat that I did not know the answer. Is this something you know on the first date? The first date shockingly turned into a second date, and I was still not certain how I felt.

When do you know?

I want to do everything that scares me.

What kind of life would I be living otherwise?

This dating thing is an emotional roller coaster. The second date was not ideal, and I went to bed that night rather upset. I spent the next day feeling less than 100 percent and debated wallowing with a Hot Chick, Wisey’s cookies and multiple glasses of wine, all decisions I knew I would later regret.

Suddenly, there was a complication before we’d even started. My friends advised, “Just go with the flow if you want, but you might get your feelings hurt in the end” and “Maybe cut it off now before you get in too deep?” Both screamed “fear” to me.

But I don’t want to be afraid of anything; I want to do everything that scares me. What kind of life would I be living otherwise? I want to see where this thing with Cookie Crisp goes, if it goes anywhere at all. Otherwise I’ll never know.

I used to justify my singleness with the belief that you should love yourself before you enter a relationship with another person. I simply didn’t love myself yet. But whatever that low point was in my life, I’m beyond it now.

Now, I know for certain that I like me. In fact, I love me. I like me enough to be single, and ever since I started asking guys on dates, singleness is a choice and I’m a bit tired of asking. Yet, I still find myself pondering. Do I really like Cookie Crisp? Or do I only like the idea of a boyfriend? Welcome to my internal struggles. For now, I guess we’ll see how things turn out.

The Cereal Dater is a senior in the McDonough School of Business.

Resurrect the Date appears every other Friday.

THE HOYA

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FEATURE

A Pint-Size Show

GU Children’s Theater combines acting and social justice Jinwoo Chong Hoya Staff Writer

The atmosphere is quiet in the New North Building’s McNeir Auditorium. The house lights are on; the piano typically used by Georgetown University’s chamber choir is covered and pushed against a wall; and the stage is set by a single chair and a 5-foot wooden backdrop painted with vines and marble columns. The audience, sitting in front of this makeshift scene, is unusually tame. The calm is quite surprising because half of the audience members are children, aged 10 and under. The decked out stage, the lights and the actors decked in togas, fur coats and tiaras are set for the Friday, Oct. 23 campus preview of the Georgetown University Children’s Theater’s Fall Show, “Bling Mida$.”

Children’s Theater is made up of a core group of 10-15 undergraduate students who direct and perform original or adapted pieces of theater written for children once every Friday at neighboring elementary schools and family centers.

“We bring theater to children in the D.C. community who normally don’t get to experience it,” Children’s Theater treasurer, Taylor Oster (SFS ’17), the group’s current treasurer, said. “Whether they may be children stuck in their beds in hospitals or underprivileged children in after school programs or at community centers, we go to them so they can experience what theater is like.”

Children’s Theater is 20 years old this year, the same age as the Georgetown Improv Association, from which Children’s Theater split in 2010. The two groups were initially grouped into a single theater group called the Georgetown Players. Since then, Children’s Theater has produced and performed a show every semester. This fall’s “Bling Mida$” follows the Greek mythical king of approximately the same name, who possessed a magic golden touch.

The group’s members often see themselves as performing on a different plane than other Georgetown theater groups because of their markedly different audience.

“You definitely need to change the way that you carry yourself on stage to target more to a younger audience,” Chris Wolpe (MSB ’19), this fall season’s Bling Mida$, said. “For young kids, physical humor trumps all: Someone could tell an incredibly funny joke and be greeted by dead silence.

Meanwhile, if someone gets slapped in the face, kids are rolling on the floor laughing hysterically.

So yes, animation has to be cranked up to 10.”

Actors engage in interactive games and activities with the children to keep them interested in the action.

“Since our show is interactive, the actors have to engage with the kids through questions and answers both during and after the show,” producer, Sarika Ramaswamy (SFS ’18), said. “They have to stay in character and be funny all the while following a 7-year-old’s train of thought.

It can be hard. But it’s great comedic practice.”

JINWOO CHONG/THE HOYA

Rob DePaolo (COL ’16), left, Chris Wolpe (MSB ’19), Nick Shedd (SFS ’18), Nico Barnaba (COL ’19) and Deniz Yuksel (SFS ’19) in “Bling Mida$,” GU Children’s Theater’s fall show.

Even so, Children’s Theater typically throws a few jokes over their intended audience’s heads. “We keep our shows short so that kids don’t have to sit still for too long, but we reference things like ‘Hotline Bling’ so that adults enjoy it too,” Children’s Theater President Caitlin Snell (COL ’16) said.

The group, whose previous shows have included student-written adaptations of “The Wizard of Oz” and “Goldilocks,” maintains a core group of actors, producers, a director and executive board members for each semester’s show, but is comprised of around 30 members in total. Members fulfill a variety of roles, often going from actor to director to board member as the semesters go on.

“When I was in the play last spring, one of our actors was in a frat; one was the current president of International Relations Club; one was a part-time senior,” Ramaswamy said. “People usually think of theater groups as very insular, often made up of English majors, but Children’s Theater draws a very diverse crowd. Especially for a freshman, it was nice to meet people from different circles instead of getting trapped in one.”

In addition to performing shows, the group looks to organize a series of theater-oriented workshops, from acting to set design to costumes, for D.C. children. Its first occurred last Friday.

“Rather than just being the audience, they get to learn what it means to be a part of the theater,” Amalia Martinez (MSB ’16), the group’s outreach coordinator, said.

At the end of the day, however, Children’s Theater tries not to take itself too seriously, perhaps taking a leaf out of its audience’s book.

“We’re not so worried about getting our block-

ing perfect every single time or using light and special effects to convey the director’s artistic vision,” Snell said. “We focus on creating a fun and engaging experience, and we have a ton of fun doing it.”

“One of the greatest things that I remember experiencing was in my freshman year at one of the afterschool programs. We did the show for some second and third graders who really understood it and really get into it, which was amazing,” Oster said. “I remember them coming up after the show and playing with my dress and the beads I was wearing and wanting hugs. … I felt so blessed to be able to partake in that.”

The group’s first-ever performance of “Bling Mida$” clocked in last Friday at 40 minutes, after which the cast invited questions from the audience on stage, typical of all of their performances.

Despite the audience’s initial, palpable silence, one newly initiated theater-goer raised his hand.

“What are your real names?” he asked.

The actors, who had only minutes ago danced, shouted, formed a conga line on stage and clucked together like chickens early on in the show, laughed nervously.

“Chris,” Bling Mida$ said, in his grandmother’s fur coat and plastic tiara. Sam O’Neal, the wisecracking satyr in the bowler hat introduced himself as Nicholas Barnaba (COL ’19). Thalia, the vengeful and high-maintenance diva, became Deniz Yuksel ( SFS ’19). Arion, the toga-and laurel-crown-clad servant and narrator, revealed himself as Rob DePaolo (COL ’16) (full disclosure: DePaolo is a contributing editor for The Hoya).

“Can you come to my school?” the elementary school-age boy asked again, eliciting more laughs.

Snell, sitting in front of him, turned to him with a wink.

Arts Feature

Irving Penn’s Beauty Beyond Fashion Kate Kim

Hoya Staff Writer

Irving Penn, best known for his iconic work in the esteemed fashion magazine Vogue, was one of the most dominant and influential photographers of the 20th century, up until his retirement in 2002 and his death in 2009. On Oct. 23, the first retrospective exhibition for the artist opened at the Smithsonian American Art Museum, featuring numerous never-beforeseen photographs donated by the Irving Penn Foundation. As the exhibition’s name, “Irving Penn: Beyond Beauty,” suggests, Penn was quite multidimensional, embodying much more than simply the role of a fashion photographer.

Penn shot a wide spectrum of images, ranging from plain Philadelphia street signs to high fashion advertisements for commercial use.

“The goal of the exhibit was to show the real Irving Penn beyond the 1988 fashion photographer,” museum director Betsy Broun said.

The distinct style of breathtaking and outstanding simplicity is evident in all of Penn’s works. Harkening back to the late 1930s, the exhibit contains pieces that marked the beginning of his nearly 70-year career. Many of these photographs are ordinary street shots in Philadelphia, as displayed in “Antique Shop, Pine Street,” shot in 1938. At first glance, the photograph is not particularly unique, simply depicting an off-center shot of a dilapidated antique store. Upon further examination, however, it becomes evident that beauty lies in the small details: the ornate iron railing of the fence, the symmetry of the antiques in the windowsill and the small child peering around a lamppost.

The beauty in stark austerity continues to manifest itself in pieces from nearly a decade later, such as “New York Still Life” from 1947. In

this arrangement, an opulent spread of fruit, eggs and grains is depicted against a simple backdrop of soft, rippled, white tablecloth. In the midst of all this perfection, however, the eye is drawn to the single beetle on the sack of grain.

The exhibit also features a number of nude photographs from the ‘50s, many of them taken of art-class models in the studio offices of Vogue. The fact that these works featured fuller-figured models serves as another example of Penn challenging established ideals of beauty.

These images were particularly shocking, due to both the provocativeness instilled by the nudity and the shattering of aesthetic and social norms. “Nude No. 58” from 1949 to 1950 is one such image, featuring a sensual depiction of the lower stomach and thighs.

In the late ‘60s, Penn found himself in San Francisco on a project for Look Magazine searching for an image to represent the counterculture of the decade.

“Hell’s Angel (Doug)” from 1967 is one such image that manages to accurately embody this counterculture. The gaze of the biker is chilling, and the furrow in his brow and the ripple in his bicep add to the overall sentiment of defiance.

Despite Penn’s wishes to be remembered in the Smithsonian for more than his popular fashion advertisements, the exhibit was deemed incomplete without them. While still displaying some of the photographer’s best-known works the exhibition also features some of his less conventional works, from a time when Penn began to experiment with his method, using his work as a medium to make profound statements about what he believed art should be.

One of his most iconic pieces, “Mouth (for L’Oréal), New York” from 1986 features a muted

DAN GANNON/THE HOYA

The exhibit, which opened this month at the Smithsonian American Art Museum, features celebrated photographs from Penn’s time at Vogue, as well as his personal works.

DAN GANNON/THE HOYA

“Beyond Beauty” is a retrospective of Irving Penn’s photography running at the Smithsonian. black-and-white image of the lower half of a model’s face, with a shocking array of vibrant lipstick hues smeared randomly across her lips.

Through this arrangement, Penn challenges conventional norms of art and beauty by defying the standard that equates beauty with perfectionism.

In a similar fashion, even as late as 2002, Penn was still creating distinctive, unique advertisements for Vogue, this time incorporating notes of surrealism in his pieces. “Head in Ice” from 2002 features a sharp contrast between impeccably applied lipstick and the chaotic destruction of the remaining head of ice. While often times “a lot of modern art is edited for public consumption,” according to guest curator Merry Foresta, this is clearly not the case for Penn’s work, as he seems refreshingly indifferent to the public’s acceptance of his pieces.

