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NOVEMBER 14, 2017

THE INDEPENDENT STUDENT NEWSPAPER OF THE UNIVERSITY OF CHICAGO SINCE 1892

VOL. 129, ISSUE 15

Endowment, Stipends Hit by Tax Plan BY ANNABELLE RICE NEWS REPORTER

The University is opposing provisions of GOP congressional tax plans that would impose a tax on private university endowments and scale back deductions for graduate students. A University spokesperson referred to a statement by the Association of American Universities (AAU), of which UChicago is a member, on the House tax plan. The A AU has since released a statement criticizing the Senate plan, though it is “pleased the Senate bill retains many of the student tax benefits the House was willing to eliminate.” “[The AAU] remain[s] troubled that the Senate proposal contains the same misguided excise tax on certain private university endowments,” the statement reads. “Rather than allowing endowment funds to help students and support critical research advances, this excise tax is sending those funds directly to the U.S. Treasury.” Vice Executive Provost David Nirenberg sent an e-mail to University graduate students, saying that the University “is collaborating with numerous other institutions and associations, including the AAU, in opposing these changes. This is a fluid situation that we are monitoring closely, and we will continue to engage directly with the Illinois congressional delegation and other key lawmakers to convey our serious concerns.” House Republicans unveiled the Tax Cuts and Jobs Act on November 2, a 429-page proposal that entails a 1.4 percent tax on the private endowments of colleges and universities. Continued on page 2

Feng Ye

Mitski serenades the audience in Mandel Hall for the MAB fall show. More on page 5.

Jon Stewart, IOP Podcast Art Finds Students to Live About Louis C.K. Resurfaces With Through Smart BY JAMIE EHRLICH NEWS REPORTER

When Jon Stewart visited campus in May 2016 as part of Institute of Politics Director David Axelrod’s The Axe Files podcast and spoke in Rockefeller Chapel, he probably wasn’t expecting to be asked about charges of sexual harassment against the last guest of his show—Louis C.K. T he i nt er v iew b et we en Stewart and Axelrod happened a year and a half before Louis C.K. admitted to sexual misconduct in response to a report published by The New York T imes on November 9, saying, “these stories are true.”

Recently, the video has resurfaced. Dan Ackerman (A.B. ’16) asked the last question of the day after Stewart fielded questions about his upbringing in New Jersey and the state of the media. He told Slate last week that he hadn’t prepared in advance to pose the question to Stewart. “I wanted to ask you about the last inter v iew on your show, which I think was Louis C.K.,” Ackerman asked Stewart, “so from my memory, I think that was after some of the rumors about Louis C.K.’s alleged harassment of female comedians—” Continued on page 2

A Talk With Val Bodurtha Page 5

The College student discusses her recently published alternate history book.

Faux Feminism Page 3

Solid in NCAA Play A disturbing record for vocal male feminists.

Page 8 Women’s soccer wins a regional title and advances into the Sweet Sixteen.

BY MAY HUANG DEPUTY ARTS EDITOR

At 8 a.m. on October 1, 75 sleep-deprived yet eager students entered the Smart Museum of Art one by one to select a piece of artwork from the Museum’s Art to Live With collection. Once inside the gallery, students had one minute to choose the work— be it a Miró or a Chagall—that will hang on their walls for the next seven months, becoming a staple of their rooms and lives. Art Match, which made its much-anticipated return after decades of hiatus, is a University of Chicago tradition that began 60 years ago. All of the artwork in the collection belonged to

University trustee Joseph Randall Shapiro (X ’34), who began assembling the works in 1958. Back then, students rented the artwork from Ida Noyes Hall for one dollar per quarter. The program, which became one of the first university art rental programs in the country, refl ected Shapiro’s belief that “the best way to become acquainted with art—and to appreciate it—is to live with it.” According to the Smart Museum’s Campus and Public Art intern Harper Graf, 28 of the 38 undergraduate houses participated in the program this year, and 87.5 percent of all residence halls have at least one person Continued on page 4

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THE CHICAGO MAROON - NOVEMBER 14, 2017

Events 11/14–11/16 Today

IOP Director Cuts Off Question About Louis C.K. in Podcast Last Year Continued from front

Sheila Fitzpatrick: Mischka’s War Seminary Co-Op, 6–7:30 p.m. Historian Sheila Fitzpatrick discusses her book about her late husband, physicist Michael Danos, who fled from Riga to Nazi Germany in the 1940s. Tomorrow Pete Souza Book Talk Law School, Room F, 1:20–3 p.m. Obama’s Chief Official White House Photographer will speak at the IOP to promote his book Obama: An Intimate Portrait: The Historic Presidency in Photographs. Rohingya Crisis Talk at Law School International House, Assembly Hall, 5:30–6:45 p.m. History professor and Faculty Director of the Pozen Family Center for Human Rights Mark Bradley will discuss the humanitarian crisis in Myanmar and Chair of the Burma Task Force U.S.A. Imam Malik Mujahid. Plato’s Bedroom: Desire, Union, and Procreation Social Sciences Research Building, 7–8:30 p.m. David O’Connor from the University of Notre Dame discusses his book, Plato’s Bedroom: Ancient Wisdom and Modern Love in this lecture sponsored by the Seminary Co-Op and the Department of Philosophy. Trump and Conservative Historiography With Rick Perlstein Seminary Co-Op, 8–9:30 p.m. Rick Perlstein who wrote a trilogy of books chronicling the rise of modern American conservatism, reckons with the implications of Donald Trump’s victory in 2016. Thursday America’s Foreign Policy Approach Institute of Politics, 5:30–6:45 p.m. Jake Sullivan, who was the senior policy advisor to Hillary Clinton’s 2016 presidential campaign, and Frances Townsend, who served as Homeland Security Advisor to President George W. Bush from 2004–2007, will be participating in a conversation at the IOP on the United States’s foreign policy challenges. Stevanovich Conference Keynote: Making Art/Discovering Science Stevanovich Center, 6:45–8 p.m. Steven Shapin, a Harvard scholar in the history of science, opens the inaugural conference of the Stevanovich Institute on the Formation of Knowledge with a talk on “Making Art/Discovering Science.” See more at chicagomaroon.com/events.

