The Hoya: The Guide: November 18, 2016

the guide F R I D AY, N O VE M B E R 1 8 , 2 0 1 6

‘THE DAILY SHOW’

TAKES ON THE ELECTION

ILLUSTRATION BY GRACE CHUNG/THE HOYA

GUIDE

FEATURED

CRX

Nick Valensi One-on-One The Strokes’ lead guitarist discusses the challenges of taking center stage as CRX’s frontman.

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D.C.’s Mexican Jewel Oyamel is one of the District’s best Mexican eateries, and President Obama has taken notice.

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The Healing Power of Music One night after the election, Grouplove called for hope, unity among fans at Echostage.

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A New Perspective on Pastoral Directed by Peter Stone, “Peter and the Farm” exposes the harsh realities of living off the grid.

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SPORTS Road Trip Awaits

The women’s basketball team travels to Minnesota this weekend as its second of seven games on the road.

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Second-Round Match The women’s soccer team hosts No. 22 Rutgers Friday in the second round of the NCAA tournament.

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THE HOYA

the guide

friday, november 18, 2016

THE DAILY SHOW

Former “Daily Show” host Jon Stewart sharply crticized the Bush administration in the early 2000s, and now his successor, Trevor Noah, above, has ample material to take aim at President-elect Donald Trump’s White House. Noah, a South African comedian, brings a unique perspective to his discussion of important topics in U.S. events.

‘Daily Show’ Correspondents Explore Election, Comedy JEFF NAFT

Hoya Staff Writer

President-elect Donald Trump’s candidacy was once the punch line for late night comedians and political pundits alike. Last Tuesday night, Trump surprised the nation and the world by turning the punchline into reality. Throughout the campaign season, Comedy Central’s “The Daily Show with Trevor Noah” became the gold standard of political satire.

In an interview with The Hoya, correspondents Hasan Minhaj and Roy Wood Jr. discussed topics of comedy’s role in the election, the navigation of race in entertainment and when free speech goes too far.

In such a divisive election, how essential was the role of politically oriented comedy shows?

Minhaj: The rising popularity of political satire, especially if you look at the marketplace right now, owes its success to the fact that we’re basically comedic synthesizers. Not to nerd out, but you know how when your body’s enzymes help you catalyze and digest things?

That’s basically what we do. We take really, really complicated, esoteric information, and in seven-and-a-half minute acts, we’re able to break it down, pepper in really funny stuff, and I think that’s why people like it. To get the college analogy, we’re like funny history professors, essentially. Does anyone have time to sift through everything on WikiLeaks? You can tune in to “The Daily Show” and we will sift through all of it and be like, “Here are the main things that are important,” with some jokes along the way.

How are you using comedy to make the results of the election a little less heavy than they may currently be?

Minhaj: Well, we had a comedian as a candidate, so it’s not that hard.

Wood: I think comedy is important to help people keep their sanity in the midst of all of this because, otherwise, you look up, and it’s literally a madhouse. You get to laugh with people.

Minhaj: Yeah. You know what’s crazy? When we were up at the [Democratic National Convention], I saw E! News and VH1 there. What’s wild is that political culture has become popular culture, and that wasn’t always the case. It was never a thing that E! News would be covering, and now because the GOP ran itself like a high school election, where one of

the popular kids could run or basically someone who’s infamous ran for president. Now it’s one of those things where it’s a free-for-all and our job as comedians is becoming more important.

A lot of the material we are seeing postelection is scary, depressing or serious.

Does comedy make people forget by making things lighter or does it draw attention to these issues and make them more serious?

Wood: Comedy is a safe entry point into serious discussion. By keeping it lighter, you make the conversation more palpable and more productive, in my opinion. Nobody wants to be barked at. If you laid out all the topics “The Daily Show” does in a week and you compare it against any legit, straight-up news magazine show like “60 Minutes” or “20/20” or anything that’s on any of the cable networks, I would imagine there’s a great deal of overlap. The way in which we try and approach those discussions, however, is more akin to a conversation. At least what I try to do is not make it as preachy as substantive.

How does being a minority in the arts and entertainment industry shape your work and how you approach your work, especially with the current push for representation and diversity in media?

Wood: I feel like I have a responsibility to make sure that I’m doing my job well. I don’t know who I’m being judged by, or who’s using me as a barometer for my race as the whole. That’s one of the issues of being a black person in a white space sometimes — you don’t know how much of what you’re doing is influencing other people’s stereotypes about your race. I also feel like I have a wonderful opportunity on this platform to not solely do this, but when the opportunities present themselves, tell stories that I feel like should be told about my race or things that are important to me, and the things that I might go through because I know I’m not alone. I’m glad I have the opportunity to tell that story because I can’t guarantee that that story would have been told otherwise.

How do you navigate race humor, both in writing and performing, without being overly inflammatory while still making an effort to cover its more sensitive topics?

Wood: If somebody is going to be mad, they are going to be mad. I choose not to concern

myself with that. For me, where race humor is concerned, on the show and on stage, it’s not so much about the perspective of “I’m right, you’re wrong” as much as it is about finding that third point of view. For me, the issue is not, “Should [Colin] Kaepernick take a knee or is it disrespectful to the national anthem?” — for me, that’s not the discussion.

The discussion is, “Who are these people that are shocked that black people have issues with the country?” For me, where race has always been concerned, it’s been about trying to find the ridiculous point of view, not necessarily the right point of view, and let’s talk about that.

“Comedy is a safe entry point into serious discussion. By keeping it lighter, you make the conversation more palpable and more productive, in my opinion.”

ROY WOOD JR. Correspondent, “The Daily Show with Trevor Noah”

Minhaj: Obviously, it varies from issue to issue, but I think in general, society has progressed in a positive way. When people are saying they can’t say the same words that they said before, yeah, you can’t call a certain minority group those slurs, you can’t call women this slur. Learn different words!

Become a better debater and communicator.

I’m sorry. You have to learn how to communicate your problems and grievances now, and I think that’s a good thing. I have no problem with you expressing your concern toward me or any other group for that matter. Just do it in an eloquent way.

What do you think about third parties and third-party candidates in this election?

Wood: Third parties matter. A two-party system is a very narrow-minded way to conduct elections. I don’t necessarily buy into the notion that they throw elections, like “Oh, if this third-party guy hadn’t run, then the Democrat would’ve gotten in.” I think thirdparty candidates, if nothing else, bring attention to issues that the other two parties may

have left alone. Anybody with bright ideas should be welcomed into the election, at a minimum, invited to the debates. That’s what I feel really bad about third-party candidates is that, they can’t even get a seat at the table to have a conversation because the news network has decided that you aren’t relevant enough. Well, let the people decide that.

What do think is the importance of the millennial vote?

Minhaj: This democracy thing, do not take it for granted. We are a very lucky 350 million people of the 8 billion people on this planet; don’t take it for granted. I know you want to crack jokes on Snapchat, but this stuff is not funny in Syria, in Aleppo, in Pakistan, in places where elections literally get rigged. So, despite the leaks, despite all the stuff that you’re reading about, it is a flawed system, but it’s the best operating system currently in the market where there’s tremendous flexibility for change.

America’s lack of rigidity is pretty great, and we’re living probably in one of the greatest social experiments of the past 300 years called American democracy. Please do not take it for granted and just be on Pokémon GO all day. Please, because there are plenty of kids that would love to switch spots with you.

In certain circles, there is a big push against political correctness, led mainly by conservatives. As comedians, what are your thoughts regarding the idea that political correctness is a form of censorship?

Wood: The difference between freedom of speech and harassment is a gray line that seems to move all parties involved. I think noting the differences between the two though is, unfortunately, what has to happen for progressive conversation on freedom of speech versus what is speech and what is straight-up sending death threats on the internet and hiding behind the American flag.

Minhaj: We talked about this on the show.