“Irving Penn considered himself first and foremost an artist, not a photographer: an artist who wanted to contribute to the establishment of photography as a fine art,” Broun said.

If “Beyond Beauty” makes one point, it is that Penn was a revolutionary, defying all norms, with many of his pieces acting as antithetical norms of beauty. For both those who are unfamiliar with Penn’s work and experienced veterans alike, the retrospective offers a novel, yet holistic, perspective into understanding this renowned artist.

“Irving Penn: Beyond Beauty” runs until March 20, 2016.

B4

the guide

THE HOYA

Feature

‘Suffragette’ Breathes New Life Into History Suffragette , from B1 female protagonist. This is likely in large part due to the fact that this narrative is focused almost exclusively on workingclass women. The cinematography reflects this desire to show an honest impression of the world these women occupied.

“We wanted to break from what so many period dramas do, which is to create a very beautiful aesthetic, which can be quite distancing as much as you may admire it. So we decided to put you in the shoes of the women then and show how the world looked and create an aesthetic that was true to the time … that wasn’t prettified,” Gavron said.

“Suffragette” also distances itself from the classic “prettified” period dramas by refusing to shy away from providing an honest account of the shocking violence that distinguished the movement.

“You could have done a nice pretty film without it, but to be honest to the reality of both the violence done to them and how far they were willing to go is more powerful and more interesting in terms of how we reflect on the world today,” Pankhurst said.

Another striking choice in this film is the notably minimal appearance of the suffragette movement’s pioneer, Emmeline Pankhurst, especially since she is played by Meryl Streep.

“When we made the decision to not make this a traditional biopic, one of the reasons for that was to give voice to the voiceless — the working-class women,” Morgan said. “But it became also apparent that we needed to show what the goddess looked like. What’s wonderful about Meryl is that you very quickly get that this is a woman who would have many followers and this is a woman who would be inspirational to these young working-class women.”

While it is the women who take center stage in this drama, Morgan has ensured that the audience is able to see the complicated relationships different men had with the movement. Whishaw’s portrayal of Maud’s husband Sonny is particularly heartbreaking, painfully drawing out the mixed response of a husband who struggles with his traditional values and love for his wife.

“Sonny was a very important character because … I don’t think you want to create a complete monster,” Morgan said. “We all wanted a complex man who was really born out of his time, where what he was witnessing was another betrayal, which is his own wife leaving him and his own betrayal, which is his inability to be as strong as her and not being able to run with her in this movement.”

As often occurs with historical films, the events depicted on-screen reflect some strikingly similar themes to issues at the top of current debates. It is impossible to not see the significance of this film about the struggle for gender equality being written, produced and directed entirely by women at a time when the film industry has suffered increasing criticism for its treatment of its female employees. Just weeks before the release of “Suffragette,” actress Jennifer Lawrence published an open letter in Lena Dunham’s newsletter titled, “Why Do I Make Less Than My Male Co-Stars?” In it, she explains her response to the Sony hack that revealed her

substantially lower paycheck.

“I didn’t want to seem ‘difficult’ or ‘spoiled.’ At the time, that seemed like a fine idea, until I saw the payroll on the Internet and realized every man I was working with definitely didn’t worry about being ‘difficult’ or ‘spoiled,’” Lawrence wrote.

Lawrence and Maud face wildly different challenges, but that perhaps makes it only more worrying that both individuals reveal an anxiety about seeming “difficult” and daring to step out of line in their unique situations. For Gavron, this feeling is one that needs to be overcome to broaden the narratives that appear on our screens.

“I am passionate about promoting diversity behind the camera,” Gavron said. “That is key because over 90 percent of films each year are directed by men, but also mainly white, straight, well-educated men. We have to change that. We have to get people of all parts of society telling stories because that reflects the culture we live in.”

Gavron’s comments on the need for diversity come partly in response to criticism about the film’s treatment of racial diversity. A photoshoot for Time Out London magazine to promote the film showed cast members wearing T-shirts with the slogan, “I’d rather be a rebel than a slave,” a phrase that Emmeline Pankhurst delivered at a rally depicted in the film. The images went viral and sparked online outrage. Helen Pankhurst explained her concern about the now-infamous phrase being misconstrued.

“If Emmeline knew how her words would be interpreted in the way they are now she would be shocked. One of the first socialconsciousness-raising elements that she remembers as a young child was that her father was an abolitionist and that she was involved in that campaign, so she would be horrified to know that her words were being taken out of their context,” Pankhurst said.

Morgan agreed, emphasizing the importance of understanding the historical context of England at the time.

“Most of the waves of immigration didn’t come until after the first and second World War. So we didn’t at that time have the diverse Britain that we have today. We’re acutely aware of the tensions around the subject and recognize the discourse that we have to keep having … but equally, it would be unfortunate if it became the narrative because I think you can sincerely see the intention of the film, which is about promoting global equality for all women across the world,” Morgan said.

The film is not one to provide answers to questions still prominent in the contemporary women’s movement, but it does serve as a reminder of the huge strides that have been taken so far. And, as Morgan stressed, the timing of this film’s release is critical in reminding us of the value of the vote and political struggle.

“As the biggest dwindling voting population is young people, and more than that young women, I hope it inspires them to understand how hard-won that vote was and that we mustn’t be ambivalent and we must believe that if we elect the right person then policy can change, and if policy can change so can law,” Morgan said. “That’s exciting, I think.”

TAYLOR TRIES THINGS

Taylor Tries Mastering The Art of the Selfie

I

f you’ve kept up with me so far, it is possible that you have noticed that I do not pay much attention to my appearance. I sometimes grow my body hair and choose not to wear makeup, and I have often been guilty of pretending the pajamas I wore the night before are an acceptable outfit when presenting myself to peers and professors alike. To me, a body is nothing more than a bag of skin that we are forced to live in until we eventually die.

As you might imagine, the concept of “selfies” is alien to me.

My appreciation for my body has always been one of function over form. The ability to compete, to run 7 miles, or to lift someone during a judo throw all matter more to me than size or shape. None of this is to say that I don’t harbor my own deep-seated insecurities, because I doubt there is a human in the world who isn’t plagued by self-consciousness; rather, I just shy my focus away Taylor from how I look in pictures or mirrors. To me, what use is a body if it doesn’t have the power to accomplish what is demanded of it?

Upon dyeing my hair earlier this summer, I developed a heightened awareness of my own appearance, which stemmed from paranoia that people may judge my character based on my appearance. As someone who prefers to observe rather than bask in the spotlight, the thought of someone analyzing me from afar was scary.

As much as I didn’t acknowledge my appearance, others did. Suddenly, how I looked to strangers, to the people who hadn’t invested time talking to me and learning about my accomplishments, what I valued and what I could do, became impossible to ignore. So, slowly, hesitantly and buoyant with embarrassment, I attempted to do the one thing I never expected myself to do: take a selfie.

Each time I take a selfie, a piece of my soul dies. When I pick up the camera, there’s no blissful lack of self-awareness; I am plagued by a crippling sense of my own self-absorption that I hope to wash away with the camera’s flash. Then the

addiction sets in. The ability to reinvent yourself with a slight twist of an angle and better lighting is almost impossible to resist. Selfies turn into an obsession.

Yet at the same time, visible beyond the conceit and egocentrism, is ownership of the self, an unapologetic embrace of the observable aspects of one’s body. In a world where people are constantly reminded of their physical value, where shutting yourself off from your own appearance is completely unavoidable, where is the problem in fostering a healthy appreciation for your looks? Sure, the body is nothing more than a bag of skin that we are forced to live in until we eventually die, but it’s the same bag of skin that we are each stuck in for the rest of our lives. If you’re with something for eternity, you might as well appreciate it.

I would be lying if I didn’t say that now, at least a third of my last 100 pictures are selfies, and I firmly believe that these numbers are not Bond indicative of narcissism. Selfies are inevitable, existing somewhere in the grey zone between good and bad, just like nearly everything else in the chaotic tangle we call the world. Do I feel ridiculous taking one?

Absolutely. Do I still take them despite of this?

Undeniably yes.

It all comes down to deconstructing the selfie; where is the line between narcissism and selfacceptance, attention and appreciation?

Our generation is habitually portrayed as selfcentered, vapid cyborgs whose devotion to the Internet and all its forms of social media has become an epidemic. The selfie has become an entity of its own, selfishly embracing identity, displaying flaws for any Facebook friends or followers, and yet it harbors complexities beyond that. It functions as a form of validation, appreciation or declaration of yourself. If these types of online declarations of self-worth are viewed as a crime, then I am certainly guilty too.

Taylor Bond is a sophomore in the College. TAYLOR TRIES THINGS appears every other Friday.

Friday, october 30, 2015

APPS Stitch fix Free (with in-app purchases) One of the most user-friendly personal stylist websites is now one of the most user-friendly personal stylist apps. Stitch Fix stylists send a box of five suggested clothing items after completion of a brief survey. Pay for what you want, and return the rest.

Boomerang Free Use Instagram’s new app, Boomerang, to capture five burst photos in a one-second period. The app then turns these images into a video that plays forward and backward.

Upload these GIFlike videos to Instagram or other social networks, including Facebook.

Cyclecast Free Lacking the time or money for Soul Cycle?

Fearful of the monotony that is the Yates cycling machine? Cyclecast provides 20-, 45and 60-minute cycling workouts, as well as a number of playlists to suit any mood.

If you wear an Apple Watch, the app also keeps monitors your heart rate.

HOYA HISTORY Mascot Jack Evades Plot By Sinister Setonian Fans Thursday, Oct. 22, 1970

Following a disappointing loss to Georgetown’s football team, a group of Seton Hall University students attempted to steal the GU mascot. Little did they know, the sheep they had kidnapped from Georgetown’s Animal Center was not “The Hoya,” as they boasted to Georgetown’s athletic director, but a regular sheep used by the nearby hospital for heart research. Georgetown’s mascot, Jack, was asleep in his keeper’s house. The sheep was returned the following night from New Jersey.

FUTURE AT ECHOSTAGE | WASHINGTON, D.C.

DaN KREYTAK/tHE hOYA

the guide

friday, october 30, 2015

THE HOYA

B5

RESTAURANT review

A Trip to DC’s First ‘Restaurant Incubator’ Prequel

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918 F St. NW | Cuisine: American | $$$$ ELEANOR TOLF

Special to The Hoya

It’s like eating in a real-life shark tank. No, not the aquarium full of vicious predators. I’m talking about that ABC show about entrepreneurship that has found an unexpected but loyal following throughout the country. Restaurants in big cities are always on a cycle, often opening up shop for only a couple of months and then going out of business. Prequel, a new eatery on F Street, N.W., is trying to change this. Located within a few blocks of Metro Center, Prequel is the first “restaurant-incubator” in the country. It provides both a physical and promotional venue for Washington’s hottest upcoming chefs to start cafes, restaurants and bars without taking a considerable financial risk. Pop-up restaurants are housed in the restaurant’s space for four to six months so that chefs can test their products before purchasing a storefront of their own. Restaurantgoers can review each chef’s food as well as donate to the chef’s enterprise on a crowdfunding platform called EquityEats. Both the waiters and restaurants’ owners often check in with the tables, asking for honest feedback on ambience, menu selections and general quality.