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“Whoa,” interjected Stewart. Ackerman proceeded to cite allegations published on the former celebrity blog Gawker, tweets, and Jen K irkman’s podcast episode that was subsequently deleted due to her worry that it was misinterpreted. Stewart laughed it off, mocking the credulity of Ackerman’s sources, all from the internet. “All I can tell you is I’ve worked with Louis for 30 years and he’s a wonderful man and person and I’ve never heard anything about this. We’ve all known Bill Cosby was a prick for a long time, so I don’t know what to tell you. But I didn’t know about the sexual assault—” Ackerman attempted to clarify that Louis C.K. was accused of harassment instead of assault, but Axelrod cut him

off, clearly irritated, thanking both Stewart and Ackerman for their time. On Monday, Axelrod commented to the Chicago Tribune on the resurgence of the video online, and his interruption of Ackerman’s question. Axelrod called Ackerman’s question a “non sequitur” insofar as it wasn’t based on the previous discussion. “It wasn’t really a question and, in any case, we were at the end of our allotted time so I had to bring it to a close.” He added that it was “in no way an attempt on my part to bypass or overlook what is a very disturbing issue.” “ K nowing what I know now, of course I would have probed Stewart more deeply,” Axelrod wrote to the Tribune. “And knowing what we all know now, I’m pretty certain he would have answered differently.”

University Opposes GOP Tax Plan on Endowments and Grad Student Stipends Continued from front

To be eligible for taxation, the GOP majority of the Ways and Means Committee originally determined that these institutions must have at least 500 students and assets of $100,000 or more per full-time student. However, just five days after the proposal’s release, House Republicans raised the asset threshold to $250,000 or more per student, halving the number of affected schools from approximately 155 to 60 or 70. The Senate version would retain the 1.4 percent tax on private endowments, but would not eradicate several student tax breaks including tuition waivers for teaching assistants, credits for loans, employer-paid tuition benefits, and the Hope Scholarship and Lifetime Learning Credit. The implementation of the House’s policy would nonetheless eliminate roughly $65 billion in tax benefits for student loans and college tuition, college employee

discounts, university-provided educational assistance programs, the Hope Scholarship Credit, and the Lifetime Learning Credit, according to an article by Politico. The bill also eliminates or consolidates several tax credits specific to graduate students, particularly those pursuing master’s degrees and Ph.D.s, including nontaxable tuition waivers for teaching and research assistants. Graduate students affected by this provision, estimated by Vox News to be 145,000 people, could end up owing an additional $2,000 each in annual tuition. Potential long-term consequences of the implementation of this bill include decreased incentive for donations and a higher barrier to entry for lower-income students due to increased tuition. Subject institutions range from smaller colleges such as Amherst and Oberlin to the Ivy League and UChicago.

Doctor, Anthropologist Wins Prize, Discusses Ebola Epidemic BY DAKSH CHAUHAN NEWS REPORTER

Medical anthropologist and physician Paul Farmer spoke about the 2013–2016 Ebola epidemic after receiving the MacLean Prize at the 29th annual Dorothy J. MacLean Conference on Clinical Medical Ethics on November 10. He focused on his experiences working abroad in clinical deserts—areas lacking health facilities or medical practitioners. The MacLean Center Prize in Clinical Ethics is the largest monetary prize in the field of medical ethics, and has been awarded annually since 2011. Farmer is the prize’s sixth recipient. He received the award for his prior work as an active researcher and health advocate, and for his effort to bring health care to some of the world’s most impoverished people. The award was $50,000. Farmer said in his speech that Ebola is a caregiver’s disease, spreading via traditional, day-to-day caregiving methods. It spreads easily in places in Africa where family members are the sole caregivers as opposed to health professionals. He also said that working on these issues in the region is itself challenging, even if

international organizations establish temporary camps, because it can be hard to spread the word effectively. “If you’re in a remote clinical desert in West Africa where it can be hard to get information, a big question that you ask is ‘Do we seek care or do we trust traditional methods,’” Farmer said at the lecture. He explained that the health impact of Ebola was worsened by a lack of trust among people. “A lot of money is pledged at U.N. conferences and a lot of them aren’t kept. This lowers people’s trust in the health system and international organizations,” Farmer said. After the speech, Farmer spoke to The Maroon about how students can play a role in improving global health conditions. “First, we should understand that Chicago is also on the globe and that students can look for ways to get involved,” Farmer said. “Students here were very involved in the campaign for a trauma center at the University because they saw lack of one in South Side as an issue that needed to be addressed…and they were in the end successful in getting the University to build one,” Farmer said.

University to Maintain Title IX Disciplinary Procedures BY DEEPTI SAILAPPAN NEWS EDITOR

Shea Wolfe, deputy Title IX coordinator for students, reaffirmed the University’s intent to maintain current disciplinary procedures for sexual assault at the Student Government (SG) Assembly meeting on Monday evening. In a presentation on sexual assault prevention g iven to SG, Wolfe discussed the Department of Education’s new guidelines for university sexual assault cases, which revoke policies outlined in the Obama administration’s 2011 “ Dear Colleague” letter. Those policies required universities to use a “preponderance of evidence” standard of proof in adjudicating sexual assault cases, meaning that cases are decided when it is more likely than not that the accused is guilty. Wolfe stated that there are currently no plans to change University disciplinary procedures. She stated that current policies comply with the Illinois Preventing Sexual Violence in Higher Education Act of 2015, which she said is very similar to what the “Dear Colleague” letter requires. Wolfe also announced the Title IX office’s new website and marketing platform and elaborated on the success of the University’s online sexual misconduct prevention trainings for students, which are required by state law. She noted that 94.5 percent of second-years and new graduate students have completed Think About It, their required training program; 96.5 percent of third- and fourth-years and continuing g raduate students have completed their program. Registration holds have been placed on the accounts of students who have not done their training. A sked about the p ossibi l it y of breaking students into small seminars for UMatter, an O-Week presentation on responses to sexual misconduct, Wolfe said that when the seminar format was used a few years ago, “It had mixed results…. Students were leading those small groups, and it was hard to make [information] consistent.” She added that this year’s UMatter session aimed to be interactive, with students submitting questions during the presentation. Wolfe also stated that she can provide only “remedies, not restrictions” following cases of sexual assault occurring inside dormitories unless a formal report is filed. If a student disclosing a sexual assault case does not wish to pursue disciplinary action, for example, the Title IX office cannot remove the accused perpetrator from College Housing, she said. SG held its regular assembly meeting after Wolfe’s presentation. SG president Calvin Cottrell announced that some SG funding will be used support diversity and inclusion initiatives on campus. This includes the Monumental Women Project’s unveiling on November 28 of a bust in Reynolds Club honoring Dr. Georgiana Simpson (A.B. 1911, A.M.’20, Ph.D ’21), the first black woman to receive a Ph.D. in the United States.