Just because you can do something, doesn’t mean you should do something. I think under the guides of free speech a lot of things get done, but that is a very, very, very powerful lightsaber you’re wielding — please use it responsibly.

GU DANCE COMPANY

THE DAILY SHOW

Born and raised in Birmingham, Ala., Roy Woods Jr., bottom left, began his career in comedy at a radio station in Tallahassee, Fla. Hasan Minhaj, right, was born in Davis, Calif., and was inspired to pursue comedy after being inspired by Chris Rock’s “Never Scared” stand-up special. Woods joined “The Daily Show” in 2015, one year after Minhaj.

the guide

friday, november 18, 2016

B3

THE HOYA

FEATURE

This week’S TOP FIVE

Top Five Leonard Cohen Songs

1

‘hallelujah’

Even those who are not familiar with Leonard Cohen’s other songs can identify this beautifully simple hymn, which is by far his most popular work.

Combining the genres of rock and gospel, “Hallelujah” features chord progressions correlating to the lyrics “the fourth, the fifth, the minor fall and the major lift.”

2

‘I’m your man’

This synth-pop song on the eighth studio album by Cohen demonstrates his shift to a more modern style. Containing extremely seductive and sultry lyrics such as, “if you want a driver, climb inside/or if you want to take me for a ride,” this song became an instant hit, especially among his female fans.

It has been featured in almost every concert Cohen has performed since 1988.

NICK VALENSI

Although Nick Valensi is best known as the lead guitarist of The Strokes, his latest work is as lead vocalist and guitarist of rock band CRX on its debut album, “New Skin.”

Valensi Takes Point

Derek Haase

Special to The Hoya

Although he is best recognized for his work as lead guitarist of The Strokes, Nick Valensi also serves as the lead vocalist and guitarist of power-pop rock group CRX. The Hoya spoke with Valensi last week, following the Oct. 28 release of CRX’s first album, “New Skin,” to discuss his initial hesitance about becoming a frontman and his enthusiasm for his new interest in songwriting.

While Valensi has been notably opposed to side projects in the past, he now sees CRX, initially formed in 2013, as a way to fill his desire of touring on a more regular basis.

“The Strokes don’t tour that much anymore, and I found myself with some extra downtime, and I thought, ‘Let’s see if I can put some songs together and take it on tour.’ … I was always curious what it would feel like getting on stage and being the frontman for the band and not just the guitar player,” Valensi said.

This transition, however, did not come easily. For someone who has spent a lifetime mastering his craft, Valensi said the biggest challenge he faced during the early stages of CRX was not the nuanced and technical aspects of learning to sing, but a psychological barrier that prevented him from feeling comfortable with his recorded voice.

“For singers, and for orators, there’s always this thing where you speak and you record something and then you hear your voice played back and you just f-----g hate the sound of your own voice. … But there’s also this aspect of psychological acceptance of, ‘Well that’s my voice and that’s what I got, and I’m just going to work with what I got,’” Valensi said.

After spending significant time over the past year singing into his own computer over demos of new tracks, Nick steadily grew more accepting of his natural timbre.

While the songwriting process may come more naturally to some, including The Strokes’ principal songwriter and lead singer Julian Casablancas, Valensi found himself exploring unknown territory. He dedicated an hour or two each day to writing, looking for patterns of topics that would reveal what he felt were genuine emotions.

“Now with this, for the first time in my life — I’m in my thirties — I find myself writing lyrics, and basically writing poetry, so it was a challenge. … I filled several notebooks with whatever it was — random musings, sometimes it was more like a narrative, random words, stream of consciousness ramblings,” Valensi said.

In his role as the frontman of CRX, Valensi

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crx

tries not to compare Julian Casablancas’ ability to his own, though he admits to being somewhat biased after spending nearly 22 years working alongside one of the most prominent frontmen in modern rock. Instead of borrowing techniques from Casablancas, Valensi integrates his distinct guitar musicianship into CRX’s new music, creating a distinct sound.

“There’s a part of me that is constantly striving to discover new things and different ways of playing on the guitar, and then there’s another part of me that feels very comfortable relying on the style that I’ve developed over the years,” Valensi said. “I feel like on the CRX record there’s a little bit of both of those things going on.”

With regard to The Strokes’ recently announced sixth studio album, Valensi said fans may have to wait a while before its release.

“We’re not recording yet, it’s super early.

We’re just writing and demoing songs. … People get so excited about that and it’s really cool for me to have that. At the same time, it’s a little dangerous because I feel like people get prematurely excited, because the truth is we haven’t done anything yet,” Valensi said.

For someone who has never taken on the frontman role before CRX, Valensi makes the product of his dedicated work sound effortless. The songs on CRX’s new album “New Skin” drip with lyrical cynicism and dueling guitar riffs, enough to make any Strokes fan latch onto Valensi’s wild ride and never let go.

COLUMBIA

‘dance me to the end of love’

First recorded in 1984 by Cohen, this song has been adapted and recorded by a wide array of artists since its release. At face value, “Dance Me to the End of Love,” initially appears to be a love song, but it in fact was inspired by the Holocaust. The lyrics “dance me to your beauty with your violin,” refers to the what Cohen describes as “the beauty there of being the consummation of life, the end of this existence and the passionate element in consummation.”

4

LEONARD COHEN

leonard cohen

‘famous blue raincoat’

Weaving together a storyline of a love triangle between the singer, a woman named Jane and a third figure referred to as “my brother, my killer,” this song has fascinated listeners since its release. The song itself was inspired by a robbery of a simple Burberry blue raincoat from Marianne Ihlen’s loft in New York City, prompting the creation of one of Cohen’s most captivating and cryptic songs.

5

With dismal and pessimistic overtones, “Everybody Knows” unleashes Cohen’s fears and qualms about all that is wrong in the world, encompassing topics ranging from religious and social issues to health issues such as AIDS. The song opens with constant repetition of the title, with lyrics such as “everybody knows the good guys lost/everybody knows the good guys lost.”

COLUMBIA

‘everybody knows’

COLUMBIA

Photo of the Week | Flying High, Falling Short

CRX

Nick Valensi explored songwriting for the first time in his role as lead vocalist and frontman of CRX, somewhat influenced by his collaborator and frontman of The Strokes Julian Casablancas.

DAN KREYTAUK/THE HOYA

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the guide

THE HOYA

FRIDAY, NOVEMBER 18, 2016

CONCERT REVIEW

Cyrena Touros

The Music On My Playlist

Cyrena Touros (COL ’18) is a junior in the College majoring in American musical culture. She is an intern at the 9:30 Club.

‘WELCOME TO YOUR LIFE’

BY GROUPLOVE THE 1975

English pop-rock band The 1975 did not shy away from integrating current events into its set, commenting on its view of America to segue into “Loving Someone,” a track discussing the societal lack of role models for youth.

The 1975 Owned the Night KATHRYN BAKER Special to The Hoya

England-based pop-rock group The 1975 brought its quirky moves, diverse beats and sincere lyrics to George Mason University’s EagleBank Arena on Nov. 9.

Blending tracks from its eponymous debut album “The 1975” and recent sophomore release “I like it when you Sleep, for you are so beautiful yet so unaware of it,” the group performed a spectacular show that seemed more like an intimate dance party with friends than an arena concert.

With artful set designs and overwhelming energy, the show started with “The 1975,” a soft whisper of a song that fans have come to identify as the band’s theme song, as it has appeared as the first song on both of the band’s albums. The tune grew in intensity, quickly launching into the chart-topping hit “Love Me.” The arena was masked in fluorescent lighting in various shades of pink to complement the track’s title and the cover art of the latest album. From the moment the band stepped on the stage, it was dynamic and amazingly energetic, encouraging audience members to break out of their shells and dance the night away.