In the few months it has been open, Prequel has already proven its worth and effectiveness.

Bluebird Bakery was one of its first pop-ups and hoped to raise $415,000. The bakery reached its goal within just four months. If you visit Prequel today, you’ll find three different food and drink options depending on the time of day, your age and your budget. Currently, the basement is a speak-easy style bar called Brick & Mortar.

Open from 5 p.m. to 10:30 p.m. the establishment serves old-fashioned cocktails and curated wines, which are also available for order on all floors. The two-floor lobby is home to Fare Well

Be Well from 8 a.m. to 4 p.m. and Honeysuckle, with the same hours as Brick & Mortar. Fare Well Be Well is a cafe created by the maker of Sticky Fingers Bakery, located in Columbia Heights.

Sticky Fingers, an eatery focused solely on baked treats, has earned communal and critical acclaim, winning the TV competition “Cupcake Wars” on the Food Network twice with its delicious vegan cupcakes. The menus of both the café and the bakery are entirely free of animal products. Honeysuckle was created by the head chef of D.C.’s Vidalia, an already established and successful upscale restaurant.

During my 6:30 p.m. dinner at Honeysuckle with my mom on a Monday night, the space was fairly desertedIt seemed that everyone who came in either went directly downstairs or walked straight to the bar in the lobby’s corner. For the few of us eating, the menu at Honeysuckle was fairly diverse and unique, but it was hard to ignore that every entree was over $25 and appetizers cost between $15 and $20. To try to save my mom some money, I ordered the scallop appetizer and a side of stir-fried Brussel sprouts, which still totaled $27. The description of the $19 scallops said that they came with grits, corn and a butter sauce, so I was pretty surprised when there were two scallops on my plate with a tablespoon of buttery corn and grits drizzled around the edges. My mom, however, ordered the Monday-night special of fried chicken with “all the fix-ins” for $29 and was served a giant bowl of chicken with a buttermilk biscuit, a two-cup serving of baked macaroni and cheese, coleslaw and beer-battered collard greens. The price difference between our meals was only $2, but my mom received significantly larger portions. However, despite the arbitrary pricing, all of our food was delicious. It was obvious that a lot of thought had gone into each piece of the meal and the chef wanted to make

ELEANOR TOLF FOR THE HOYA

At Prequel, chefs are given a chance to showcase their products before expanding to a restaurant of their own in a pop-up restaurant. sure there was something unique about each component. We both agreed that our favorite part was the smoked cheddar mac and cheese, topped with crispy cheddar chips. Sure, it took me a while to get over my initial bitterness at the tiny portions I was served, but in the end, we walked out satisfied and excited to come back to try the other unique combinations on the menu and attend the special events.

Prequel has created an innovative space for the growing revolution of pop-up restaurants

to develop. The appealing part of this model is that your experience can and probably will be different each time. It’s worth going to Prequel to participate in D.C. culture and try something new, but make sure to coordinate the time you’re going with your intended budget. Are your parents visiting? Take them out to dinner at the trendy and pricey Honeysuckle.

But if you are at all concerned with saving up for the holidays, stick to the casual cafe Fare Well Be Well. Your wallet will thank you.

RECIPES

Restaurant Review

Chicken Curry in a Hurry ALEX PRIOR FOR THE HOYA

Restaurant Nora offers an elegant and sophisticated dining experience for those willing to pay a little extra for a quality meal with exotic flavors and elaborate composition.

Organic Elegance With a Price Restaurant nora



2132 Florida Ave. NW | Cuisine: Organic | $$$$

www.realsimple.com This flavorful recipe is perfect for the incoming fall season. Spice up some of those cold nights with a little Indian-inspired cuisine. Serves six.

INGREDIENTS • • • • • • •

1 cup cooked white rice 11/2 tablespoons olive oil 1 small yellow onion, sliced 2 teaspoons curry powder 1/2 cup plain yogurt 3/4 cup heavy cream 1/2 teaspoon kosher salt

• 1/4 teaspoon black pepper • 4.5-ounce can diced tomatoes (optional) • Meat from a rotisserie chicken, sliced or shredded • 1/4 cup fresh cilantro leaves, chopped

Cook rice according to directions on package Warm olive oil in skillet over medium heat

Alex Prior

Special to The Hoya

When your parents are in town and you’re looking to be treated to some fresh, organic and extremely pricey food after weeks of Leo’s chicken fingers, venture just outside of the Georgetown area to Restaurant Nora, which opened in 1979 as the the first certified organic restaurant in the United States.

Nora offers an eclectic menu mainly focused on upscale American cuisine, but also has a few Asianinspired main courses such as an Indonesian glazed pork chop, a sake glazed tuna and a Pad Thai noodle dish.

After reading about Restaurant Nora’s approach to “environmentally conscious cuisine,” use of organic ingredients and commitment to local farmers, I expected a modern and trendy environment to match its contemporary food ethos. However, I was pleasantly surprised when I arrived at the quaint brick building at the corner of Florida and R Street. The interior of the restaurant is reminiscent of an understated neighborhood restaurant that one might find somewhere in a European city. The exposed brick walls and dimly lit dining room gave the impression of a casual dining experience, but the menu told a very different story.

The menu provides guests with an expansive list of dinner choices without being overwhelming.

What was overwhelming, however, was the price of the ribeye steak — a whopping $42.

While I opted for the a la carte menu options, my parents went with the set-price tasting menu ($69 total). Their meals consisted of a tower of fresh crab and avocado salad to start, an Asian-style sake glazed Maldives tuna served with bok choy and ginger as a main course and a strawberry shortcake dessert.

The starter was beautifully presented as a cylin-

drical tower of crab and avocado layers topped with crispy tortilla strips, and it was equally beautifully flavored. It was undoubtedly clear through both the crab and the tuna main course that Nora stays true to its promise of fresh and unprocessed cooking.

I decided to start with the local fried green tomatoes and goat cheese stuffed peppers ($16), followed by the grilled sustainable salmon served with lentils and wilted kale as a main course ($38) and the rhubarb strawberry crisp for dessert ($13).

My starter was also elegantly presented: the bright stuffed peppers sat atop the fried patties of green tomatoes, and the chef finished off the plate with an artistic swirl of vinaigrette. The salmon was perfectly done, and although not executed with the same aesthetic prowess as the starter, made up for looks with the fresh, untainted grilled flavor I was hoping for.

The overall dining experience was excellent. The calm and intimate dining atmosphere was definitely a plus, as was the efficient wait staff who left just enough time between courses for hungry anticipation, but not so much as to yield grumpy impatience.

We encountered few problems apart from the odd lumps of bread offered at the beginning of the meal that looked like they had already been gnawed on, and our unfortunately overzealous waiter serving a medium tuna steak rather than the requested rare.

Restaurant Nora as a whole was traditional without being boring. The healthy, creative and detailed menu options allow for a fun twist on the classic three- course sit down meal. Nora’s cuisine was homey — though more elegant and much lighter than a traditional home style meal.

Restaurant Nora is a restaurant to go to when your parents are feeling generous. Regardless, Nora should definitely make it on your D.C. eatery bucket list for a swanky, fresh and delicious meal.

Add onion and cook for 7 minutes, stirring occasionally Add in curry powder and continue stirring for 7 minutes Add cream and yogurt and simmer for 3 minutes Stir in salt, pepper, tomatoes (optional) and chicken Place cooked rice into bowls, spoon sauce on top of rice.

Garnish with cilantro

Autumn Colors Cocktail

www.hgtv.com At your next holiday party, serve this to your guests. This sweet drink is sure to put anyone in a festive mood.

INGREDIENTS

• 1 1/4 ounces vodka • 3/4 ounce pomegranate liqueur • 0.35 ounces sugar syrup • 1/4 teaspoon of grated orange zest Place all ingredients into a shaker and mix.

Serve over ice.

Bieler Pere et Fils Rose 2010 ($11.49) www.wine.com This sweet wine has flavors of orange peel, watermelon and raspberry. However, underneath all that sweetness lies hints of aromatic spices and herbs.

B6

the guide

THE HOYA

Friday, october 30, 2015

movie review

life in art

Our Brand Is Crisis



Maya McCoy

Starring: Sandra Bullock Directed by: David Gordon Green John Miller Hoya Staff Writer

From director David Gordon Green comes “Our Brand is Crisis,” a comedy-drama about the 2002 Bolivian presidential elections. Set to be released Oct. 30, the film stars Sandra Bullock as “Calamity” Jane Bodine, an American political consultant called out of log cabin isolation to assist a Bolivian congressman in his presidential bid. The film’s star-studded cast features Billy Bob Thornton as opposition consultant Pat Candy and Joaquim de Almeida as Congressman Castillo.

Loosely adapted from a 2005 documentary of the same name, “Our Brand Is Crisis” takes many liberties with its his-

WARNER BROS. PICTURES

Sandra Bullock plays “Calamity” Jane Bodine in “Our Brand is Crisis.”

torical interpretation of the elections. For instance, Bullock’s character was initially male, set to be played by George Clooney.

The substitution of a female lead was a bold choice, yet one that unfortunately lacks execution. Bodine is depicted as psychologically unstable and weak, albeit as a result of altitude sickness.

From the producers of 2012’s critically acclaimed “Argo,” the film feels in many respects like a repackaging of the same film. “Our Brand Is Crisis” attempts to inject comedy into the serious issue of domestic political unrest in the third world.

The premise of an American consultant’s ability to resolve a third world nation’s domestic problems is almost doomed from the start. In the film, Bolivia is depicted as a country unable to manage itself, full of hapless political figures, and a population whose beliefs can be easily manipulated.

Green, director of the stoner classic “Pineapple Express,” introduces comedic elements to keep the film remarkably light. Yet, by doing so, he also trivializes many of the essential issues surrounding the film, including mocking the language barrier that is symptomatic of a larger cultural misunderstanding. However, the film does shed light on the impact and consequences of American interventionism and the application of familiar ideas to foreign environments. Green makes it clear that Bodine’s work is centered on a competitive rivalry, and has nothing to do with the best interests of the populace or country of Bolivia.

Elsewhere, the film suffers from numerous cliches that reflect a lack of creativity: a bus chase, the lead character coming out of retirement for “one final job,” and a tense dynamic among old enemies.