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THE CHICAGO MAROON - NOVEMBER 14, 2017

VIEWPOINTS The Harmful Power of Faux Feminism Men Need to Commit to The Feminist Beliefs They Claim to Espouse

Annie Geng “How do women still go out with guys,” Louis C.K. begins in his special Oh My God, “when you consider that there is no greater threat to women than men?” That was 2013. Now, four years later, five women have accused Louis C.K. of sexual misconduct. A day later, Louis C.K. admitted that he was to blame. With his admission, Louis C.K. joins the ranks of other prominent men who have recently been indicted of sexual harassment or assault by women: Hollywood mogul Harvey Weinstein, actor Kevin Spacey, journalist Mark Halperin, and numerous politicians, like Roy Moore. There’s something universally enrapturing about Louis C.K. His humor is energized by a candor and willingness to dive deeply and uncomfortably into his fl aws, creating comedy that allows him, and us, to fi nd humor in our brokenness. In his semi-autobiographical show Louie, he paints himself as an individual caught in an unsettling existential stasis, clumsily fumbling through life and making no shortage of mistakes. Louie almost comes across as his medium of moral exploration, rife with moments of genuine questioning, rather than defi nitive messages—of the things that characterize our lives—our family, our relationships, how we treat those around us. In a controversial episode, Louis C.K. performs a stand-up routine lambasting our democracy for granting women suffrage so late in history, only later to make forceful advances toward a long-time female friend, who lectures him on rape. It’s moments like this that make Louis C.K. such a unique figure. He touches upon the things we shouldn’t do; he says things we shouldn’t say. But all of his

Ted Davis

misgivings seem so absolvable because his comedy persona is someone hugely fl awed, and vulnerable, and maybe just fl at out uncomfortable—and that’s why we resonate with his humanity. And given Louis’s pronounced feminist leanings, sexual misconduct is the last misgiving we would expect him to make. On the surface, Louis C.K.’s sexual misconduct appears to be different from, say, Roy Moore’s, who immediately dismissed the accusations against him as a “charade” created by his opponents, intended to damage his political success, since, of course, “that grown women would wait 40 years” to voice the trauma he had infl icted upon them renders their stories “absolutely unbelievable.” Perhaps the most significant takeaway from Louis C.K. is this—for men, it’s easy to say you’re a feminist, but far

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harder to actually be a feminist. Louis C.K., someone who has often been lauded as progressive and uplifting of women and their rights, is still just as much in the wrong as someone who is not a vocal femnist. The irony is even more disappointingly palpable when his supposedly feminist exterior is contrasted with the allegations made against him. It’s an alarming trend in the entertainment industry for male celebrities to declare themselves “feminists,” and do little beyond that. Name your favorite actor, and you could probably find a quote about his bold, edgy feminism somewhere on the Internet—because of course, in Hollywood, feminism is most often treated as a currency for relatability and appeal to female fans. But this trend isn’t just limited to celebrities; it can apply to men generally. It’s becoming increasingly common for men to come out as feminists to show that they’re the “good guys.” Saturday Night Live humorously mocked this phenomenon in a skit, in which Cecily Strong’s character is harassed at a bar by a series of self-proclaimed “feminist” men, who instantly retract their faux-feminism upon not getting their way with her. One of the men, as a means of hinting his support for women, even adds, “I worked for Hillary.” The point here is that a belief in feminism cannot just be stated. It must be reflected in your actions—what you think, how you act on what you think, and how you treat those around you. It means more than lukewarmly declaring “equality for all!” or bragging about how your mom raised you so well, so you obviously just have such a deep respect for women. It means actually making clear and concerted efforts toward that equality, applying that respect to all women in your interactions, or ref lecting on

how you might be complicit in making things more difficult for women. Even as a woman, finding my stance on feminism was not an instant process. No one is born a feminist, because no one understands the full extent to which she is marginalized until she has to grapple with that very marginalization in her societal experiences. Finding my feminism was a consequence of differentiation. It means feeling your institutional inferiority relative to men, but pushing against it instead of falling prey to it. That’s why the recent waves of women opening up about their experiences and standing up against the very men who hurt them is a hugely important moment that we should all applaud. There’s absolutely something beautiful about the unity in this all. The overwhelming majority of women don’t report their sexual assault due to reasons ranging from fear of retaliation to emotional trauma. It’s a difficult thing to do, especially when your perpetrator is someone as powerful as any of these celebrities. This moment, however, tells us that the real power is not in the men, but in the women who have stood up against them. In an apology regarding his sexual misconduct, Louis C.K. concludes, “I will now step back and take a long time to listen.” Listen to us, sure. But you can do much more than that. It doesn’t matter if you say you’re a feminist. If you really want to show your support of women, act on what you’ve listened to and heard. Internalize our stories and strength, and treat us how we deserve to be treated. Annie Geng is a second-year in the College.


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THE CHICAGO MAROON - NOVEMBER 14, 2017

ARTS Art Finds Students to Live with Through Art Match Continued from front

who received art. The Maroon interviewed six students who waited in line and returned home with artwork. Jonathan Mandel, Second-year, Art History “Le Bon Candidate Boudoubadabou (The Good Candidate Boudoubadabou)” by Georges Rouault “My roommate and I were around 66th and 67th in line, and there were pretty much just etchings left at that point,” Mandel said. His roommate, Aaron Holman, chose Rouault’s “The Colonial Official.” “We chose these two because we thought they worked well in dialogue with each other,” Mandel continued. “They’re from a series that parodies a racist play and calls attention to the inherent racism of it.” In the future, he hopes that the Smart Museum will expand its Art Match collec-

Brooke Nagler

tion. “Not all art is created equal,” he explained, pointing to the competitiveness of the initiative. “I think the Smart Museum should add more contemporary abstract art by more local artists to the selection. That would definitely remove a lot of the program’s commodity aspects.” The etchings have inspired additional creativity: The roommates taped a series of Matisse cutouts on the wall and tried to make a CTA map out of paper on another wall. “The etchings have kind of shaped the way we approach the public space. It feels a little more sacred, like it’s ours.” Charlotte Ring, Third-year, Geophysical Sciences “Time Different from the Present” by Vera Berdich “We were walking back from something at 1:30 a.m. and saw that there were 40 people in line already,” Ring recalls. “So we came back to BJ, grabbed a sleeping bag, and went back out there at around 2:30 a.m. By then, we were around 50th in line.” “This [piece of art] really stood out to me because it’s an etching, whereas most of the other artworks were lithographs and limited-edition prints,” Ring explained. When deciding which piece to choose, she said that she prioritized the visual aesthetic of the artwork rather than the name of the artist, since she knew she was going to

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be looking at it often. “You can see the actual pencil signature at the bottom, which I found really cool,” Ring said. Ring’s single in BJ is already decorated

Langford, who had originally planned to start lining up at 4 a.m. on the morning of Art Match, was walking past the Smart Museum the night before when he saw that Adams was already there. “There wasn’t much going on that