Next up was “UGH!,” a song about lead singer Matthew Healy’s battles with cocaine that juxtaposes dark subject matter with psychedelic arrangements and lively guitar lines. For this track, the lights reflected a sparkling cityscape on the stage, symbolic of the dichotomy between the wonder and isolation reminiscent of being under the influence.

For the following three songs, Healy

chose to comment on his experiences with love. “Heart Out,” from the self-titled debut album, reflects the inherent human desire to form deep, intimate connections with others. In stark contrast, the mellower “A Change of Heart” and “This Must Be My Dream” from the band’s most recent album underscores the confusion and pain that occurs when love does not meet expectations. Deep blue lights flashed around the stadium, echoing the singer’s melancholy and confusion.

From the moment the band stepped on the stage, it was dynamic and amazingly energetic, encouraging audience members to break out of their shells and dance the night away.

“I like it when you sleep, for you are so beautiful yet so unaware of it,” a contemplative electronic piece, provided the audience with moments of clarity necessary to process the emotional intensity of the prior performances. Underneath the synth and percussion-filled texture is a lullaby that exudes innocence and renewal. Before moving on, Healy took the time to comment on Tuesday’s election results.

“The America that we know is a young America, a liberal America, a compassionate America, a socially responsible America. It’s an America that doesn’t react to

fear with anger and doesn’t react to anger with fear,” Healy said. He then proceeded to sing “Loving Someone,” a commentary on the lack of role models for youth in society, especially when it comes to meaningful loving relationships.

“Somebody Else,” a fan favorite from the group’s latest album, embodies the post-breakup thoughts that the other party has moved on. The dark purple, red and blue lights were reminiscent of a pulsating heart, torn over the thought of losing a loved one.

“Paris,” a hauntingly nostalgic track with lyrics full of longing, preceded “Girls,” one of the most memorable songs off of the group’s debut album due to its dance-pop beat and evocative lyrics. Healy’s quirky yet rhythmic moves wowed the crowd, inspiring concertgoers to let loose. For the final song, the group performed “Sex,” the angst-filled hit song that launched its career. A strong rock drumbeat finished out the song, but it was obvious that the group was not finished.

The encore began with “Medicine,” a deeply intimate track about drug addiction. The band chose to end with “The Sound,” which served as the perfect link between the performers and their loving and grateful audience. Its humble and honest performances, as well as its surprisingly mature and personal lyrics, are what set The 1975 apart from contemporaries. The simple yet stunning use of lighting made for a beautiful show and Healy, unaware of the mesmerizing appeal of his authenticity, bared his soul to the audience, resulting in a show that was memorable and thought-provoking.

CONCERT REVIEW

Spreading the Love at Grouplove JILLIAN AICHER

Special to The Hoya

On Nov. 9, an uneasy fog had settled over Washington, D.C. Words could not seem to encapsulate the depths of what many were feeling following one of the most contentious presidential elections in history.

That night, indie rock band Grouplove played a near-perfect set at Echostage, reminding attendees of the healing, unifying nature of music. This power of music is not lost upon the members of the band, four of which — Christian Zucconi, Hannah Hooper, Ryan Rabin and Andrew Wessen — met at a commune in Greece. Formed in 2009, the band has since released three albums, the latest of which, “Big Mess,” came out September this year.

However, the night started out on a rough note. The first opening act was Toronto-based punk rock group Dilly Dally. Lead singer Katie Monks used raspy speak-singing techniques and blood-curdling shrieks to add to the unsettling nature of the band’s music. Though powerful and reminiscent of D.C.’s famous hardcore punk scene of the late ’80s, the style did not sit well with an audience expecting bouncy indie-pop melodies.

Some crowd members tentatively nodded their heads, while most stood still, failing to connect with the feedback-filled electric guitar riffs and vocal mix that featured more speaking and screaming than singing.

After Dilly Dally, the audience found a welcome change in MUNA, a funky synthpop band from Los Angeles. Its set, which included its hit song “Winterbreak,” lightened the atmosphere of the venue and excited the increasingly large crowd. Frontwoman Katie Gavin, with her wobbly dance moves, hauntingly beautiful vocals and high energy, stole the hearts and attention of concertgoers. Gavin continuously addressed the election in between songs with statements like: “Tonight, the best thing we can do is be there for each other.”

The band’s music spoke louder than words.

Honest emotion shone in the members’ faces when they passionately sang the lyrics, “Well, I’ve seen many a friend be silenced/Thinking nobody would believe them/Well, baby you’ve got another thing coming/You can try to make me stop, call it delusion/But I don’t shut up, it’s revolution.” Before closing with “Loudspeaker,” Gavin noted, “hatred can be really loud and we have to work extra hard to love people really loudly.”

Following MUNA’s set, the audience was buzzing with excitement. “Come Together”

by The Beatles played on the speakers as the crowd sang along in unison. Finally, the members of Grouplove ran onstage as the scent of incense filled the air. Lead singer and guitarist Zucconi, matching singer Hooper in an army green, knee-length shirt, immediately sat down at the keyboard and began to play the song “I’m With You.” The sparkling lights and palpable musical intensity, from the moment the band stepped onstage, promised a memorable show.

Though the whole band clicked musically and emotionally, Zucconi’s stage presence felt like the glue that held the members together.

Rather than being overbearing or flashy, during most songs he let Hooper’s high-energy dancing take the lead.

Zucconi’s characteristic belt and ease inspired awe and created an honest connection between the band and audience throughout the entire show. This interplay reached a peak when Zucconi crowd-surfed during a cover of the The Beastie Boys’ “Sabotage.” When security attempted to help him onto the stage, he jumped right back into the crowd for a second trip through the audience.

The long set was full of upbeat Grouplove classics like “Colours,” “Tongue Tied” and “Itchin’ on a Photograph.” However, the one

song that was the most memorable and meaningful was less-known, and one the band had never played at a concert before. Zucconi announced that, in light of the election, the band had decided to play an acoustic, intimate version of “Cruel and Beautiful World.”

They stood in a line at the edge of the stage — as close to the audience as they could get — and the sense of togetherness was overwhelming.

Following this tender, introspective interlude, Grouplove returned to its upbeat hits, with “Let Me In” and “Do You Love Someone.”

Themes of positivity, hope and love were evident in many of its lyrics and through the interactions of Zucconi and Hooper, who are romantic partners with a one-year-old daughter.

“Cathartic. That’s what tonight is. It feels so f-----g good just to be together as one unit, in D.C. of all places,” Hooper told the audience.

The concert ended with “Welcome to Your Life,” from the new album, and the band returned for an encore, finishing with its hit “Ways to Go.” The sense of hope and wonder in the room cut through any pain and despair audience members were feeling, if only inside the walls of Echostage. The energy throughout Grouplove’s performance was proof that, in one way or another, music really does heal.

Giant spoiler alert: Lead singers Hannah Hooper and Christian Zucconi are together, just welcomed a baby girl into the mix and apparently sampled her to make the bouncy synth opening. The concept of writing a song to commemorate the start of their daughter’s grand adventure in life tears me to pieces, and the tender way Hannah sings “You’re such a big mess/And I love you” has me smiling about strangers. I love the interplay between Hooper and Zucconi’s trading off on the vocals in the light, synthy verses against their harmonized vocals that wash over the guitar-heavy chorus.

‘BACK TO BLACK’

BY AMY WINEHOUSE Two and a half weeks ago was the 10th anniversary of Amy Winehouse’s sophomore — and final — studio album, “Back to Black,” and the title track is one of my all-time favorites. The jaunty mid-register keyboard on every beat, the dark and descending bassline, the orchestral embellishments — sweeping violins, the thoughtful vibraphone near the end of the verses and of course, Amy’s iconic voice meld together perfectly to drive this bluesy breakup ballad. I love its rolling inevitability and the way Amy bathes in her own darkness.