These unoriginal elements are unnecessary and represent ill-fated attempts to simulate a crime thriller. This heavily-dramatized version of a true story attempts, with varying levels of success, to simultaneously develop three storylines. While

WARNER BROS. PICTURES

the ambition is admirable, it results in an underdevelopment of the characters integral to the central plot.

The cinematography is brilliant, with a diversity of shots and angles that serve to effectively capture the aesthetic of Bolivia.

Combined with a plot that is engaging, dynamic and ever-exciting, the presentation of the film is immersive and incredibly sharp. While entertaining, the film’s cynical nature comes to a very abrupt halt as themes of morality and justice contribute to a prolonged and contrived ending.

Early in the film, Bullock’s character says, “At the right price, you can be convinced of anything.” The film succeeds in the creation of a story in which viewers sincerely desire a Castillo victory. His unlikely rise in the polls is accompanied by a growing sense of hope for the candidate who appears to be simply misunderstood.

The film succeeds in pulling the viewer into the vortex of backroom political machinery; no small feat for any film, though the true wonder is that “Our Brand Is Crisis” is the only feel-good movie in recent years that leaves the viewer feeling like a bad person afterward.

“Our Brand Is Crisis” is a strong bet for those seeking an entertaining, dramatic and at times comedic interpretation of South American politics alongside a starstudded and familiar cast. The film succeeds in its ability to portray a foreign election in a comedic manner that evokes laughter throughout and applause at its close. Whether this applause is warranted, however, is questionable.

movie review

I Smile Back

Special to The Hoya

 

“I Smile Back,” which premieres in Washington, D.C., today, is adapted from Amy Koppelman’s critically acclaimed novel bearing the same name, which was first released in 2008. Like the novel, the film focuses on Laney Brooks, an upper-middle-class soccer mom who struggles with depression, alcoholism and substance abuse. After publishing her book, Koppelman tuned into an interview between Howard Stern and comedian Sarah Silverman one day. In that interview, Silverman spoke about her experience with depression and how it physically and emotionally drained her as a comedian. Koppelman connected with Silverman’s raw honesty and said that if “I Smile Back” became a movie, she wanted Silverman to play Laney Brooks. For years, Koppelman worked with her partner, Paige Dylan, to turn her novel into a screenplay. When the project was greenlit, Silverman jumped at the opportunity to play Brooks.

Prior to her performance in “I Smile Back,” Sarah Silverman would most likely be recognized by audiences from one of her stand­ up routines. Silverman’s brand of stand­up is known particularly for her off-beat fluidity; in “I Smile Back,” Silverman leaves behind her comedic tenure and ventures into a completely different genre that few could see coming.

In 2015, audiences have become accustomed to comedians breaking convention and acting in darker and more dramatic roles.

However, few female comedians, with the exception of Mo’Nique in 2009’s “Precious” or

Kristen Wiig in 2014’s “The Skeleton Twins,” have broken into other dramatic roles.

Laney Brooks is an unstable antiheroine who snorts cocaine before driving her children to school. Like the novel’s protagonist, whose self-destructive actions and narrative draw in the reader, Sarah Silverman in her performance as Laney Brooks, portraying Brooks’ path toward rock bottom, is steadfast and conclusive.

As Brooks, Silverman grabs you and never lets you go. Each scene is emotionally charged and unsettling. Although this was her first dramatic role, Silverman masterfully commands the silver screen, and her well-paced timing allows her to deliver delicate lines to her co­-stars.

Silverman is aided by a talented supporting cast. Josh Charles is known for his role as attorney Will Gardner in the hit television show “The Good Wife.” In “I Smile Back,” Charles plays Laney’s supportive husband, Bruce. Bruce wants to keep his family together and to see his wife happy. In the beginning, Bruce tries to help Laney with her depression and anxiety; however, Laney’s addiction becomes too much for Bruce to handle alone.

Bruce is the perfect foil to Laney, because he enjoys his suburban life and is content with his normalcy. Bruce finds happiness and fulfillment in his role as a husband and father, whereas the role of a good wife and mother exhausts Laney and acts as a catalyst for her drug and alcohol abuse. Charles and Silverman build off one another, deftly portraying their two characters’ struggles with both their own personal demons and with one another.

BEST BETS Healy Howl

Come gather at the Jesuit cemetery with GUSA and partake in this age-old tradition to banish the ghosts of Georgetown right at the stroke of midnight on Halloween. Show your Georgetown pride and spirit by taking part in this one-minute howling session followed by the Georgetown Fight Song.

WHERE: Jesuit Community Cemetery When: Friday, Oct. 30, 10 p.m.

INFO: Facebook Price: Free

‘The Exorcist’ Screening Director William Friedkin

spent most of middle school and high school pursuing things that other people told me I should. In seventh grade, my art teacher told me I was good at drawing, so I drew. In my senior year, my science teacher told me I had a gift for chemistry, so I applied to college as a chemistry major. I don’t mean to say that drawing and chemistry were not enjoyable for me, but much of my self-worth as a student and as an artist came from the validation of others in the form of grades, school awards or Facebook likes on photos of my art. I did not stop to think what it was about science or about art that drew me in; rather, I threw myself into succeeding, believing that by following the directions of others, by doing what I was supposed to do, I would excel.

This attitude proved unsustainable academically and, especially, artistically. I could not create the works I envisioned, but instead created works that I knew others would enjoy. At every step of the creative process, I had to check in with someone else. I’d send a picture to a friend; I’d ask my art teacher for her thoughts; I’d work in the cafeteria, waiting for someone to approach me and validate my work. I questioned my best ideas, preferring to execute the ideas of others. Ultimately, this left me exhausted and uninspired. When others described me as creative, I would deny it, saying that, actually, I was terrible at coming up with ideas. My own ideas did not live up to the standards that I had set for myself. Drawing, painting, and creating became chores that I executed out of necessity.

After my first semester at Georgetown, I realized that my decision to be a chemistry major was not what I really wanted, and that I had also stopped creating. Fall of freshman year, I took a drawing class. I completed all the assignments, drew the still life set-ups and finished the class with little desire to keep drawing. So I didn’t. Apart from the occasional doodle, I was determined that my art career had peaked in high school and that none of my original ideas were worth executing.

I use my art as an outlet for any ideas that I have, whether trivial and small or complex and impossible.

Starring: Sarah Silverman Directed by: Adam Salky Jeff Naft

Making Art My Own Liberation I

BROAD GREEN PICTURES

Sarah Silverman stars in “I Smile Back,” a story of a substance-absuing mother.

Sarah Silverman deviates from her comedic material and soars beyond expectations to deliver a passionate and vulnerable performance in “I Smile Back.” However, just like Jennifer Aniston and her well-received performance in 2014’s “Cake,” audiences will likely skip Silverman’s performance in “I Smile Back,” due to the fact that “I Smile Back” is an independent film with a limited theatrical release.

It is a shame, because “I Smile Back” is not a polarizing film, but it does deal with uncomfortable subjects. Silverman’s visceral performance as Brooks addresses the complicated emotions and stigmas surrounding depression and addiction but does not forget about the shame associated with both.

My first probe back into art came the summer after freshman year. At home and wanting to counter the hard scientific studies of my physics class, I decided to pick up a pen and start sketching again. I did not think about concepts or accuracy of detail. I just let myself draw without the intention of showing anyone. I have sketchbooks filled with images that are not necessarily expertly observed, well composed, or technically proficient, but that express parts of me at different times: the rocks at my favorite beach, the D.C. metro, the pond at the park near my house. My inspiration came from ordinary moments rather than grandiose concepts.

Entering sophomore year, my classes challenged me academically like they never had before. Instead of art being a source of stress and anxiety in my life, I was able to turn to drawing as a respite, as a time when I could get down on paper what I was thinking, feeling or doing at a certain point in time. I began to show people these works, not for validation, but because I wanted to share these parts of myself with them. This was a dramatic shift from how I had previously operated; I took pride in my work without external validation.

I am now able to use my art as an outlet for any ideas that I have, whether trivial and small or complex and impossible to express verbally. In my painting class last semester, my first piece was depicted two coffee cups; I wanted nothing more than to show how much joy I can get from sharing a cup of coffee with friends. My second piece explored issues of my family history, my identity as a woman and symbolic images that seem to pop up in my life. I do not regard either of these pieces as better or more important, but rather they are two manifestations of how I can use art for myself. I do not wish to sell my art or make art for a living, but rather I wish to continue to live and create. The images are enough for me.

Maya McCoy is a junior in the college. LIFE IN ART is a rotating column appearing every other Friday.

ON CAMPUS WITH

5k Against Violence

Women & Comedy

Meet the director of “The Exorcist,” William Friedkin, at the top of the iconic Exorcist steps for a picture or signature. A screening of the movie will take place following the meet and greet in the Healey Family Student Center.

Join domestic violence survivors in solidarity at this charitable event marking the end of Domestic Violence Awareness Month. All funds raised will go directly to Doorways for Women and Families, a nonprofit based in Arlington, Va., which helps domestic violence victims and their families.

Join the Georgetown Women’s Alliance for a discussion on women and humor. The forum will center around the question of whether women are funny and the role of women in the comedic industry as writers, actors, directors and everything in between.

Watching Ellie Kemper’s TED talk is highly suggested before attending the event.

WHERE: 36th and Prospect St, HFSC When: Friday, October 30, 4 to 7:30 p.m.

INFO: guevents.georgetown.edu PRICE: Free

WHERE: Copley Lawn WHEN: Saturday, Oct. 31, 1 p.m.

INFO: Facebook PRICE: $15

WHERE: McShain Lounge WHEN: Friday, Oct. 30, 12 p.m.

INFO: Facebook PRICE: Free

the guide

friday, OCTOBER 30, 2015

THE HOYA

concert Review

MUSIC

Mikky Ekko and Transviolet

New Releases



9:30 Club Anna Shuster Hoya Staff Writer

The crowd that welcomed Transviolet to the stage last Saturday, Oct. 24 was modest at best — U Street Music Hall isn’t the biggest venue, and many ticketholders seemed to be waiting for the big name to take the stage later in the night. They didn’t realize, though, that they missed out on a killer opening act.

At first glance, Transviolet looks like the stereotypical indie setup: three men and a woman with a killer fashion sense on guitar, drums, keys and vocals. When it unleashes its sound, however, it’s a dynamic, totally danceable blend of indie and electronic. It

has mastered the art of tension-building to the point where the choruses are as satisfying as a good bass drop, and the vocals are an amalgam of the indifference of Lana del Rey, the spunk of Misterwives’s Mandy Lee and the sexy drawl of Tove Lo. Though the crowd wasn’t very enthusiastic early in the night, the band’s energy never faltered. The band’s frontwoman, Sarah McTaggart, was always moving, adopting the odd, interpretive-dance-y movements common among many of today’s indie frontwomen, at times vibing off the guitar player during instrumental breaks.