8:30-8:35 pm First two students star t lining up

10:00 pm Next group of students, from Salisbur y House, arrive

10:30 pm 15 people in line

10:45 pm 19 students in line at this point

Brooke Nagler Brooke Nagler

with lots of artwork, but her new addition from the Smart Museum does not go unnoticed. “The way it’s placed really makes it stand out,” she said. “It’s kind of a different style than the other art in my room, and the more I look at it, the more things I notice.” Noah Adams, First-year, Global Studies “The Dream and Lie of Franco I (1937)” by Pablo Picasso “When I saw that there was no one there, I decided that I had to stay,” Adams said, who was the first to arrive at the museum for Art Match and the first to choose a piece from the collection. “I called one of my friends, who brought me a pillow and a couple of blankets. I knew I was just going to camp out.” “Lots of the Miró works sort of looked

Saturday night,” remembered Langford, who promptly joined Adams in front of the Smart Museum. The two bonded over being the first people in line, among other things. “We’re both Eagle Scouts, so we talked about that for a while,” Langford said. “And he’s also in my calculus class.” Anthony Brooks, First-year, Undecided “The Sinking of the Cumberland by the Ironclad Merrimac” by Currier and Ives “What’s cool about this one is that it’s a lithograph, which is like a poster before posters were mass-produced,” Brooks said. Brooks, who went to the Smart Museum at 1 a.m. after looking down from his house lounge and seeing people already in line, said the piece stood out to him, because he is a “history nerd,” and the artwork is a piece of Civil War propaganda. “The U.S. ship being sunk here is still the focal point of the painting,” he explained. “It’s gallantly firing off cannons and its flag is waving to make it look good, while the Confederate ship is sinking off to the side and has flags that are notably smaller.” “The ship is called the ironclad Merri-

Andrew Langford, First-year, Economics “La Poétesse (The Poetess)” by Joan Miró “It was between this and the Picasso, and Noah got the Picasso,” Langford said about his Miró piece—one of several that were claimed within minutes. “I wasn’t actually totally sold on either, so Noah made the decision for me.” “I was glad that they brought the program back after decades,” he said. “It’s really a rare opportunity.” His piece, which he calls “the focal point of the room,” has attracted many visitors (helped by the fact that his neighbor also has a piece of art from Art Match).

Students gradually trickle in throughout the night

Saturday, 9/31 Sunday10/1

4:00 am 61 students in the cour tyard

5:30 am Around 72 students present

6:00 am

6:00-7:00 am

All 75 students who will eventually receive ar t have arrived at this point

Line continues to expand into the cour tyard

8:00 am Ar t Match begins

All statistics were compiled by fourth-year Smart Museum intern Harper Graf

Brooke Nagler

the same to me, whereas this one looked more unique,” Adams said about his Picasso piece. “I’m really into sketches, and although this isn’t a sketch, it reminds me of a challenge I did where I sketched random things every day for a year.” The grayscale etching, which is divided into nine sections, indeed has a sketch-like quality to it. “Without the white border, it would have looked like part of my wall,” Adams joked. “This was produced in the same year as ‘Guernica,’ so it has some of the same undertones,” he added. “The same bull is in there.” “The next morning, I got the flu, so I missed all of second week,” said Adams, who got around two to three hours of sleep that night. “But it was worth it.”

12:00-4:00 am

Brooke Nagler

mac but the Confederacy renamed it the Virginia when they seized all the Confederate ships in the South, but Currier and Ives still called it the Merrimac as a way to discredit the authority of the Confederate states to seize ships and rename them.” Although he learned most of this from a textbook, seeing the artwork in person—and living with it—gave him an understanding of it that a book could not. Abigail Kuchnir, Third-year, Sociology “The Four Sketches” by Henry Moore “This was my first choice, so I was very excited to get it,” said Kuchnir about her Henry Moore painting. “It was a really fun vibe at the all-night waiting party,” she continued. Kuchnir, who arrived at the Smart at 1 a.m. and was around 40th in line, explained that each new person who arrived at the museum had a number written on their hand, so they did not have to form a strict line. Instead, people could form clusters outside the museum doors.

“My residents and I watched a comedy special on Netflix together,” added Kuchnir, who is a resident assistant of Yuen House. “A friend who doesn’t even live in housing came to wait with me.” Kuchnir first became interested in Henry Moore’s artwork after seeing his Nuclear Energy sculpture outside the Max Palevsky Residential Commons during her first year. “Since then, I’ve been a big fan of this work,” she said, adding that she was excited to learn that the Smart Museum was offering four Moore pieces for Art Match. “I wanted to be able to see it first thing

Brooke Nagler

when I walk through the door,” said Kuchnir, who positioned the painting directly above her bed. “It makes me happy every time.”


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THE CHICAGO MAROON - NOVEMBER 14, 2017

Mitski Mesmerizes Mandel at MAB Fall Show JAD DAHSHAN ARTS STAFF

Long before the doors to Mandel Hall opened on November 11, a crowd was amassing behind the ticket stand and merch table. Eager fans were awaiting the indie rock star Mitski, opened by the R&B “pagan gospel” singer Serpentwithfeet, both of whom were being hosted by the Major Activities Board (MAB) for its Fall Show. Moving fluidly across the stage, Serpentwithfeet exuded a commanding yet unassertive presence, raising a leg as if to stomp it to the ground only to gently alight onto the stage fl oor like a bird. His music, too, was sublime, orchestral and at times even tempestuous, underscored by a vulnerability and desperation that made it all the more harrowing. Throughout the performance, his past as a choirboy emerged through a miasma of trauma in grandiose falsettos that hung suspended in the air, paralyzing the astonished audience members before they broke free from the trance and erupted into cheers. With a pentagram on his temple and a doll in his pocket like a sacrifi cial effi gy, Serpentwithfeet was creating a new gospel right before our eyes—not as a sanctimonious preacher but as a confused, damaged, but healing

martyr. Singing the title track of his EP Blisters, a delicate tremolo unfolded like gossamer over a chorus and ethereal string quartet, demanding, pleading, to a lover or to himself: “Where’s your concern?” In “four ethers,” he evoked the esotericism of a centuries-old phenomenology to lament the tensions within himself and in his relationship with a partner. Between songs, he would explain the impulses behind them, describing “language as a currency,” a concept that resurfaced in “penance.” During these reprises, Serpentwithfeet would banter with the audience, often in melody, making his songs blend with his audience interaction. At one point he introduced Muriel, his “newest lil’ friend”—a stuffed leopard bag strapped to his shoulders. With a large nose ring glimmering in the fl ashing scarlet lights, a beige shirt torn at the sleeves and down the torso, and matching high heel boots, Serpentwithfeet’s animal companion was not the strangest part of his look. After an explosively emotive performance, the show’s opener retreated to the darkness backstage, leaving the audience with an aftertaste at once dismal and exultant—the perfect precedent to the headliner: Mitski. Even as the band