ISLAND

‘HEROES’

BY DAVID BOWIE Everyone has an all-kinds-of-weather song, and this is probably mine. The wailing, distorted guitar that opens and carries throughout the rest of the song is like a freely bleeding wound that Bowie’s voice attempts to bandage.

As the guitar spins out of control, so does Bowie, as he rockets up the octave and delivers the haunting “We could be heroes.” It’s a challenge we might do well to ponder these days.

‘7’

BY CATFISH AND THE BOTTLEMEN I have had the pleasure of seeing Catfish and the Bottlemen perform the past two years at sold-out shows at the 9:30 Club, and it is always a ride. The standout section of this song is the prechorus: Simple, quiet guitars and a thumping bassline accompany the plea of, “I’d love you but I need another year alone.” The band does more interesting work sonically on other parts of the album, but the visceral way lead singer Ryan McCann delivers that lyric tugs at me and will not let go.

CAPITOL

‘SHUT UP KISS ME’

BY ANGEL OLSEN

KARLA LEYJA/THE HOYA

Los Angeles-based indie-rock band Grouplove played at Echostage on Nov. 9, comforting and entertaining concertgoers after the conclusion of a contentious election season.

I am constantly lamenting the oversaturation of men in the rock music world, but lately Angel Olsen is giving me something to cheer for. I doubt she classifies herself as a rock artist, but Angel certainly brings the fire on “Shut Up Kiss Me,” from her critical darling of an album, “MY WOMAN.” I love the whispery timbre of her mid-range vocals and the squeak of her voice on the higher notes.

The revving guitars and sharp drum fills are just an added bonus.

the guide

friday, november 18, 2016

THE HOYA

restaurant REVIEW

MUSIC

Retro Comfort Done Right at Slim’s Diner 4201 Georgia Ave. NW Cuisine: American Eleanor tolf Hoya Staff Writer

Located in the close-knit residential Petworth neighborhood, Slim’s Diner stands out from the pop-up restaurants and transient eateries that crowd the neighborhood’s artistic space. Slim’s is not just another hipster establishment trying to modernize the “diner atmosphere.” Walking into Slim’s, you can immediately envision yourself in a sock hop dress, hair high and holding the hand of the guy you are “going steady with.”

Black and white tiles line the floor and the sides of the counters, while red booths and countertop stools accent the simple retro layout of the small space. By following the conveniently large sign and arrow located at the entrance, guests will find an authentic jukebox in the corner where patrons can complete



their escape from reality and fully immerse themselves in the 1960s. The only stereotype eluding the eatery is roller-skating waitresses.

The restaurant’s simple menu and uncluttered layout embody a ’60s diner — nothing less, nothing more. The breakfast menu — available allday in true diner fashion — features signature eggs, French toast, pancakes and omelets. The tofu scramble is the only item that reminds customers of the newness of the establishment. Meanwhile, the refreshingly limited menu allows the cooks to hone their expertise on these classics and produce dishes that are homely, greasy and wonderful.

Those who plan on stopping by after 11 a.m. must be aware that the options presented to them may not be any more exotic.

Grilled cheese or a Washington, D.C. classic half-smoke seem like the perfect combination

SLIM’S DINER

Located in the rapidly gentrifying neighborhood of Petworht, Slim’s Diner is serving up classic American comfort foods in retro ’50s-inspired environment.

in a retro setting where the price for almost all of the items fluctuates below a modest $10.

Some of the diner’s signature offerings are hardly diet-friendly. Its range of milkshakes — from the classic chocolate to spiked options for those over 21 —, ice cream floats, bottled root beer and egg creams are a perfect way to treat yourself.

This praise comes with one specific, but not insignificant, caveat: the wait. The space has very limited seating, and the restaurant is in a neighborhood that is growing in popularity. Going on a Sunday morning means waiting in line for 30 to 40 minutes, most likely outside. Despite the restaurant’s small capacity, the service is still working out its kinks. Orders often take much longer than expected based on the stripped-down and simple menu.

Nonetheless, for those waiting to get seats, Slim’s shares the block with two other charming D.C. establishments: Willow and Upshur Street Books. During the wait, you can explore Willow, a vintage-styled boutique that will not break the bank, or pop into Upshur, an independent bookstore furnished with comics, unique picture books, classics, artsy magazines and more.

The restaurant, vintage shop and bookstore are all situated in the Ward 4 quarter of Petworth. Like many newly popular neighborhoods in D.C., Petworth is rapidly gentrifying.

The diversity that still remains has created a unique neighborhood with a vibrant culture and friendly neighbors who will gladly wave from their porches to strangers passing by.

Upshur Street, which Slim’s is just west of, is locally known as “the block.” Paul W. Ruppert is the mastermind behind many of the block’s most popular attractions. His original property consisted of the Petworth Citizen and Reading Room, a literary-themed bar.

Since 2014, Ruppert has also opened Upshur Street Books and, more recently, Slim’s Diner.

A visit to Slim’s surely signifies much more than just the one-time decision of eating out.

The wait may be long, but it allows customers to explore one of the most vibrant neighborhoods that D.C. has to offer. Entering the diner allows the sensation of being transported to a different time, where everyone is entitled and encouraged to disregard calories and impending grades alike. Listening to the jukebox play 50-year-old music while eating deliciously simple and classic food is an experience not to be missed. Slim’s is open until 2 a.m. late-night Fridays and Saturdays, perfect for when a greasy late night snack may save your evening — or morning.

restaurant review

Oyamel: Mexican Foodies’ Brightest Star 401 Seventh St. NW Cuisine: Mexican

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New Releases

YOUNG TURKS

the xx ‘on hold’ Indie-pop group The xx delves into exciting new territory with an energetic new single, “On Hold.” The band makes a slight departure from its characteristic, heavy sound of humming guitars, instead featuring an upbeat, synth-fused chorus. Still, The xx retains a whimsical vibe, blending the delicate vocals of its lead duo with expert ease. “On Hold” strikes an ideal balance between mellow and catchy; it is the kind of track you could play on repeat for hours and still enjoy.

GLASSNOTE

childish gambino ‘me and your mama’ “Me and Your Mama,” a single off of Childish Gambino’s upcoming album “Awaken, My Love!” highlights not only Childish Gambino’s incredible talent but also his wildly inventive musical perspective. The song is essentially divided into three parts, opening with an almost eerily childlike lullaby sound before smoothly blending into a psychedelic soundscape accented by gospel notes. A few minutes later, “Me and Your Mama” breaks into an impassioned rock anthem, highlighting a raw, emotionally charged vocal performance from Gambino. As the song tapers out with a slowing drumline and simple flute notes, listeners are reminded of Childish Gambino’s originality: “Me and Your Mama” is definitely experimental.

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dani guerrero Hoya Staff Writer

Like other Mexican expatriates in the United States, my yearning for authentic Mexican fare is often thwarted by the gap between serious regional Mexican cooking and Tex-Mex. For those like myself seeking Mexican food without the unnecessary mountains of sour cream and cheese characteristic of Americanized Mexican dishes, Penn Quarter’s Oyamel is a welcome addition to Washington D.C.’s restaurant scene.

Smoothly blending Mexico City’s urban flair with the country’s regional diversity, Oyamel seals the culmination of José Hernandez’s treatment: reinterpreted fiery antojitos, a type of Mexican appetizer, which nevertheless maintains loyalty to traditional flavors. Recently listed as one of the 19 Michelin Bib-Gourmandrated restaurants that offer “excellent food at a reasonable price,” the eatery, which is frequented by President Barack Obama and his family, has been experiencing a second wind.

Shimmering flower pots and jaguar-warrior masks flank the walls while swarms of tin butterflies flutter high above the multicolored cushion booths. The interior design openly references Mexico’s endemic fir forests — the winter hideaway for the world-famous monarch butterflies.