Transviolet’s set included songs from its recently released debut EP, and it

ANNA SHUSTER/THE HOYA

Despite a quiet crowd, the indie-rock quartet Transviolent maintained its energy all throughout its opening set for Mikky Ekko.

also unveiled some new material — and from the sounds of it, its got the making of a very strong upcoming album.

It built its set to a rousing finish, closing with two of its biggest tracks, “Bloodstream” and “Girls Your Age,” ending with a bang big enough to send even the latecomers trickling to the merch table after the show to snag a CD. When Mikky Ekko finally hit the stage at 8:15 p.m., the place was packed. The anticipation in the air erupted into screaming and applause like a thunderclap when he finally stepped up to the microphone, and he rolled with that energy straight into some high-intensity songs: “Burning Doves” and “Riot.” Though the transition into the first song was slightly awkward and “Riot” was a little overambitious for so early in the show, these flaws were easy to forget as Ekko’s incredible voice rang out over the soaring alternative dance beats.

After reining in the energy with the more sweeping, emotion-driven “Mourning Doves” — and showing off his impressive falsetto — he took a moment to talk to the crowd and bask in the joy of performing. From there he launched into his two best love songs, tugging on plenty of heartstrings with his aching sincerity and celestial vocal runs.

As if he hadn’t showcased his sensitive side enough, he went straight from crooning “Pull Me Down” and “U” into the gorgeous, low-key acoustic intro of “Time.” As that song built, it became even more clear that he was giving absolutely everything to the music. To sing with that level of urgency and never let up must take a ton of emotional energy; it’s very easy to see how much passion he has for his

adele “hello”  ANNA SHUSTER/THE HOYA

songs and the act of performing itself.

Each song that followed flaunted a different side of Ekko’s showmanship. “Pressure Pills” was more spoken and rap-inspired, showcasing his lyrical dexterity; “Pretend You Care” ramped up the intensity to a sprint; and “Loner,” with its pleading verses and soaring chorus, let him play with the highs and lows of his vocal range.

He closed the first part of his set with “Watch Me Rise” and “Love You Crazy” and simply walked off, leaving the crowd restless and hungry for more.

After a minute or so of cheering and screaming, he came back on stage to an even greater welcome, and proceeded to blow everyone away with a stunning cover of “Stay,” the hit he penned for Rihanna a few years ago. The whole crowd sang along, and the feeling of connection in the room was palpable.

To put the cherry on top of an amazing night, he ended his encore with “Smile,” one of the biggest hits from his debut album and a perfectly paced closer. It gave him plenty of musical room to build to one last epic bridge before bringing it down to an elegant, quiet finish.

Sure, it wasn’t perfect. Ekko still has a lot of work to do in effectively pacing his sets and transitioning between songs. But it’s clear that this guy has an energy and passion that can take him places, and it certainly made for a fantastic show.

book Review

Submission

Michel Houellebecq Jack Bennett Hoya Staff Writer

Michel Houellebecq’s newest novel, “Submission” has already made gigantic waves in France as perhaps the most controversial book of the year.

The novel, which revolves around a democratic Islamic takeover of France, was published in French on Jan. 7, the same day as the Charlie Hebdo shooting. Houellebecq was featured on the cover of that week’s issue. The novel has been accused of Islamophobia, outright misogyny and generation of fear of France’s farright National Front party led by Marine Le Pen. But the reality is that this book is near guaranteed to enter the literary canon once its critics have read it.

“Submission,” published in English on Sept. 10, takes its name from

ALEXIS DUCLOS

Michel Houellebecq, author of the controversial “Submission.”

a literal translation of the word “Islam,” and projects a France that by 2022 has become so politically fractured that the two main political parties have become Le Pen’s National Front and a fictitious Islamic Muslim Brotherhood led by the fictional Mohammed Ben Abbes.

When Le Pen’s nativist party wins a plurality of the votes the weak Socialist Party and center-right Union Pour Un Mouvement Populaire create a “broad republican front” coalition under Ben Abbes to prevent Le Pen from taking power. The coalition makes massive concessions to the Muslim Brotherhood; women will be largely excluded from public life, education will be privatized and largely Islamic in nature, polygamy will be legalized, Islamic countries like Algeria and Morocco are courted into the European Union, and the economic program will emphasize privatization of the welfare state in order to support familial businesses.

But the book never really outright condemns any of this; rather, it is a detached portrait of how a civilization falls. Its narrator, Francois, is a professor of literature at Sorbonne III whose specialty is the 19th-century decadent writer J.K. Huysmans, who converted to Catholicism after leading a somewhat debauched life. The narrator is pretty clearly a stand-in for Houellebecq and the French intellectual class at large.

Houellebecq makes this clear to the reader at the beginning of the book when he compares literature to the other arts and concludes, “But only literature can put you in touch with another human spirit, as a whole, with all its weaknesses and grandeurs, its limitations, its pettiness, its obsessions, its beliefs; with whatever it finds moving, interesting, exciting, or repugnant.”

B7

Justin bieber “sorry”  This upbeat single by J.B. is energetic and c a tc hy, similar to the general feel of his other pop hits. Yet what has most likely accounted for the rising popularity of this hit is the shock value of the music video that was released just last week. Featuring girls in overly ostentatious and flashy outfits performing some questionable dance moves, Bieber has definitely succeeded in once again attracting widespread attention.

ellie goulding “lost and found” 

 And this is what really makes Houellebecq’s writing so powerful.

His novel is deeply reflective of the author’s philosophy and spirit, and in this the novel is supremely honest.

The Muslim Brotherhood’s political program is by no means original, nor in any way necessarily Islamic.

Houellebecq clearly displays that the amorality and political apathy of bourgeois French society makes it so that the new Islamic rule is not much worse than the French culture of today; in fact, it even leads France to a new diplomatically acquired empire. The new regime scorns adultery and divorce but accepts polygamy and child marriage (under the rubric of “traditional family values” and protecting the nuclear family).

We have seen similar political programs across the world, from Mike Huckabee’s anti-LGBTQ presidential campaign to Ayatollah Khomeini in Iran, and even in Le Pen’s National Front itself. Houellebecq cleverly plays on this false split between nativism and Islamism; many characters switch sides with ease, and it is never clear which side is instigating street fighting or stealing ballots. It makes no difference to Houellebecq.

Paradoxically, the indifference that underpins the novel is its greatest source of energy and controversy.

Houellebecq is a masterful writer.

His style is at times callous, impassionate and distant, and at other times profoundly sad, allowing the reader to find himself lost in his emptiness. The novel digresses into tangents on the nature of the universe, considerations of nihilistic suicide, the normality of viewing porn, sexual fantasies, cigarette breaks, sexual realities, 19th-century literary movements, reflections on patriarchy, criticism of soixante-huitards, arguments against humanism, cigarette breaks,

Adele’s classic rich tones r e v e rberate t hroughout her latest single, “Hello,” which has soared to the top of the charts this week. The song is melancholy yet remarkably powerful, accompanied by a fierce new music video that was viewed 27.7 million times in its first day alone. Displaying her incredible range, Adele continues to impress with the capacity with her raw vocal talent.

FARRAR, STRAUSS AND GIROUX

debates on theism, dialogues on Nietzsche, Sartre and Camus, cigarette breaks, and wine — lots and lots of wine.

“Despite the two bottles of white Irouleguy that I drank almost entirely by myself, I found it harder and harder, and after a while almost impossible, to keep up a reasonable level of friendly conversation,” Francois notes on page 11. One wonders if this isn’t true for Houellebecq himself.

What “Submission” gives its reader goes beyond its brilliant on-theground view of how intelligentsia are coerced into authoritarian regimes.

“Submission” forces us to consider the weakness hidden in our modern tolerance and multiculturalism, that is to say our failure to impassion ourselves against nasty political and social forces on the grounds of not offending or of “being fair and balanced.”

Houellebecq acknowledges the power of belief in society while staying at arm’s length from any -ism.

“Submission” is a work of political incorrectness intent on jarring the reader out of their own submissions to reigning ideology and their will to believe. It dares them to justify not criticizing dangerous secular or religious belief. “Submission” is a novel of a 21st century where morality is relative, subjective beliefs are given appropriate value, action is impotent and to believe is to submit. Yet, this leaves of the question of why Houellebecq is passionate enough to write a novel of ideas, a novel that excoriates all and lauds none, not even itself.

Perhaps “Submission” is a novel of resistance.

The third buzz single off her upcoming album, “Delirium,” Ellie Gouldi n g ’ s “Lost and Found” offers a rather uninspired attempt at catchy bubble-gum pop.

Lacking her signature synth-heavy, electronic sound, this single feels out of touch with what we know and love about Goulding. Rather than bombarding the public and the radio with a stream of new songs, she might be better off sticking to what she does best—delivering stand-alone hits that dominate the airwaves and leave us wanting more.

sara bareilles feat. jason mraz “bad idea”  “Bad Idea” is a newly released track from Sara Bareilles’ upcoming album “What’s Inside: Songs From Waitress,” based on the Broadway play “Waitress,” for which Bareilles wrote both the music and lyrics. Understandably less radio-orientated than her previous pop singles, “Bad Idea” nonetheless disappoints on the theatrical front as well. The production of the song outpaces the vocal performance of both Bareilles and Jason Mraz, and suggests that Bareilles may be better suited to writing love songs than show tunes.

AROUND TOWN Pumpkin Chuckin’

Bring any and all leftover jack-o’-lanterns to an official smashing. Just because your meticulously carved pumpkin made it through the night doesn’t mean it has to make it through the weekend. From the Silo Drop to the ominous Zip-Wire Sploosh and upsidedown “fireworks,” you are sure to be rid of all those unwanted pumpkins by the end of the day.

Where: Great Country Farms, Bluemont, Va. When: Nov. 1 to 3 Info: washington.org Price: Free

1965: Civil Rights at 50

Take a walk in someone else’s shoes — someone who marched in Selma, Ala. on a day that became infamously known as “Bloody Sunday.”

This exhibit explores the relationship between the news media and the civil rights movement in the 1960s. Through a variety of media including a Time Magazine comparison of the Watts Riots and Vietnam Battlefields, the exhibit faithfully sets the clock back 50 years.

Where: The Newseum When: Now until Jan. 4 Info: newseum.org Price: Free for students

Embassy Row Trick-or-Treating

Crosscurrents: Modern Art

Where: Massachusetts Avenue When: Friday, Oct. 30, 1:30 to 4 p.m.

Info: washingtonpost.com Price: Free

WHERE: 3rd floor North Wing, American Art Museum WHEN: Friday, Oct. 30, 5:30 p.m.

INfo: americanart.si.edu PRICE: Free

Come trick-or-treat at the most diverse block in town. Forget Snickers and Kit-Kats; enjoy local delicacies from the Dominican Republic, Papua New Guinea, South Korea, Uzbekistan, and more. This event is hosted by the School of Foreign Service Academic Council.