Josue Sican

Josue Sican

Japanese-American singer-songwriter Mitski takes the stage at Mandel Hall. set up, the audience’s roar grew louder and louder, reaching a climax when Mitski herself ascended the stage. After some prefatory vocalizations, the drummer-bassist-guitarist trio opened the set with “Francis Forever,” a righteously melancholy track from the critically acclaimed album Bury Me at Makeout Creek. Throughout the show, Mitski performed an assortment of songs from the aforementioned album as well as her more recent one, Puberty 2, released in 2016. Like a lo-fi snake charmer, Mitski coaxed out viewers’ deepest, most self-pitying selves with her cathartically raw lyrics, inviting them to revel with her in their collective misery and optimism, head-banging away to songs like “Dan the Dancer,” “Drunk Walk Home,” and “Townie.” The audience was especially eager when Mitski played “Your Best American Girl,” a biracial ballad about self-acceptance and rejection that reaches a climax with the too-relatable lines: “I think I’ll regret this.” However, she also paid tribute to the softer aspects of alt-rock with songs like “First Love/ Late Spring” and “Thursday Girl,” which was recently featured in a surreal short fi lm directed by Emily Yoshida. Between songs, Mitski graciously thanked the audience members for their attendance and support, saying, “This is what I’ve al-

ways wanted to do. This is what I meant to do, so thank you so much, so much, for letting me do this.” Toward the end of the show, Mitski took to the stage alone with a guitar and played her fi nal few songs for the evening, including the mournfully tranquil “Burning Hill” and the ragefully impassioned “My Body’s Made of Crushed Little Stars.” Although this was meant to conclude the event, the audience’s subsequent cheers prompted her return to the stage to play “Class of 2013,” a song her 2013 album, Retired from Sad, New Career in Business. In the powerful but fragile anthem, Mitski lifted her guitar and yelled desperately into the strings for her mother to wash her back “this once, and then we can forget.” If only we could. Filing out of the hall, smiles pervaded the exiting masses. One viewer described how Mitski “has a great stage presence: powerful when the song calls for it but not too imposing or intense.” Throughout the coming months, she will be touring with Lorde, while Serpentwithfeet continues to tour independently and wit h Grizzly Bear. It was indeed a spectacular crossing of the two artists that MAB had facilitated that Saturday night, one that combined magic, teen angst, and emotional exorcism.

Val Bodurtha Gives History a Remake in Debut Novel BY ROSEMARIE HO MAROON CONTRIBUTOR

In a year of unprecedented political and social upheaval, it is no surprise that alternative histories about totalitarianism have become the cultural go-to: 2017 saw a spike in book sales of Philip Roth’s The Plot Against America and the Hulu adaptation of Margaret Atwood’s The Handmaid’s Tale, a novel about a dystopian future in which women are reduced to child-bearing vessels, which received raucous applause and multiple Emmy nominations. A lternate histories have also been a fixture of young adult (YA) novels. The Hunger Games and the Divergent series are just some of the examples that have received mainstream acclaim. The question encapsulating our cultural paradigm today is: If the past had been different, how would our world look today? Fourth-year Val Bodurtha, who published her alternative history YA novel The History Makers in July, disagrees with the approach of this type of project. “I’m not trying to tell how it could have been; I’m just trying to make 13-year-olds laugh a little and hopefully get them interested in the Aztecs and history,” Bodurtha said.

Set in an alternate timeline in which the Spanish invasion of Mesoamerica failed, The History Makers explores a world in which the Aztec Empire becomes the presiding hegemonic power, where Nahuatl is spoken over English and Spanish, and America is ruled by an Aztecan-controlled puppet government. Daily human sacrifices, justified by a religion that claimed that the sun wouldn’t rise otherwise, are used to control the general populace. Myla, the protagonist, is a member of the upper class in Tenochtitlan, but on her 17th birthday, she is captured by a faction of rebels seeking to promote democracy and abolish the caste system in Azteca. Bodurtha, who is pursuing a Classics major and statistics minor in the College, sent her manuscript to 70 literary agents before it got picked up by BookLogix, a self-publishing company based in Atlanta. “Publishing is a numbers game. You really need to hustle to get stuff out there,” she said. The manuscript was published as the winning entry of BookLogix’s annual Young Writers Contest in 2014. Bodurtha wrote The History Makers during the summer before college, when she, too, was 17. Inspiration came from an assignment for her AP World History

during her senior year at Horace Mann School when she wrote the short story that would form the basis for The History Makers. Her teacher told her that it would make a great YA novel. “Most of the YA [novels] out there are very unsatisfying…so after a year of talking so much about how bad [the genre] is, I was inspired to do something different,” Bodurtha said. “I felt like I had no excuse for not trying.” Most of the research for the book was done in her high school library, and Bodurtha made it a point to take Aztecs and Romans: Antiquity in the Making of Modern Mexico with Stuart M. McManus, a post-doctoral researcher in the Classics department, as a second-year. “There’s still a lot in the world of [The History Makers] that I haven’t explored yet,” she noted. “I might write a sequel, maybe even a trilogy.” Bodurtha also wanted to prompt kids reading her book and other pieces of YA fiction to think about questions of politics and history at a younger age. “Kids shouldn’t have to read Rousseau before thinking about what an ideal society looks like…. The discussion of democracy in this book is very rudimentary, but it’s accessible.” She went on to discuss the progressive gender politics

in the book. “That was one edit that I refused to add in when the book was going through the editing process. I wanted Myla and Amihan, the secondary antagonist, to have differences beyond just fighting over a boy.” When asked about the potential cultural appropriative tendencies of alternate histories, Bodurtha acknowledged the ethical complications that could come up in such a project. “Growing up in a Jewish household made me aware of alternative history books that basically were like, ‘Aren’t you glad Hitler didn’t win now?’ It’s oppression porn. I couldn’t bring myself to watch The Handmaid’s Tale, even though I loved the book,” Bodurtha admitted. “ I’m not trying to tell what it’d be like [to live under the Aztecs now],” Bodurtha stressed. “It’s fantasy.” The History Makers is sold at the University of Chicago Bookstore.