Amid orange and gold hedges, the warmth of Oyamel’s ambience is further amplified through an open, blue-tiled kitchen situated between the entrance and a long communal table. Be prepared to listen to the surreal stories that the friendly staff share about serving Obama at least twice a month.

“The Secret Service blocks almost the whole block, and people get really excited to see him come in,” José Serrano, the seasoned head server, said. “They all really enjoy the food, and even though it involves a lot of logistics, they do try to come as frequently as they can.”

The quality of the food, paired with a cheerful atmosphere, attracts both large numbers of newcomers and high-profile regulars such as Apple co-founder Laurene Powell Jobs, Joe Biden’s family, John McCain’s family, U2 and Mexican band Maná.

“People who have never come in before are usually attracted by the outside colors and inside warmth,” Serrano said. “The food is really upbeat, so people tend to come once and just keep coming back.”

My party started off with guacamole ($14) as a table starter. Prepared in a traditional mortar with green tomatillo, serrano chili and crumbled queso fresco, alongside a never-ending supply of fresh tortilla chips, the guacamole served as a creamy, flavorful introduction to a meal that never missed a beat.

Even with vast collection of margaritas ($7.50-$12.50), ranging from orange-infused tequila to grapefruit bitters, sweet-flavored wa-

ATLANTIC RECORDS

coldplay ‘everglow’

OYAMEL

A sophisticated revisitation of traditional Mexican cuisine at Oyamel has attracted a number of high-profile regulars, as well as a large number of newcomers. ters were our table’s nostalgic discovery. Tamarind and hibiscus water are a rare find in the District.

Two marinated seafood salads followed as fresh dishes straight from the ceviche bar. An artfully presented sliced Hawaiian wahoo, the “ceviche de Chamoy” ($12) had been tossed in a mango and mulato chilli Chamoy sauce and dusted with a combination of chile pequin and toasted peanuts. It proved superior to the “ceviche con cítricos” ($13.50) of striped bass in pineapple habanero citrus marinade. Served with jicama and Fresno chili, the dish was too spicy for those foreign to peppery foods.

Straying from pepper jack flour quesadillas and other shortcuts, chef Omar Rodriguez’s ingredient-oriented menu is imbued with genuine Mexican folklore while offering a modern twist to culinary traditions. The queso fundido con tequila ($8-10) featured melted Chihuahua cheese flambeed with tequila and accompanied by handmade tortillas. The papas al mole ($6.50) must be shared with the table. These french fries dipped in a mole poblano sauce of almonds, chili and a hint of chocolate are founder José Andrés’ personal favorite.

Oyamel offers an unusual opportunity to sample genuine Mexican culinary traditions.

For instance, the chiles en nogada ($12) is an instant classic. Stuffed with pulled pork, pinenuts and apples, the dish is topped in an exquisitely creamy pipe dreams goat cheese sauce and embellished with pomegranate seeds. Similarly, the costilla de cordero a la barbacoa ($18.50) will hail any Mexican back home by offering roasted

Pennsylvania lamb chops in a traditional barbacoa broth of cumin and avocado leaves.

Other signature dishes include reinventions of Mexico’s most famous soup, the pozole rojo ($9), and of the legendary Oaxacan specialty, chapulines tacos ($5 each). Since the latter amounts to a blend of sauteed grasshoppers, shallots and guacamole, those hesitant to savor crunchy bugs should still partake in this unique experience while avoiding staring into their plates as they take the first bite.

Some may find the food at Oyamel too urban, trendy and portion-controlled to faithfully convey the soul of Mexican cuisine. However, the restaurant offers various specialties with flavors similar to those one would experiment with at the many street vendors’ booths that crowd the markets of Mexico City or Oaxaca.

Desserts came after such a parade of unique savors. The pastel de tres leches ($8) lies soaked in Coruba rum underneath strata of rum-milk foam, compressed pineapple and caramel ice cream. For customers with a less sugary appetite, either the piloncillo-compressed apples flan de cajeta ($8) or the jericalla de chocolate con maracuya ($8), a Oaxacan chocolate custard with passion fruit gelatin and pumpkin seed crumble, hold promise for representing delicious alternatives.

Oyamel offers an array of unblemished options for those desiring to delve deeper into Mexican gastronomy. Whoever seeks a more thoughtful take on wholesome Mexican, regional, gastronomy can find refuge under Jose Andres’ wings.

British band Coldplay strips down its traditional alt-rock sound in its recently released single, “Everglow.” Accompanied solely by piano, vocalist and frontman Chris Martin takes the opportunity to showcase his powerhouse vocals, too often hidden by other electronic elements.

“Everglow” is poetic, weaving together a poignant message about the feelings of hope and happiness one can experience even when reflecting on something sad.

If this song is any indication, “Coldplay” will certainly continue its legacy as a major musical force.

RCA VICTOR

sundara karma ‘she said’ “She Said” is the standout single from indie band Sundara Karma’s latest EP, “Loveblood.” It follows a sweet and simple melody but features a standout riffheavy guitar solo that really makes the track. True to the band’s name, the song creates a mellow atmosphere, catering to the wistful romance of listeners with dreamy, hazy lyrics.

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the guide

THE HOYA

Friday, NOVEMBER 18, 2016

MOVIE review

Loving Starring: Joel Edgerton, Ruth Negga Directed By: Jeff Nichols Payton Lawton Special to The Hoya

Writer and director Jeff Nichols’ historical drama “Loving” tells the story of Richard and Mildred Loving, the plaintiffs in the 1967 U.S. Supreme Court decision Loving v. Virginia, which invalidated state laws prohibiting interracial marriage. After being arrested and sentenced to prison in Virginia in 1958, the couple was exiled to Washington, D.C., where they began court proceedings that would eventually lead to one of the most impactful civil rights victories in history.

Nichols makes it clear that the couple -- masterfully played by Joel Edgerton (Richard Loving) and Ruth Negga (Mildred Loving) -- were simple, everyday people who did not set out to make history. Through a slow, deliberate script that highlights the modest interactions between the two lovers, viewers come to understand that the couple wanted nothing more than to love one another without living in constant fear.

With “Loving,” Nichols has created a steady, unembellished and sensitive film. Events and conversations are unhurried, and the silence often hangs heavy. It contradicts the tendency for many modern movies to rush from scene to scene, emotion to emotion for fear of losing the audience’s attention. This film’s pace is a large part of what makes it so captivating.

Richard Loving, in particular, mirrors the slow

pace of the movie. Edgerton sinks deeply into his quiet character, embodying a simple countryman with tobacco-stained teeth, a furrowed brow, a modest job and a deep affection for the woman he loves. In moments when we would expect him to erupt in fury or celebration, like in the opening scene when Mildred tells him that she’s pregnant, we see his eyes fall and a retreat into his thoughts. This silence in the face of conflict or excitement shows a different and misunderstood side of masculinity.

For those who are not familiar with the type of man that Richard Loving was -- uneducated, naturally withdrawn and focused on his family -- it is easy to presume that his representation in the film is dull. However, Edgerton not only perfectly embodies the simplicity of who Richard Loving was and the life he lived but also highlights the effortless chemistry between him and Negga.

When she is onscreen, Negga commands the entire scene. Although she is quiet, Mildred Loving’s dignity and strength define her character, especially in moments of weakness. It is Negga who, after being driven out of her home state to live in a crowded, miserable part of D.C. with Richard and their three children, finds it within herself to seek change. Motivated by a civil rights march led

by Martin Luther King, Jr., that she briefly sees on the television one day, she writes a letter to Robert Kennedy, who forwards it to the American Civil Liberties Union.

MOVIE review

 Where “Loving” falls short is its refusal to expand beyond a narrow scope of emotion.