Although the stories of free vodka at the Russian Embassy may or may not be true, come to this annual Halloween tradition.

Attend the first of a three-part discussion that explores the artists featured in the new Smithsonian exhibition, “Crosscurrents.”

Among the topics to be discussed are the nine Picasso pieces in the show, the work of Niki de Saint Phalle and the relationship between American and European modernism.

B8

Sports

THE HOYA

Cross Country

GU Prepares for Big East Meet Daniel Baldwin Special to The Hoya

Both the No. 14 men’s and No. 18 women’s cross country teams will travel to Mason, Ohio to compete in the Big East Championship as the championship season begins on Halloween. Both teams look to build on their performances at the Pre-National Meet in Louisville, Ky. The men finished in fifth place overall with 251 points in the 8000-meter race.

Meanwhile, the women recorded 381 points in the 6000-meter race, good for seventh overall.

The men’s cross country team turns to junior Jonathan Green for another dominant performance. At Pre-Nationals, Green led the Hoyas with a sixth place finish with a time of 23:28.7. Green’s hard work and dedication have begun to pay off with impressive times, and his teammates have noticed.

“He just works really hard,” senior Darren Fahy said. “He had a pretty big breakout season in track last year and he’s just carried that over and has kept the momentum going. He races pretty fearlessly and goes up to the front and that really helps him.”

Fahy will attempt to push himself and his teammates as they enter championship season. He has embraced his leadership role as one of the top runners on the team, always looking to offer advice to underclassmen.

“They have done a lot of work and we’ve done a few races and everyone’s shown that they are ready for this. You don’t need to do anything else, it’s just the same thing with more people,” Fahy said.

Assistant Coach Brandon Bonsey has urged his team not to take the competition lightly and to run hard in the beginning of the race.

“I think our front three guys are going to focus on Villanova’s front three. So we need to work on potentially breaking up their front three because last [year] at Big East they went one, two, three and we don’t want that to happen again,” Bonsey said. “We want the rest of our guys to get ahead of Villanova’s fourth and fifth runners. Our strength is definitely our depth, so we just need to use that to our advantage.”

“Our strength is definitely our depth, so we just need to use that to our advantage.”

BRANDON BONSEY Assistant Coach

The women’s cross country squad will look to continue its own successful season as the team travels to Ohio.

Graduate student Andrea Keklak will try to build on her impressive performance at Pre-Nationals, running a time of 20:35.2 in just her second meet back from a serious injury.

Freshman Audrey Belf will attempt improve upon her performance at Pre-Nationals, where she ran a time of 20:46.3.

“I think Audrey Belf is definitely developing as an athlete on the Georgetown cross country team, but what she’s already shown us is that she can be a team leader and collaborate really well with the team,” sophomore Autumn Eastman said.

Eastman attributes Belf’s strong performance at Pre-Nationals to her work ethic in practice.

“I think that her breakthrough last race was definitely because we’ve had these past couple of workouts where we’ve just excelled by pushing each other up as a team. So when we are talking about one of us succeeding, it is talking about all of us succeeding. It is really exciting to have everyone pull together at this time,” Eastman said.

The team is focused on supporting and encouraging each other throughout the meet.

“We can do so much more when we are working together. It’s been unbelievable what this team has been able to do by having this team support and having girls next to you knowing that they are going to claw and scratch for every second for you.

So when you build that team dynamic and build that sense of leadership on the team, it’s easier to go further with everybody else,” Eastman said.

The Hoyas are not concerned about the course conditions of the race. Eastman believes they can compete on any course under any conditions.

“I think generally we are a really tough team. I think we thrive under conditions that are less than perfect,” Eastman said. “We have a lot of runners who come from running cross country courses through a foot of mud. I know personally, I had never ran on a golf course until I came here. It gets us excited to race in less than perfect conditions because it gives us something to work for.”

Following the Big East Championship, both the men’s and women’s teams will start to prepare for the NCAA Mid-Atlantic Regional Championships in Princeton, N.J. on Nov. 13.

Women’s Soccer

Seeding at Stake in Home Game CREIGHTON, from B10

us. Going into the game we know that if we win, we are guaranteed at least second in the league and therefore a first-round bye in the tournament which is very important,” sophomore midfielder Rachel Corboz said.

The Bluejays are currently on a four-game losing streak and have been shut out twice in that span.

They currently sit in eighth place in the Big East standings and have been eliminated from Big East tournament contention.

In contrast, the Hoyas have played well as of late, winning two and tying two of their last four games. The team’s last game resulted in a hardfought draw on the road against one of Georgetown’s biggest rivals, the DePaul Blue Demons (11-3-4, 5-1-2 Big East).

The Hoyas controlled the game for the majority of regulation, holding a 1-0 lead after sophomore midfielder Rachel Corboz scored her ninth goal of the season midway through the first half. Corboz has been a significant contributor to the Hoyas’ success this season. She has served as the

team’s free kick specialist and has consistently put the ball in dangerous spots.

“We know each and every game is important, so just personally trying to make a difference in each game and doing whatever I can to help the team succeed has been important for me, whether that be me scoring, setting up chances for my teammates or just being very involved in the game.

I think just being confident and having fun every time I step on the field has also helped,” Corboz said.

Georgetown’s defense fell victim to a well-executed set piece goal in the 80th minute, which tied the game and forced overtime.

In overtime, Georgetown nearly scored the golden goal, but DePaul’s goalkeeper rescued her team with a miraculous double-save, maintaining the tie. The match would end 1-1.

Though only one game stands between Georgetown and the start of the postseason, Nolan is not looking beyond the match against Creighton.

“We want to take it one game at a time, and we understand that first of all we have to figure out whether we are playing in the quarterfinal or the

semifinal,” Nolan said.

Junior forward Lauren Sullivan leads Creighton with 10 goals while junior defender Ylenia Sachau has added six. Senior defender Jill Richgels leads the team with seven assists and freshman goalkeeper Erin Scott has started all 19 games in goal.

FILE PHOTOS: JENNA CHEN FOR THE HOYA

Sophomore midfielder Rachel Corboz leads the Hoyas with 9 goals.

Friday, October 30, 2015

Fantasy football corner

Joe Lanzilla

Trades to Make After Foster Injury R

unning back Arian Foster tore his Achilles tendon this week. It was tragic. Foster, one of the all-time great Houston Texans, simply cannot seem to catch a break from the injury bug. This Achilles injury, notorious for robbing athletes of their trademark quickness, could be career-ending. As someone who owns Foster in fantasy football — specifically acquiring him after the season-ending injury to Jamaal Charles shook up my fantasy team — I am at a loss. If you are like me, losing both Charles and Foster this year, you are not alone.

With that said, we are seven weeks through the NFL regular season. You probably are either dominating your league (if you read this column), dreaming of next year as you start checking NBA scores (if this is your first time reading) or in the playoff hunt. If you are Option A, congrats. If you are Option B, convince your league you should do a keeper league next year, because being checked out of fantasy football halfway through is never fun. And if you are Option C, this article is for you.

As the adage goes, anything can happen once you’re in the playoffs. The key is getting to that point. Remember, it’s all about future production from here on out. You win in fantasy football (as you do in the stock market) by identifying the undervalued assets before everyone else does. So who are the undervalued players that might be calling your name on the waiver wire or waiting patiently on the trade block for you to make an offer?

Two names need to be highlighted as you survey the waiver wire this week. The first is Minnesota Vikings rookie Stefon Diggs, a wide receiver who has posted back-to-back 100-yard performances during the past two weeks.

He has eclipsed not only Charles Johnson but also Mike Wallace as the Vikings receiver to own, and he even got in on the run game with a nine-yard carry this past week. I always think it’s a telling sign when teams plan coordinated runs for their receivers. It’s a flashing signal: We want to get this guy the ball in his hands. Diggs, a fifth-round pick this year out of Maryland, is a special talent. While Raiders wide receiver Amari Cooper gets all the press, and rightly so — I highlighted him extensively during the NFL preseason — Diggs also carries the mantle from this year’s spectacular rookie wide receiver class. He is a solid option for the rest of the year and if he can continue to post 100-yard games,

he could play a deciding role in your team’s playoff push.

The second is David Cobb, the Tennessee Titans running back eligible to come off Injured Reserve in Week 9. The Titans backfield is a complete and utter mess right now, and Cobb looked stellar during the preseason before he went down with an injury. Come Week 9, he could easily rise to the starting running back position for Tennessee and deliver serviceable numbers the rest of the year. Considering he is almost universally unowned across fantasy football leagues, he’s a bargain.

While many fantasy analysts will recommend picking up Texans running back Alfred Blue, Foster’s assumed replacement in Houston, I would not put much stock in him. Sure, Blue is a quality back and had a 100-yard game in Week 3 before Foster returned from injury, but the Texans will struggle mightily without Foster.

Blue could post somewhat-serviceable numbers this week and beyond, but if you are a Foster owner, do not view Blue as your savior.

A better way to address your lineup holes is through the trade market. One name above all others stands alone: Eddie Lacy. The Green Bay Packers running back, whom I admittedly championed as my number one pick this offseason, has been an utter disaster this year. Pundits warn that Lacy’s backup James Starks could now be more heavily involved in Green Bay’s offense. But I believe talent wins out, and if you are asking me who is the more talented running back, Lacy has to be my answer.

While it might not be this week, I am positive Lacy will return to something at least resembling his form from last year. He should come at a fraction of his real value on the trade market, so if you run across a frustrated Lacy owner, go after him with a vengeance.

One other name to keep in mind is Antonio Brown, although the window to acquire him at a low cost may have passed after he had a 124-yard game on Sunday versus the Chiefs. Brown has suffered with Michael Vick and Landry Jones at the helm of the Steelers’ offense, though Big Ben promises to return soon. Brown will resume his reign as a top-three wide receiver once this occurs.

Until next time, fantasy lovers, play on.

Joe Lanzilla is a senior in the School of Foreign Service.

Fantasy football corner appears every other Friday.

Men’s Soccer

Allen Scores 2, Hoyas Top Pirates in OT Win SETON HALL, from B10

Marcinkowski to put themselves ahead once more. The keeper came out of the net to try to punch away a cross but was not in time, allowing the attacking player to head the ball over him and into the net with just 13 minutes remaining.

“To concede a goal instantly after [equalizing]? That could have instantly taken the air right out of you,” Wiese said.

Once again, however, the Hoyas responded, creating a number of chances before Muyl earned a penalty kick. The junior forward was free into the box when he went down just inside the 18-yard line. Allen took the chance and converted it low and to the left side of the net, tying the match at 2-2.