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THE CHICAGO MAROON - NOVEMBER 14, 2017

DuSable Screening Commemorates Audre Lorde BY MEGHAN WARD MAROON CONTRIBUTOR

“ The master’s tools will never dismantle the master’s house.” One of Audre Lorde’s most famous lines of poetry encompasses her belief in the need to empower women across different races and sexualities. Last Tuesday, the DuSable Museum of African American History celebrated Lorde in a screening of the 2002 film The Edge of Each Other’s Battles: The Vision of Audre Lorde, a documentary about a 1990 conference centered around Lorde’s message called “I Am Your Sister.” Throughout the mid and late twentieth century, Lorde’s poetry gave voice to various struggles for civil rights. As a black lesbian, her work deals with the intersection of injustices based on race, sexuality and gender. Her poetry also addresses broader emotional themes of love, anger, and, rejection. The “I Am Your Sister” conference documented in the film featured poets performing

Lorde’s works and brought together activists and artists from around the world to discuss issues of gender, class, race, and sexuality. In one poetry performance, called “How I Spent My Birthday,” a young woman describes being arrested following an incident in which she was assaulted by five white boys. In another poetry performance, a young woman describes bringing home another woman, repeating the refrain “Who I take home is my own damn business.” When not highlighting art performances, Edge of Each Other’s Battles showed the speakers touching on subjects ranging from poverty to racial and gender injustice. One woman described her difficulties explaining poverty to those who have never experienced it. Yet another discussed the “soul-destroying” nature of poverty. By juxtaposing footage of these speeches with that of the performances, Edge of Each Other’s Battles portrayed the conference as a powerful synthesis of politics and art.

Though Edge of Each Other’s Battles is set in 1990, its theme of intersectionality remains relevant today. Though the movie never specifically uses this word, it focuses on the ways in which different marg inalized g roups join forces to achieve a common goal. The conference was specifically structured to be 50 percent comprised of women of color and women from impoverished backgrounds. This led to tensions when the conference met its quota for available spots for white women. The film ironically portrays how white women complained about being unable to go, revealing a sense of entitlement about a conference meant to address, among other things, racial inequality. Another issue of intersectionality appeared during the conference, when women of different ethnic groups complained that their voices were not being heard. To address the issue, conference leaders restructured the format of the conference to ensure all members could express their opinions.

The concept of intersectionality was critical to Lorde’s poetry. In one poem, she describes her inability to support rap groups like N.W.A. even though they were credited with giving a voice to the struggles of certain black Americans, because their songs often contain misogynistic lyrics. In exploring how Lorde’s message guided this effort to uplift people from countless different backgrounds, Edge of Each Other’s Battles pays tribute to Lorde as an artist, activist, and source of inspiration.

Malu Halasa’s Mother of All Pigs is a Novel for All Readers BY JAD DAHSHAN ARTS STAFF

On the evening of November 3, in the intimate inner rooms of 57th Street Books, author Malu Halasa engaged in a discussion with Adam Morgan about her debut novel, Mother of All Pigs, as a part of the Seminary Co-Op’s Open Stacks podcast. Halasa discussed the journey of writing the book, how the book differed from her previous non-fictional works, and the current “moment of great transition” in the Middle East that is ref lected in the literature produced there. Born in Oklahoma and raised in Ohio, Halasa is of Jordanian and Filipina origin and has spent a significant part of her career writing and reporting in and about the Middle East. Halasa’s Secret Life of Syrian Lingerie: Intimacy and Design is a 2008 collection of essays and interviews that dives into the “previously unknown racy lingerie culture in the factories of Damascus,” while Transit Tehran: Young Iran and Its Inspirations is a series of anthologies showcasing art and literature from Beirut and Tehran. However, as a writer and activist, Halasa knew that her non-fictional oeuvre could only go so far

in altering people’s perceptions about the Middle East when her audience was primarily an academic one. With Mother of All Pigs, she explores how storytelling can inspire social change by appealing to a wider readership in a subtler, more empathetic way. Mother of All Pigs began in the 199 0s as a personal exploration of Halasa’s family’s mysterious history, but it later evolved into something beyond an autobiography. Although many characters were based on actual acquaintances and relatives—like Muna, who comes from the same diverse ethnic background as the author (but nothing else, Halasa added laughingly) —the cross-generational narratives in the book can easily apply to any family living in contemporary Jordan. This is especially true of Arab families splintered by their younger members’ immigration into foreign countries, yielding a hybrid youth culture occupying a liminal position between two radically different societies. Halasa described mixed Arab families like Muna’s as “the new face of the Middle East.” The cover of the novel was designed by the Palestinian artist Majd Masri as a part of her Haphazard Synchronizations series. Halasa describes the

figure on the cover of the novel as representative of a generation younger than her own, one torn between the post-Arab Spring polarities of peace and violence in a politically animated landscape. The woman confronting readers with a daisy in her mouth and rifle in her hand could be Samira, a member of the Sabas family, which the novel centers around. Intermittently transitioning from the anxieties faced by a pork butcher in an Islamic community, to the trauma-induced worries of a mother abandoned by expatriate offspring, to the profit-motivated fears of a black marketer, the novel intricately illustrates the malaise faced by the inhabitants of a small Jordanian town on the fringes of military conflict. Ultimately, the story is encapsulated by the opening line of the novel: “Disappointment burns like desertification.” Yet, as Halasa emphatically expounded during the event, her book aims to dispel the dust cloud of disillusionment and terrorism espoused by major media outlets about the Middle East. Instead, she succeeds in taking readers beyond the haze of stereotypes to reveal the cultural richness, dark humor, and complexity that characterize contemporary life in the Middle East.

This exists particularly in states like Jordan, a semi-conservative space constantly challenged by the abrupt yet continual inf lux of refugees over the years. For such an accurate rendition of Jordanian life, Halasa maintains that her work is veritably an American novel, exhibiting a form of storytelling more redolent of Western literature than of the Arabic variety. However, as Halasa pointed out with excitement, this disparity is changing as exceedingly more Arab writers adopt more experimental modes of literary production, a movement spurred by contemporary political tensions. Available for sale online as well as at 57th Street books, Mother of All Pigs tackles topics ranging from dysfunctional family dynamics and the patriarchy to revolution and gender roles. Yet it still manages to balance solemnity with a witty light-heartedness. Whether through valuable insight into the Middle East or through thyme-tasting nostalgia, Halasa’s debut has something to offer any reader: American, Arab, or both.