Although the film is tender and sweet in its simplicity, the outrage and frustration that the Loving family undoubtedly felt is completely absent. To put it simply, the film’s style feels much too restrained. Nichols leaves it up to the audience to fill in the blanks with their understanding of the cultural and societal forces behind the racism that infiltrates the life of the Lovings.

The strengths and the weaknesses of “Loving” go hand-in-hand. The director’s careful casting of lesser-known actors and a script full of subtleties provide an endearing testament to the simple people the story represents, but it also leaves some major holes.

The film almost entirely skips over the Supreme Court trial, except for the opening remarks of the couple’s lawyers, Bernie Cohen (Nick Kroll) and Phil Hirschkop (Jon Bass).

The Lovings refused to attend the trial in order to preserve the dignity of their family and learned of the verdict via telephone. The film’s reaction to the news can either be disappointing or beautiful. The couple simply carries on with their lives, as if the decision is just a simple validation of something they have known all along. Still, there is beauty and inspiration in this ending, as it cements the film as an exploration of the uncomplicated love between two people who simply longed to be together.

Seasons

UNIVERSAL PICTURES

Lesser-known actors and subtitles testify to the simple people the story represents.

MOVIE review

Genre: Documentary Directed By: Jacques Cluzaud, Jacques Perrin  Kathryn Baker Special to The Hoya

CINEMA CONSERVANCY

Questioning the naive picture that we tend to paint of farm life, this movie challenges viewers with the message that everyone must deal with the complexities of life.

Peter and the Farm Starring: Peter Dunning Directed By: Tony Stone

 eleanor tolf Hoya Staff Writer

With wide opening shots of an idyllic farm, falling leaves and vast landscapes, it is easy to expect a soothing, pastoral film that will make you long for a simpler life. However, as soon as this picture forms in your head, it is ripped apart by the startling image of Peter Dunning, owner of the farm, slaughtering and gutting a sheep without any thought. A series of similarly contrasting images fill the 90 minutes, narrated only by Dunning, a man as passionate about his farm as he is hopeless about his life.

Tony Stone’s new documentary “Peter and the Farm” challenges the simplicity often ascribed to farm-life, as you watch a man who first seemed full of life quickly come to question to the purpose of existence.

There is no glitz or glam to the film: It is an appropriate representation of the stark isolation that floods Peter’s life. Stone’s cinematic style is blunt. He highlights unapologetically violent and sickening images, such as closeups of a vet checking to see if a cow is pregnant -- an act he had to prepare for by first forcing the animal to defecate. Similarly, the documentary is not shy in its abrupt introduction to Dunning’s alcoholism, history of abandonment and suicidal thoughts.

Once you get past Dunning’s volatile exterior, the reasons for his constant melancholy become clear. His children and wife have left him, seemingly due to his struggles with alcohol. His solitude is emphasized as you hear him call the documentarians his friends. At one point, fed up with the filming, he declares, “I thought you guys were all done with this nonsense. I was just talking to you as a friend.” The only voices you hear in the movie are of Peter, the filmmakers and his animals.

“I care more about the farm than I care about me,” Peter says in one of his many boldly authentic moments of the film. The truth of the statement is clear as you watch him go about his numerous duties of the day. Old Mile Hill Farm may not be what it

used to be, with family running around and others to help with the work, but Peter’s determination has kept the farm running and under his control for the last 34 years.

In between gruesome duties and tasks,

Peter drops lines, seemingly without consideration, that abruptly remind you of his state of mind. “Why don’t you document my suicide?” he asks, without a change in tone.

“I’m living in hell right now … when you have to get up twice in the night to drink a shitload of rum to just keep the Delirium Tremens out.” At one point, he compares his life, without explanation, to that of Ted Kaczynski, the Unabomber.

Amid the grisliness of his words and his duties, Dunning’s complexities shine through in his dry humor and unexpected propensity towards drawing and poetry. His jokes, although hinting at darker subjects, are a welcome respite from usual dismay. He explains how his goal always was to be an artist, until a job at a sawmill left him with a mangled and nearly unusable hand. Clips of his cellar reveal stacks of painted and illustrated canvases, conveniently laid next to the piles of empty jars, once filled with homemade spiked cider.

His mental state is hardly that of a “simple farmer.” Reflecting on the human experience, he says, “It’s not just me. There’s a whole environment up here that’s underground down to about 18 inches. Billions of billions of billions of organisms that have been here for billions of years. And we think about our own human endeavor: it’s so f-----ng sick.” To end the documentary, Peter surprises us one last time, with a poem of his own. An excerpt from it reads, “This isn’t hardware club. This is a beautiful oasis.

A paradise in the midst of ugliness. Its all I ever wanted. More in fact, much more. And I alone can’t do it. I watch the flower garden turn to weeds.”

“Peter and the Farm” challenges the naive and idealistic picture we paint of the simple farm life and, instead, leaves viewers with the frightening message that the tragedies and complexities of life are unavoidable, no matter how far from the grid you venture.

Amid the grisliness of his words, Dunning’s complexities shine through in his dry humor.

Co-directors and co-writers Jacques Perrin and Jacques Cluzaud have struck gold once again with “Seasons,” a French documentary that takes us deep inside the forest to explore the intrinsic relationship between humans and animals. Combining stunningly intimate shots of nature’s diversity with a compelling soundtrack, “Seasons” leaves its audience with a sense of wonder and enlightenment.

The film begins 80,000 years ago in Europe. The Earth has just tilted toward the sun, bringing an end to the seemingly interminable winter and establishing a cycle of seasons. We are then transported 68,000 years into the future, where it is springtime. New life emerges, and the modern forest is born, quickly enveloping the continent. The remainder of the documentary cycles through the seasons and traverses through time, progressing from the era of hunter-gatherers to the desecration of the forest at the hands of greed and war.

What sets “Seasons” apart from other nature documentaries is its total simplicity. There is no narrator describing the images before the viewer’s eyes. After a brief introductory narration, the soundscape replaced by provoking melodies and the sounds of nature. Even without words, Perrin and Cluzaud manage to tell a compelling story. The film’s music, courtesy of famed composer Bruno Coulais (Coraline, The Crimson Rivers), speaks to the audience’s emotions and perfectly complements the film’s action. Moments of suspense, like chases or stampedes, are matched with booming drums, sharp violins and quick tempos. In contrast, moments of serenity, like snowfalls or rainstorms, are set against light pianos, gentle flutes and elegant harps.

Animal “dialogue” fills any non-musical gap. The documentary intimately acquaints us with various birdsongs, the grunt of a hog, a fox’s purr and the whinny of horses as they feud with one another. The animals replace traditional actors, thus becoming the characters with whom we fall in love.

The film is devoid of humans, allowing the audience to empathize with the animals. We root for the pig running from the hungry wolf. We laugh at the

baby deer struggling to walk. We are enchanted by the night owl and amused by the scurrying squirrels. The more time we spend without human intervention, the more we become a part of the natural world. Although the absence of dialogue can be monotonous at times, it forces viewers to challenge the conventional mindset that places humans at the apex of nature.

Perrin and Cluzaud shy away from any sort of political statement with this film. They are not calling for humans to reject their belongings and become one with the wild. Rather, the film aims to show the immense power that man has over nature and how that power has been abused. After the hunter-gatherers left, the forest began to thin out and was replaced by countryside and plains. Humans began to take more and more from the forest to construct their ships, castles and cities. Animals began to be seen more as pests than the natural inhabitants, as indicated by the brutal scenes of hunters tracking down wolves and killing them.

The only places for these lovely beasts to take refuge are the mountains, far from their natural home. Eventually, even the beautiful birdsongs are silenced by the sounds of war, extinguishing the final remnants of the forests that we grow to love throughout the film.

However, Perrin and Cluzaud leave the audience not with despair but a message of hope: Nature is not giving up. The film suggests that animals have thoughts and motivations just like humans do. Their message that man modifies nature does not have to be a negative one. It suggests that we can coexist with nature -- not work around it. We have the power to further animal life and the growth of forests, plains and valleys.