Seton Hall’s two goals were the first Georgetown has allowed in conference play this season. Its scoreless streak ended at 616 minutes, the longest in program history. Conceding twice late in the match could have had a negative impact on the players, but Muyl says the team just tried to stick to the game plan.

“When they score on us, it’s less about us changing the way we play. We know they change the way they play. They tried to put a lot of people in the box, and luckily we were able to equalize twice,” Muyl said.

The overtime period started much the same way regulation had ended, with Georgetown on the front foot. Then, a scary moment and a potentially serious injury to junior defender Joshua Yaro delayed the game for several minutes. Yaro, along with Marcinkowski and a Seton Hall forward, was involved in a three-per-

son collision and had to be stretchered off the field with a cast around his leg.

“It’s terrible. He’s one of the best defenders in the country. … I just hope he’s all right,” Allen said.

Once play resumed, the Hoyas immediately had an open look at the net that nearly ended the match. Then, Muyl and junior midfielder Brett Campbell combined to find Allen in behind the Seton Hall defense. The senior forward calmly scored to the left of the keeper and won the match in the 96th minute.

Georgetown remains one of just two unbeaten teams in the Big East and has secured a first-round bye in the Big East tournament. Its impressive 7-0 conference record is a mark that the players were aware of after the match.

“I’m not surprised that the game was hard. It was difficult. But I am really proud of us that we were able to come back two times, win the game and keep 7-0,” Muyl said.

Muyl took on a crucial role for Georgetown on Wednesday afternoon. He created almost every chance the Hoyas had, including all three goals, and earned two assists. His undiminished work rate and constant involvement — he even helped carry the stretcher that took Yaro off the field — made him easily the most influential player on the field.

“He is a magnet for the ball. He is a magnet for making plays. He is just around it all the time,” Wiese said.

Georgetown will take the field again Saturday at Villanova. Kickoff against the Wildcats is set for 1 p.m.

FILE PHOTOS: NAAZ MODAN/THE HOYA

Junior forward Alex Muyl, above, recorded two assists in Georgetown’s 3-2 overtime win over Seton Hall. Senior forward Brandon Allen scored two goals, including the game-winner.

sports

FRIDAY, october 30, 2015

THE HOYA

volleyball

B9

saxa synergy

McKnight, Speech Lead Hoyas in Final Stretch Players Reflect On Flip

Ryan McCoy

Hoya Staff Writer

The Georgetown volleyball team (9-15, 3-8 Big East) heads out on the road again this weekend, travelling for Big East matches against Seton Hall (11-12, 5-6 Big East) and Villanova (19-5, 9-2 Big East). The road trip is the first of two consecutive weekends away from home, as the Hoyas face matches at DePaul (1310, 2-9 Big East) and Marquette (17-7, 8-3 Big East) next weekend.

Georgetown is coming off an emphatic 3-0 win over Providence (1015, 1-10 Big East) Sunday, and will look to build on the confidence it gained from that performance.

The team travels to New Jersey to take on Seton Hall on Friday. The Pirates also come into the match coming off a win, beating DePaul on the road 3-1 Saturday.

Seton Hall’s roster includes standout senior middle blocker Amanda Hansen, who leads the team in both kills and blocks, with 244 and 79, respectively. Defensively, junior libero Tessa Fournier is one of the best in the Big East, leading the Pirates with 437 digs on the season.

Following its Friday match, Georgetown will travel to Philadelphia to take on Villanova. The Wildcats are one of the best teams in the conference this year and will provide the Hoyas with a stern test.

Georgetown will hope to end Villanova’s undefeated home-court streak, a run that now stands at seven games.Villanova has a wealth of attacking threats, but Georgetown will be especially focused on sophomore outside hitter Allie Loitz, who leads the team with 300 kills on the

season. The Hoyas will try to keep the Wildcats out of system, making senior setter Emma Pettit’s job difficult. Pettit leads Villanova with 966 assists this year.

For Georgetown, this will be the second match of the season against both opponents. The Hoyas fell to both the Pirates and the Wildcats at McDonough Arena in late September.

“It feels a little better going up against them the second time, because you’ve seen them before.

Especially if we’ve lost the first time around, the hunger to win the second time is even stronger,” freshman middle blocker Symone Speech, who was named to the Big East Honor Roll for her impressive performances last weekend, said.

Head Coach Arlisa Williams identified serving and aggressive hitting as the two main focuses for the Hoyas going into this weekend.

“When we serve well, it makes the other team a whole lot easier to defend. They cannot run all three options, they’re off the net, we know that we’re going to block cross-court, it just makes our life that much easier. And then we can win in the transition game,” Williams said.

In terms of hitting, Williams is hoping for a repeat performance of the aggresFILE PHOTO: STANLEY DAI/THE HOYA sive style Georgetown showcased against Providence, when Hoya players were un- Freshman middle blocker Symone Speech (left) leads the Hoyas in blocks afraid to make mistakes. with 67. She has recorded the second most points on the team with 260.

“We want them to go out and take “Paige is very good at seeing where the When she plays well, our team does big swings and take some risks. I’ve been coaching for 21 years and I’ve never seen hitters are, so when she’d set she’d lead well, and I haven’t seen her not play me so that I’d have no block. Just really well, to be honest,” Williams said. a team hit 1.000,” Williams said.

Williams and the rest of the Hoyas Speech also pointed out the impor- good setting by Paige,” Speech said.

Williams echoed Speech’s compli- will be hoping that Speech, McKnight tance of freshman setter Paige McKnight’s passing ability, which helped ments. and the rest of the team can carry on “Paige plays at such a high level all with their recent success this weekend.

Speech average 3.43 kills per set in the team’s two games last weekend, to the of the time. She works hard at prac- The game against Seton Hall will start at tice, she has such a great volleyball IQ. 7 p.m. team’s recent success.

Field hockey

Undefeated UConn Visits for Crucial Matchup Sean Hoffman

Special to The Hoya

The Georgetown field hockey team (89, 1-3 Big East) will play its last two regular season games against Connecticut (17-0, 4-0 Big East) at home and William and Mary (6-11, 1-4 Colonial Athletic Conference) in Virginia this weekend. The Hoyas suffered a tough loss against Big East opponent Temple in a 3-1 finish last weekend before falling to Saint Joseph’s 6-3.

The Hoyas beat Big East rival Villanova 2-1 earlier in the season, and if they can beat UConn they will be able to clinch a playoff spot in the Big East tournament and continue their

season. Georgetown has not defeated Connecticut in 18 years, and this is the first time in 11 years that the game will be played in Washington, D.C. Head Coach Shannon Soares was disappointed about the losses against Temple and Saint Joseph’s last weekend.

“We came off of a really tough weekend away in Philadelphia. We played a fantastic game against Temple but gave up the game in the last three minutes, but we played really well. On Sunday, we played atrocious against Saint Joe’s, a tough opponent, and we clearly didn’t show up.”

In preparation for the matchups against UConn and William and Mary, Georgetown has been taking

FILE PHOTO: LAUREN SEIBEL FOR THE HOYA

Junior forward Aliyah Graves-Brown has totalled five goals and one assist on the season. She leads the Hoyas in points with a total of 11.

special steps in practice.

“We ended the weekend on a really sour note, so Tuesday we spent a lot of time focusing on ourselves and adjustments that we needed to make from the errors we made against St. Joe’s,” Soares said. “On Wednesday, we spent a lot of time preparing for UConn, simulating their press and enforcing our players to outlet successfully. We also have been practicing our press against their outletting tendencies.”

Despite the two losses last weekend, the Hoyas have had a strong offense all season. Junior forward Aliyah Graves-Brown and freshman forward Helena Masiello have each scored five goals, while junior defender Devin Holmes and senior forward Sarah Butterfield have scored four.

Junior goalkeeper Rachel Skonecki has made 133 saves and has started all 17 games. The Hoyas are 5-2 at home, so playing Connecticut on Cooper Field will be a significant boost. Georgetown lost 6-0 to Connecticut last season, though Skonecki had 10 saves and senior midfielder Emily Weinberg and GravesBrown both had shots on goal.

UConn has not lost so far this season and has guaranteed a spot in the Big East tournament. The Huskies have played many high scoring games, including victories over Villanova and Temple in 10-0 and 8-0 finishes, respectively.

UConn has scored 104 goals, averaging 6.12 goals per game, while its opponents have only scored six goals all season. Sophomore goalkeeper Nina Klein has made

37 saves and recorded eight shutouts.

The Huskies have also had 149 penalty corners compared to 52 by all opponents.

Sophomore forward Charlotte Veinter has scored 30 goals this season, while sophomore midfielder Casey Umstead and senior midfielder Roisin Upton have each scored 12. The Huskies are clearly a powerhouse team, and the Hoyas must bring their best game in order to give UConn its first loss of the season.

“In order to put together a quality match against one of the best opponents in the country, we are going to have to show up and be very sharp,” Soares said.

“We must be committed to our plan, and the one advantage we have is that UConn will play on an infield surface for the first time in over a year. They have to play us on a surface they don’t regularly train or compete on. But if we show up making common errors and are not sharp with basic skills and fundamentals, that will kill us.”

William and Mary won its last game 2-1 against VCU to end a four-game losing streak. It has had 34 goals and 228 total shots compared to 196 shots by opponents. Senior forward Pippin Saunders leads her team with 11 goals, followed by sophomore forward Cammie Lloyd with eight. Senior goalkeeper Meredith Savage has faced 192 shots and made 69 saves for a .600 save percentage. William and Mary has not shut out a team this season and has failed to score in four games.

The Hoyas will face off against the Huskies at 12 p.m. on Cooper Field this Saturday.

football

GU Aims to Down Patriot League Foe on Road LEHIGH, from B10

“He’s clutch,” Sgarlata said. “The good thing about [Hill] is that he just comes out and puts the work in every day. What you see in the games, he does in practice as well so he works really hard.”

Hill’s success has been a welcome surprise after an ankle injury sidelined him for most of the preseason. Like Sgarlata, Hill attributes his success to the fundamentals that he practices all week long.

“It’s just a lot of footwork and getting it out on my routes and just trying to get open and make plays when my number is called,” Hill said.

Lehigh’s defense will have to focus on stopping the red-hot Hill and Kimpela. Last time out against Fordham (7-1, 3-0 Big East), the Mountain Hawks gave up 59 points while scoring 42 of their own. Many of the points were the result of turnovers; with a strong defense, the Hoyas will look to capitalize on this weakness and help turn the ball over to their offense.

Georgetown’s defense continued its success last week. The Hoyas have now

held all three of their conference opponents scoreless in the second half, a streak that the high-scoring Mountain Hawks will challenge.

“They have shown improvement,” Sgarlata said. “They can put points up on anybody that they’ve played so that’s going to be a huge challenge for our defense.”

Despite a losing record, Lehigh averages 25.7 points per game while allowing its opponents to score 34 points per game.