EXHIBIT [A]rts Wednesday [11/15] 7–9 p.m. Award-winning photographer, essayist, and art historian Teju Cole will be speaking at the Logan Center about image-making and civic responsibility in Seeing and Writing and Both: A Conversation with Teju Cole. Logan Center, free. 7 p.m.–12:30 a.m. Ready to dance the night away? Come to the Salsa at The Promontory: 3 Year Anniversary for a long night of free salsa lessons and performances. The Promontory, free. Thursday [11/16] 7:30 p.m. UT/TAPS presents: Next to Normal, a musical that questions the ethics in modern psychiatry and what it means to be “normal.” Performances continue on November 17 at 7:30 p.m., and

November 18 at 2 p.m. and 7:30 p.m. Theater West, Logan Center, free on November 16, $6 in advance, $8 at the door on November 17 and 18. 8:30–10:30 p.m. Et tu, Brute? The Classical Entertainment Society’s gender-blind film noir–inspired production of Julius Caesar restages the Shakespeare classic in 1930s Manhattan. Hutchinson Commons, $5 in advance, $7 at the door through November 19, free on November 17. Friday [11/17] 3:30–5 p.m. Professor of musicology at Indiana University Jacobs School of Music Phil Ford will be discussing music during the Cold War period in an event for the series Arts and the Nuclear Age. Fulton Recital Hall, Goodspeed Hall, free.

Saturday [11/18] 5–8 p.m. Join the Renaissance Society for the opening of its next exhibit from Alejandro Cesarco, Song, a multimedia installation including photography, video, and sound elements. The reception will feature a discussion with Cesarco and the curator Solveig Øvstebø. The Renaissance Society, free. 7:30 p.m. Want to see your teachers perform long-form improvisation? Come see The Hutchins Plan, a traditional UChicago improv comedy night featuring guest professors from different departments across the University, this week starring economist Greg Kaplan. The Revival, $5 for students. 7 p.m. The Middle East Music Ensemble celebrates its 20th anniversary as it takes the audience on a tour of Turkey

with classic Turkish hits over the years. Logan Center, $10 for tickets, $5 for students. Sunday [11/19] 3 p.m. Head to I-House for the next part of the Global Voices Performing Arts Series featuring The Chicago Ensemble. This chamber music organization will perform a self-described “eclectic” set including Mozart, Francis Poulenc, Brahms and more. International House, free for students. 4–5:30 p.m. The Chamber Orchestra will be playing Haydn’s Symphony No. 103, “The Drumroll,” the overture to Così fan tutte by Mozart, and Stravinsky’s Eight Instrumental Miniatures. Logan Center, free.


7

THE CHICAGO MAROON - NOVEMBER 14, 2017

Plato’s Bedroom

Mixed Results for Cross Country

Desire, Union, Procreation A Lecture By

David O’Connor University of Notre Dame

Thursday, November 16, 7:00pm Social Sciences 122 Presented by the Lumen Christi Institute Cosponsored by the Department of Philosophy and the Seminary Coop Bookstore. Free and open to the public. Copies of O’Connor’s Plato’s Bedroom will be available for purchase.

Our natural experience of romantic love, articulated so well by Plato, points toward a more explicitly religious interpretation of love’s commitments and pleasures. O’Connor brings out some surprising and delightful connections between Plato’s pagan eroticism and the Adam and Eve story, Jesus’s teaching in the Gospels, and Catholic views about marriage. David K. O’Connor is a faculty member in the departments of Philosophy and Classics at the University of Notre Dame.

Register at www.lumenchristi.org

CROSS COUNTRY

BY MIRANDA BURT SPORTS STAFF

The University of Chicago Maroons men’s and women’s cross-country teams competed this weekend in the NCAA DIII Midwest Regional Cross Country Championships. Fourth-year Khia Kurtenbach again led the way for the women, crossing the line first out of a field of 263 runners in a blazing time of 20:41. Fourth-year Kelsey Dunn came in 21st at 21:33 and second-year Maggie Bourdreau came in 31st at 21:47 to earn All-Region honors along with Kurtenbach. Fourth-year Cassidy McPherson (36th, 21:58), fi rst-year Abigail Shoemaker (42nd, 22:08), second-year Claire Brockway (43rd, 22:08), and fourth-year Claire Costelloe (46th, 22:11) all rounded out the scorers for the Maroons on the women’s side. The women placed fi fth overall out of 37 teams in a field of which the top two teams get an automatic bid to the NCAA Championships. They have received an

at-large bid to the race this upcoming Saturday, November 18, in Elsah, IL, where the 6K race kicks off at 12:15 p.m. Christopher Newport University will host the 32 teams. The UChicago women have qualified for the meet for eight straight years and 13 times in their history. On the men’s side, second-year Ralph Patejunas was named all-region, coming in 33rd with a time of 24:27. First-year Ryan Cutter (40th, 24:35), first-year Jordan Olson (41st, 24:36), third-year Jacob Gosselin (50th, 24:51), fourth-year Peter Kreuch (62nd, 25:04), second-year Andrew Kates (66th, 25:08), and first-year Charles Gardner (75th, 25:20) all added to the Maroons’ strong performance, leading them to a sixth-place finish out of 36 teams. The men’s team unfortunately did not receive an at-large bid to the NCAA DIII Championship, as they were vying for one of 16 spots against teams in eight other regions. They can hold their heads high after a great set of performances this season, and look toward next year as many of their top runners return.

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Friday, November 17 5pm - 8pm wine tasting beer tasting spirits tasting snacks music neighbors (free; 21+)

DRINKING ALCOHOL: SOCIAL PROBLEM OR NORMAL CULTURAL PRACTICE? Michael Dietler (Anthropology), William Green (Neurobiology) BPRO 22800, ANTH 25310, BIOS 02280

HEALTH CARE & THE LIMITS OF STATE ACTION Haun Saussy (Comparative Literature), Mindy Schwartz (Medicine) BPRO 28600, BIOS 29323, CMLT 28900, HMRT 28602, KNOW 27006

INEQUALITY: ORIGINS, DIMENSIONS & POLICY Allen Sanderson (Economics) BPRO 28900, ECON 24720, PBPL 28920 For more information, please see: http://collegecatalog.uchicago.edu/thecollege/bigproblems

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8

THE CHICAGO MAROON - NOVEMBER 14, 2017

SPORTS

Solid in NCAA Playoffs WOMEN’S SOCCER

BY DIESTEFANO LOMA SPORTS STAFF

Having played two games in two consecutive days, the University of Chicago women’s soccer team rolled into the third round of the NCAA DIII tournament with ease, after securing blowout victories over St. Catherine University and Hope College. In the first round against St. Catherine, both teams had to adapt to the cold and the snow that persisted throughout the match. However, for the opposing side, what could go wrong went wrong. This was seen in the twelfth minute, when the Wildcats scored an own goal. Second-year Clare Suter sent the ball into the box, and a Wildcats’ defender unsuccessfully tried to clear it out, sending it into their own goal. Going into the second half, it didn’t take long for UChicago to find its groove. The next two goals came from fourthyear Mia Calamari and first-year Katie Jasminski. The play for the last goal was initiated in the 64th minute by second-year Adrianna Vera, who passed the ball to third-year Jenna McKinney, who

then centered it to an open Jasminski who tapped it in for the 3–0 victory. It was another impressive yet unsurprising game for the Maroons. They finished the game with 29 shots in total, 14 being on goal, whereas the Wildcats only had five shots, with four being on target. The Maroons brought this momentum with them when it came time to face off against Hope College the next day. In a competitive first half, the Maroons managed to score in the 14th minute after a superb run made by McKinney, who crossed the ball to Spiker, whose decisive shot immediately went in. Entering the second half, the Maroons were invigorated and demonstrated the same fervor that had brought them so far. Playing with intensity and intelligence, McKinney extended the lead in the 72nd minute, after receiving a pass from Jasminski and immediately launching it past the keeper. The third goal was a result of a corner kick taken by Calamari, finding an open McKinney who then delivered with a brilliant and cheeky backheel shot that found its way into the net. Jasminski then had her second assist