Perrin and Cluzaud have traveled high and low in order to explore the deepest dimensions of nature, and their findings as portrayed in “Seasons” are nothing short of spectacular. Their documentary offers more than stunning shots and calming music. It leaves the viewer questioning his or her existence in relationship to other living organisms. By the end of film, any conscientious viewer should have a stronger desire to connect with and care for nature, as well as a deeper understanding of the power that humankind has in shaping the seasons.

FRANCE 2 CINEMA

A spectacular testament to the resilience of nature, “Seasons” stimulates any conscientious reader to understand how powerfully humans can shape the seasons.

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sports

THE HOYA

the water cooler

friDAY, november 18, 2016

SaILING

Oden’s Reputation Unfair GU Weathers Final Stretch

A

fter playing last season in China, former NBA No. 1 pick Greg Oden officially retired from professional basketball.

You would be forgiven if you are not overly familiar with Oden’s career — because calling his tenure in the NBA a career would be a generous use of the word.

By all accounts — especially those of the Portland Trail Blazers — Oden’s career was a disappointment, especially considering who the No. 2 pick in the 2007 draft was: Kevin Durant. Oden recently admitted he would probably go down as the biggest bust in NBA history, but Durant rebuked that notion, saying Oden did not get a fair shot given his injury-plagued tenure.

From 2007 to 2015, Oden played in just over 100 games and spent three consecutive years, 20102013, recovering from various knee injuries. This entire saga raises the question of what constitutes a bust.

Busts undoubtedly exist in all sports, predominately the NBA and the NFL, and some are less controversial than others.

Ultimately, I agree with Durant: Oden is not a bust, because the factors that contributed to his lack of success were beyond his control — he was not healthy for a long enough period to prove himself.

In Oden’s defense, he did show promise when he was on the court during his first two seasons. On a per game basis, Oden averaged nine points and seven rebounds during his rookie season, and those figures increased to 11 points and 8.5 rebounds his second season, before injuries began to take hold. This shows that Oden was at least making progress and had the ability to learn and improve over time.

Some telltale signs of a bust are the player’s inability to improve over time or an irretrievable, fatal flaw. For example, Kwame Brown is widely regarded as a major bust, because he lacked mental toughness.

Even though it is almost a joke — almost being the key word — in basketball circles that Michael Jordan’s merciless taunting essentially ruined his career before it began, it did expose a fatal flaw from which Brown could never really recover.

Michael Ippolito Another example from the NFL is Rick Mirer. At Notre Dame, Mirer was essentially labeled the next Joe Montana as he oversaw the last great era of Fighting Irish success.

He was drafted with the second pick in the 1993 draft by Seattle, and then teams discovered his Achilles’ heel: Mirer couldn’t throw to his left. Defenses stacked the box and pressured him from the right, and Mirer’s career was never even close to justifying the hype he received coming out of college.

From a much more cynical perspective, it is still possible to consider Oden a bust.

Oden had no such flaw that he could control.

Before he could play his first NBA game, Oden had to have season-ending microfracture surgery on his right knee, and, for any center, that would be a career-threatening injury.

NBA history is clear in that, when a center’s knees begin to go, the end of his career is near. It happened to David Robinson; it happened to Patrick Ewing, and it happened to Greg Oden. The only obvious difference is that Robinson

and Ewing were already hall of famers at that point, while Oden had yet to play a game. Microfractures are also notoriously difficult to overcome, especially in the NBA, considering the amount of consistent stress that is placed on the knees.

A medical study reported that around 20 percent of NBA players who underwent microfracture surgery never played another full season. Oden underwent his second microfracture operation in November of 2010. Essentially, Oden was one of the 20 percent, which is not necessarily his fault, but he was just the unfortunate victim of recurring bad luck.

From a much more cynical perspective, it is still possible to consider Oden a bust. That is if being a bust simply means that a player never lived up to the hype coming out of high school or college and did not have a career that justified a high draft pick.

To be sure, there are many busts who fit into this category precisely. Matt Leinart, JaMarcus Russell and Sam Bowie come to mind from the NFL and NBA. Injuries, however, must be treated differently.

Sports are inherently risky, and there is only so much control a player can have over what happens to him on the court or on the field. Rehabilitation from injury is never a guaranteed process, and some players, like Oden, are just unfortunate victims of the process failing.

Hindsight is always 2020, but, at the time, no one could fault Portland for taking Oden over Durant. What the Trail Blazers saw in Oden’s college play was on display early in his career, but injuries and sheer luck prevented him from reaching his full potential. There will always be players who will be considered busts, but Greg Oden should not be counted among them.

Michael Ippolito is a senior in the College. The Water Cooler appears every Friday.

LUke djavaherian Special to The Hoya

Many Georgetown sailors rounded out their fall season in the past two weeks, competing at the LaserPerformance Singlehanded National Championships, followed by the Women’s Atlantic Coast Championship along with the 43rd Atlantic Coast Dinghy Championship.

The Singlehanded National Championships featured top competitors from schools across the country, representing a prime opportunity for Georgetown to demonstrate its elite abilities on a national stage.

The team entered the event — which was held in Galveston, Texas — unfamiliar with the venue and unsure of the conditions it would encounter in competition. With a physical advantage over most other squads, the Hoyas had hoped to take advantage of strong winds and high waters. When they arrived at the event, however, the sea was flat, the wind was mild, and the Georgetown crew appeared out of its element.

Poised to overcome the troubling conditions, sophomore Haddon Hughes looked to repeat for the women’s team after having won the event last year as a freshman.

By the halfway point, she was in the running to do just that. However, she fell short in the latter half of the race and came up with a fourthplace finish overall.

Riding in Hughes’ wake, junior Lola Bushnell finished with an eighth-place finish.

Bushnell, another veteran of the event, placed seventh in last year’s competition.

For the men, juniors Greg Martinez and Jack Marshall carried high expectations, having dominated the earlier qualifying rounds. However, the two finished in eighth and 13th places in their race, respectively, to put a cap on the singlehanded racing fall season.

“We’re a little disappointed, because we thought we could have done better,” Head Coach Michael Callahan said. “But the kids tried really hard, so we can’t feel too bad about it.”

Back in Charleston, S.C., a handful of Hoya sailors competed in the Women’s Atlantic Coast Championship.

Hughes was once again a difference-maker for Georgetown, leading all three crews and demonstrating, according to Callahan, her best double-handed regatta of the season.

In the A division, Hughes, along with sailors junior Rose Edwards, Bushnell, sophomore Maryn Cannon, sophomore Hannah Hess and senior Emily Fung battled the breezy conditions all weekend, placing 12th overall. The B division fared much better, finishing second and lifting Georgetown to a seventh place overall for the event, within just four points of the top five finishers.

COURTESY GUHOYAS

The sailing team will compete in the ICSA Match-Racing National Championship this weekend in San Diego.

According to Callahan, the B division’s performance sets a positive tone for the women’s team going forward into latter portions of its 2016-17 campaign.

“Going into the spring, it gives us some confidence that we can do well,” Callahan said. “But it also shows that there is a lot of work left to be done.”

Meanwhile, MIT hosted a co-ed regatta at the Atlantic Coast Championships, in which Georgetown finished in 10th place overall.

The Charles River in Boston, Mass., is notorious for its capricious winds, often making races difficult for teams that do not know the venue well.

“You have to sail there a bunch to get used to it, and we only go there about once a year,” Callahan said.

Senior AJ Reiter and junior Meaghan MacRae had a hard time adjusting to the foreign conditions and placed 13th overall for the A division. The struggle continued in B division, as senior Jack Gerli, junior Roger Dorr and sophomore Claire Mohun came away with a 10th-place finish.