Junior quarterback Nick Shafnisky and freshman quarterback Brad Mayes combined for three touchdowns in the game against rob sgarlata Fordham.

Head Coach After an injury to Shafnisky’s hip in the second quarter, Mayes took the helm in the second half, completing 16-of-38 passes for 205 yards and two touchdowns along with three interceptions.

“They played a great schedule,” Sgarlata said. “Their quarterback Shafnisky is special and their second quarterback, the freshman, came in and had a hell of a game against Fordham.”

Last season, Lehigh defeated the

Hoyas 27-19. In fact, the Mountain Hawks have won every meeting between the two teams. Georgetown’s upcoming bye week will give the Blue and Gray an opportunity to rest and prepare for two matchups against Fordham, which is ranked first in the league, and Holy Cross (3-4, 1-2 Big East).

“It’d be great to get a win and then win two big games after the bye week,” Hill said. “Obviously, having never beaten Lehigh before, this would be a great opportunity too.”

The Blue and Gray will travel to Goodman Stadium in Bethlehem, Pa. to take on the Mountain Hawks on Saturday. Kickoff is set for 12:30 p.m.

“They can put points up on anybody that they’ve played so that’s going to be a huge challenge for our defense.”

FILE PHOTO: ISABEL BINAMIRA/THE HOYA

Senior running back Jo’el Kimpela rushed for a season-high 142 yards and one touchdown on 18 carries in Georgetown’s win over Bucknell.

SANTAMARIA, from B10

his greatest achievement and skill throughout his coaching career was belief — pure belief in the skill of raw and undeveloped prospects.

Flash back to 1995. The Minnesota Timberwolves held the fifth overall pick in the draft and were heavily scouting a high school phenom by the name of Kevin Garnett. At a time when it was uncommon to take high school players over proven college talent, Saunders took a risk on Garnett and coached him through his early years, developing his game all the way until he brought home the MVP award and led the Timberwolves to a 58-24 record in 2004.

Two years later, Saunders led the Detroit Pistons to a franchise-best 64-18 record.

Five years after that, Saunders coached current superstar John Wall, helping Wall develop his game amidst a string of losing seasons.

But it was not just Saunders’ on-the-court accomplishments that garnered attention, it was his work as a mentor for playersand the praise they gave him upon his passing.

Garnett, by far the man closest to Saunders, posted a picture of himself sitting in Saunders’ parking spot, captioned “Forever in my heart….”

Similar praise came in from the rest of the league, with Andrew Wiggins, Kevin Love and John Wall reflecting on their time under Saunders’ tutelage. But perhaps the most meaningful tweet came from someone who was anything

Saunders’ death inspired reflection from many of those players, including Timberwolves’ star Kevin Garnett. but a star, former NBA forward Andray Blatche.

To paraphrase his tweet: “Thank you for staying on me and believing in me. Even though I let you down, I knew you cared.”

This one post contains so much regret and heartache.

The death of Saunders is not just about what he left to the league and to the players, it’s also about what players didn’t leave for him, those who didn’t leave it all out on the court.

In the NBA, all we see is the dynamic between players and coaches during the game, the back-and-forth and the camaraderie in post-game interviews. But what we miss is something we’ve all experienced as athletes at any level.

The repetitive drills, the seemingly endless hours of practice, the sergeant-like quality of a coach — all of the things that make being an athlete less than ceremonious. But at the same time, those moments are the ones that make every word of Andray Blatche and all of his former players and opponents all the more poignant.

We have all trudged through practice at one point or another, and to see an NBA player regret part of his process is moving in ways that are unexplainable.

Only a full range of emotions can capture the relationship between player and coach, and unfortunately, those reflections can come too late.

For Flip Saunders, the words of regret ring true for Blatche and any other player who may have bucked Saunders’ system over the years. But given the way the entirety of the basketball world has reacted to his passing suggests that he had nothing but compassion and understanding for them. And now we especially do for you, Flip, and for everything you have done. Rest in peace.

Paolo Santamaria is a sophomore in the College.

Saxa Synergy appears every Friday.

SPORTS

Women’s Soccer Georgetown (10-5-2,5-1-2) vs. Creighton (10-9-0,2-6-0) Friday, 2:30 p.m.

Shaw Field

FRIDAY, OCTOBER 30, 2015

TALKING POINTS

FIELD HOCKEY Georgetown must beat undefeated Connecticut to qualify for the postseason.

See B9

“

NUMBERS GAME

I think just being confident and having fun every time I step on the field has ... helped.”

SOPHOMORE MIDFIELDER RACHEL CORBOZ

WOMEN’S SOCCER

MEN’S SOCCER

Hoyas Battle for Bye In Big East Playoffs DARIUS IRAJ

Hoya Staff Writer

The Georgetown women’s soccer team (10-5-2, 5-1-2 Big East) enters a critical matchup Friday against the Creighton Bluejays (10-9-0, 2-6-0 Big East) with immense Big East tournament implications on the line.

Georgetown has constantly emphasized the importance of securing a top-two seed in the Big East tournament, and it can do that with a win over Creighton.

“As it sits right now, if we win on Friday we’re guaranteed to finish no worse than second. That’s crucial because the top-two teams in the conference tournament get a bye,” Head Coach Dave Nolan said.

Georgetown can even finish as high as first place and be crowned regular season champions if St. John’s (14-2-1, 6-1-1 Big East) loses to

12

The number of games the men’s soccer team has played since its last loss.

Providence (12-6-0, 5-3-0 Big East) Friday night.

“That’s held to be a tough game for St. John’s because Providence is playing hard to get a home seed for the tournament,” Nolan said.

However, if Georgetown loses, it could finish as low as fifth in the conference if some other results in conference play do not go its way.

A fifth-place finish would lead to a much harder road to winning the Big East tournament and securing an automatic bid for the NCAA tournament, as the Hoyas would be forced to play a quarterfinal game on the road.

Nevertheless, Georgetown is confident it will be able to defeat Creighton and avoid such a scenario.

“Friday’s game against Creighton is a crucial must-win game for See CREIGHTON, B8 ALLIE LITTLE FOR THE HOYA

Junior forward Alex Muyl recorded two assists in Georgetown’s 3-2 OT win over Seton Hall on Wednesday.

Muyl leads the Hoyas in assists with nine, and he is second in points with 17 on the season.

No. 7 GU Rallies to Avoid Upset ANDREW MAY Hoya Staff Writer

ELIZA MINEAUX FOR THE HOYA

Sophomore midfielder Rachel Corboz scored once in Georgetown’s tie with DePaul last Sunday. Corboz has nine goals on the year.

Ask anyone before kickoff at Shaw Field on Wednesday afternoon for an honest prediction for the match and all of them would have said the same thing. No. 7 Georgetown (112-2, 7-0 Big East) was going to beat lowly, winless Seton Hall (0-13-1, 0-7 Big East), probably by several goals.

Instead of that blowout, Georgetown ended up playing its most thrilling match of the year, relying on two late equalizers and an overtime period to win 3-2 and prevent a shocking upset.

Senior forward Brandon Allen scored the game-tying and game-

winning goals, and junior forward Alex Muyl set up all three scores for the Hoyas in the comeback victory.

The Hollywood-style drama started with the weather. The entire affair played out under gray skies and rain. In addition to providing the backdrop for all of the excitement, the conditions made the field slick.

Both teams had a sloppy opening half, frequently giving the ball away.

Muyl hit the post from close range, but scoring opportunities were otherwise prevented by missed passes and slipping players.

“The field was heavy and a little slick, so that makes it a little harder for us. I think that evened it a bit,” Head Coach Brian Wiese said. “But

FOOTBALL

Nolan, Hill Look to Continue Connection

you have to give Seton Hall a ton of credit.”

The slow, choppy play continued until the 71st minute when Seton Hall junior forward Danny Bartok hit an impressive volley from long distance to give his team a shocking 1-0 lead. That goal flipped a switch for the Hoyas, who immediately pressed for a goal of their own. They had a series of chances before a cross

by Muyl found senior midfielder David Witkoff at the back post and tied the match.

Less than a minute later, the underdog Pirates took advantage of a miscue by freshman goalkeeper J.T. See PIRATES, B8

SAXA SYNERGY

EMMA CONN

Hoya Staff Writer

With the bye week coming up, the Georgetown football team (4-4, 2-1 Patriot League) looks to go into the break with another win under its belt when it plays Lehigh (3-4, 1-1 Patriot League) Saturday. The Hoyas will try to build on last week’s win against Bucknell (3-4, 0-2 Patriot League), during which they put up 17 points led by both senior quarterback Kyle Nolan and junior quarterback Tim Barnes.

The Blue and Gray were able to hold the highscoring Bison to just nine points. The defense was led by senior linebacker Matt Satchell, who recorded a career-high 18 tackles. In his first career start, freshman safety Jethro Francois recorded 15 tackles and set a Georgetown freshman record with 11 solo tackles. On top of being named Patriot League Rookie of the Week, Francois was also recognized nationally as the STATS Football Championship Subdivision National Freshman of the Week.

“The key to my success is actually the older guys,” Francois said. “Them helping me and supporting me, having faith in me. They’ve just been very supportive.”

The Hoyas came out strong in the first quarter after freshman defensive back Blaise Brown intercepted a pass from Bison junior quarterback R.J. Nitti in the red zone and returned the ball 51 yards. The result of the drive was a field goal that put Georgetown up 3-0.

After Bucknell scored a touchdown and missed the extra point, Nolan completed a 40yard touchdown pass to junior wide receiver Justin Hill to take back the lead.

Nolan was 9-of-17 for 94 yards on the day while Barnes went 6-for-12 for 62 yards with one touchdown. Barnes led a 14-play, 94-yard drive for a touchdown that extended the lead and sealed the win for the Hoyas.

Senior running back Jo’el Kimpela rushed for a season-high 142 yards and one touchdown on 18 carries, while his teammate Hill continued his success with seven grabs for 114 yards and one touchdown.

KARLA LEYJA FOR THE HOYA

Saunders’ legacy in death reveals that he was more than just a coach.

He was a mentor and friend. Perhaps

See LEHIGH, B9

Senior quarterback Kyle Nolan has thrown for 1,578 yards and recorded 11 touchdowns on the season. In eight games he has also rushed for 105 yards and four touchdowns.

See SANTAMARIA, B9

Paolo Santamaria

Saunders Known As Mentor O

ne thousand victories. A 35year coaching career. More players coached than one could even count. All the love in the world. Flip Saunders, 60 years old, died Oct. 25 after a nearly threemonthlong battle with Hodgkin’s lymphoma. Though it appeared he would remain president of basketball operations and head coach of the Minnesota Timberwolves, a setback in the middle of September hospitalized Saunders, forcing him to announce that he would miss the entirety of the 2015-16 NBA season.

Saunders’ legacy reveals that, to many, he was more than just a coach.

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