Defne Anlas

Second-year Mackenzie Peebles dribbles the ball for the Maroons.

of the day, finding second-year Rachel Dias, who chipped the ball over the keeper in the 79th minute to conclude scoring. In the post-match interview, McKinney spoke of her performance, saying, “I told myself before this game that today was going to be different. I wanted to make a difference on that field. I’ve been talking to my dad a lot actually. It’s so helpful having your team behind you. It

makes a difference. I know Madori is going to be there for that run and I know Hanna [Watkins] is going to play me that ball. It was such an amalgamation of perfect passes and runs and just trying stuff and it just makes the whole game fun.” The NCAA Round of 16 commences on November 17, when the Maroons face off against Wheaton College.

Third in Midwest Move to Sweet 16 FOOTBALL

BY AUDREY MASON SPORTS STAFF

At Lake Forest College this weekend, the University of Chicago football team emerged victorious with a score of 33–13, ending the season for the team with an overall 6–4 record. The Maroons came in third in their Midwest Conference, placing second in the North Division behind St. Norbert, who lost to conference champion Monmouth this Saturday. After an incredible season, fourth-year running back Chandler Carroll had another amazing performance in his last game, accounting for 236 rushing yards on 39 carries, along with four catches for 29 yards. He also scored two rushing touchdowns, greatly helping the team capture the third-place spot in the conference. Fourth-year captain Andrew Beytagh also had a great last game with an extra-point interception return for a 98-yard run at the end of the game. Near the beginning of the first quarter, Lake Forest scored the first points, but UChicago came back strong for the rest of the game. At the opponent’s 10-yard line, fourth-year defensive back Guy Stockwell blocked a punt and scored a quick touchdown, with third-year Mike Kurzydlowski scoring the extra point. In Lake Forest’s first play on the next drive, first-year linebacker Dylan Faires forced a fumble and second-year Bill Rotnicki recovered, still at the host’s 25-yard

MEN’S SOCCER

line. Kurzydlowski then scored a 30-yard field goal, increasing the score to 10–7. The next points were scored in the last few seconds of the half, with second-year quarterback Marco Cobian throwing to third-year Trevor Anderson. This 15-yard pass led to another touchdown for the Maroons, giving them a 17–7 lead going into halftime. In the second half, Carroll first scored a two-yard touchdown in the third quarter, and then a four-yard touchdown in the fourth quarter, upping the score to 31–7 for UChicago. With a few minutes left in the game, Lake Forest scored a one-yard touchdown, and Beytagh ended his last game with a 98yard interception return for two extra points off the failed Lake Forest conversion. The Maroons’ offense totaled 366 yards, while Lake Forest had only 241. First-years Ryan Montgomery and Jackson Ross had eight tackles each, and Montgomery also had a forced fumble and a tackle for loss. Fourthyear Peter Casey ended his last season with four tackles, a sack, and 1.5 tackles for loss. “Over the course of the season, our coaches harped on the theme of ‘finish,’” third-year Bryson Merriweather said. “Coming out on top over Lake Forest was a quality win against a very good team. We had some ups and downs in the front half of the season but we finished strong on the latter half. We’re all excited to ride that momentum into next season and improve from here.”

BY ALYSSA RUDIN SPORTS STAFF

The No. 7 Maroon men’s soccer team won their two games in the NCAA regional this weekend to advance to the Sweet 16 next weekend. Chicago defeated Lake Forest College in the fi rst round, 6–2, and Capital University 2–0 in the second. In the first match, the Foresters started hot, scoring their fi rst goal in the first 11 seconds of the game and their second a little before the 20-minute mark. A lesser team would have let those quick goals rattle them, but the Maroons stayed focused and still outshot Lake Forest 13–7 in the fi rst half. Chicago’s fi rst goal came on an own goal by the Foresters to bring it to 2–1 heading into halftime. First-year goalkeeper Aaron Katsimpalis made a very key save to prevent the Lake Forest lead from extending to 3–1. The Chicago offense entered the second half with renewed intensity. Fourthyear Andre Abedian started the scoring onslaught barely two minutes into the second half to tie the game. Third-year Max Lopez followed that up off thirdyear Matthew Koh’s assist for his eighth game-winning goal of the season. With the momentum fi rmly in the Maroons’ favor, the goals kept coming. Abedian

scored again, followed by goals from fi rstyear Bryce Millington and second-year Gary Zhao. Overall, the Maroons outshot the Foresters 32–7 and had 13 corner kicks compared to the visiting team’s none. In the regional fi nal, the Maroons defeated Capital 2–0 off of two Koh goals. In the fi rst half, the game was scoreless, but the Maroons outshot the Crusaders 8–1. Chicago kept pressuring the Crusader defense, however, and it paid off, as Koh scored in the 65th minute to put the Maroons ahead. Koh consolidated the lead off an assist from second-year Dayo Adeosun. Katsimpalis shut out the Crusader offense with two saves. Abedian had much to say about his team’s success, saying, “From day one our goal has been to win the national championship and I couldn’t be more confident in our team’s ability to accomplish that goal.” He made note that his teammates weren’t getting too far ahead of themselves, adding, “However, our mentality now is that we are completely focused on preparing for Calvin on Friday and taking this tournament one game at a time.” With these wins, Chicago’s record now stands at 18–2, and they have set a new school record for most wins in a season. They will play Calvin College at 5 p.m. on Friday, November 17.

M AROON

SCORE BOARD UPCOMING GAMES SPORT DAY Opponent Wrestling Women’s Basketball

Tuesday Wednesday

Elmhurst Lake Forest

TIME 7 p.m. 7:30 p.m.

SPORT

W/L

Opponent

Score

Women’s Soccer Football Women’s Soccer Men’s Soccer Men’s Soccer

W W W W W

St. Catherine Lake Forest Hope Lake Forest Capital

3 –0 33–13 4–0 6 –2 2 –0

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