While 10th place overall out of 18 competitors demonstrates an admirable effort on the part of Georgetown, the sailors and coaches see themselves as a team that should be on top in every race.

“We beat some good teams, but it wasn’t a great way to finish,” Callahan said. “So we have a lot of work to do going into the spring season.”

Next weekend, Georgetown will compete in San Diego for the ICSA MatchRacing National Championship. There will be a few athletes who grew up in the area, including Reiter, who will hopefully use his local knowledge return to the East Coast with a win.

The strategy, according to Callahan, is to minimize the mistakes that have been costing them valuable points in recent weeks.

“It’s the national championship, so the team that makes the least number of mistakes will take it,” Callahan said. “I think we’re confident going in, but anything can happen.”

Volleyball

Cross-Country

Hoyas Turn Focus to NCAA On the Road, Finale Awaits Daniel Baldwin Hoya Staff Writer

After winning the 2016 Mid-Atlantic Regional Invitational, the No. 20 Georgetown men’s cross-country team seeks to add to the postseason success at the 2016 NCAA championship meet in Terre Haute, Ind. The women look to build on a strong showing at Regionals, where they claimed fifth out of 28 teams, at Nationals as well.

Senior Scott Carpenter expressed his excitement of how the Hoyas have run so far in the postseason. However, he stressed that they are not finished yet.

“I think that our team has stepped up when we have really needed them, and it’s really exciting to have some success in the postseason,” Carpenter said. “We are going to be relying on everyone to do their jobs at nationals this weekend as well though. We are not content with the success we have had this season.

We want to go to nationals and prove to people how good we really are.”

Last season, then-junior Jonathan Green captured fifth place overall at nationals, running a time of 29:49.5 on the 10,000m course. Carpenter eyes a similar performance this upcoming weekend.

“I want to go to nationals and run as hard as I possibly can,” Carpenter said. “I want to help my team out as much as I can. Personally, I want to be an All-American. I think I belong in the top 20.”

At regionals, Carpenter finished second overall, behind only senior Patrick Tiernan of Villanova, with a time of 30:43. At the Big East championship, Carpenter came in second to Tiernan again, this time finishing the 8-kilometer race in 24:28.7.

Graduate student Michael Lederhouse enters his final nationals meet with plenty of momentum. Lederhouse

captured 16th overall at Regionals with a time of 31:13.

Junior Christian Alvarado has experienced a breakout season. Alvarado has been a consistent point scorer for the Hoyas this season, and his performance at regionals only solidified himself as a top runner. Alvarado crossed the finish line in 31:06 — good enough for 11th.

With such performances, Carpenter believes that the Hoyas have plenty of momentum going into the weekend.

“We definitely have positive momentum going into nationals,” Carpenter said.

“Workouts have been going great, and the last two races have been our best. We need to keep that going, and we need guys to run to their potential to be happy with our result at nationals.”

Even though the Hoyas endured early season struggles, Carpenter knows that they have come together as a team.

“We came into this season with really high aspirations,” Carpenter said. “We have had

quite a few injuries with some of our top guys, but I’m proud of the way the team has fought through adversity and kept our minds focused on competing hard. ” On the women’s side, the team continues to receive steady contribution from a large contingent of runners.

Junior Autumn Eastman has led the team the entire season with her leadership and consistent performances. At regionals, Eastman ran a time of 21:20, good for 26th place.

At the Big East championship, Eastman finished in 21:45.2, capturing 11th in the process.

Sophomore transfer Josette Norris has had a huge impact for the Hoyas during her debut season. Norris led the way for the Hoyas at regionals, crossing the finish line in 21:17, 24th place overall. Norris has a chance to prove herself once on the biggest stage.

After nationals, Georgetown men’s and women’s teams will transition to the indoor track and field season.

COURTESY GUHOYAS

Senior Scott Carpenter finished second overall at regionals with a time of 30:43 behind Villanova senior Patrick Tiernan.

Cameron Perales Hoya Staff Writer

The Georgetown women’s volleyball team (6-23, 2-14 Big East) has its final two opportunities to win a game this weekend against Big East-leading Creighton (22-6, 16-0 Big East) and last-place Providence (1319, 1-15 Big East) after losing 10 consecutive games.

Coming into the last road trip of a disappointing season, Head Coach Arlisa Williams remained prideful in her players’ ability to draw motivation from within themselves as they look to break that streak.

“This team has won the belief that we can do more than we accomplished this year. So, when they step on to the floor, they are pulling from within and trying to be better than they were the last time they were out there. It is all about what they’re doing mentally, and it’s all about their heart,” Williams said.

Georgetown’s first opportunity comes on the road in a daunting matchup against No. 21 Creighton, a team boasting an undefeated record in Big East play. The Blue Jays bring a high powered offense to the court, ranking ninth in the nation in assists per set and boasts four players tallying over 200 kills on the season, with freshman outside hitter Jaali Winters leading the way at 307 total kills.

“Creighton has firepower at all five hitting positions. They have two outsides that are very effective for them, and a right side who can swing first and put balls in the middle, and, as well, a middle who can swing first and put balls in the middle then go get kills on the right side,” Williams said of Creighton’s attack.

In the first match the Hoyas played against the Blue Jays, late set surges by Creighton were too strong for the Hoyas to overcome en route to a 0-3 loss. Williams noted that serving aggressively will be key for Georgetown to get the stellar

COURTESY GUHOYAS

Senior middle blocker Ashlie Williams (No. 7) will play in her final two games as a Georgetown Hoya this weekend.

Creighton hitters off balance and provide an opportunity to pull off an upset as Creighton looks to defend a 10-1 home record.

After playing Creighton in Omaha, the Hoyas fly back to the East Coast to take on Providence in each team’s season finales. The Friars have had a comparable season in conference play, notching only one victory against St. John’s Red Storm (16-14, 7-10 Big East) at home in mid-October.

The Friars bring in a strong defense, led by senior defensive specialist Michelle Cruz, third in the Big East with 4.60 digs per set, and sophomore middle blocker Allison Impellizeri who leads the team with 103 blocks this season. The Hoyas were previously victorious against the Friars at McDonough Arena, taking a close match by a 3-1 margin.

Williams focused the team on maintaining a sharp mentality against Providence, especially because of each team’s desire to win in this matchup.

“I think that we keep the mindset that we have to be successful against Providence. We have a target on our back regardless of our record, because we are Georgetown, and every-

body knows who we are,” Williams said. “From there we just have to leave it all on the floor and not look back.”

While this may be the end of a challenging season for the Hoyas, it is the end of two seniors’ volleyball careers here on the Hilltop. Middle blocker Ashlie Williams and setter Caitlin Brauneis were both honored on senior night in their last home match against Xavier.

Now with their last two volleyball matches of their career ahead of them, Arlisa Williams characterized them as the epitome of a student-athlete here at Georgetown.

“The seniors, Caitlin and Ashlie, have done a wonderful job here, and they’ve persevered through so much. You just have to applaud them every single day for the challenges they’ve overcome here.

They love the Hilltop, and that comes through in everything that they do. They love being student-athletes here,” Williams said.

These seniors and the rest of the Hoyas take on the Blue Jays this Friday at 8 p.m. and then travel out to Providence, R.I., to take on the Friars this Sunday at 1 p.m.

DANIEL KREYTAK/THE HOYA

SPORTS

friDAY, November 18, 2016

THE HOYA

Women’s basketball

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woMen’s soccer

Minnesota Offense Potent GOPHERS, from B10

contain Wagner, the Hoyas need to be disciplined on the boards if they are going to be successful against the Golden Gophers. Minnesota has been dominant on the glass so far this season, particularly on the offensive end. The Golden Gophers managed to convert their 17 offensive rebounds into 17 second-chance points against the Crimson. In the matchup against VCU, Minnesota turned 18 offensive rebounds into 20 secondchance points.

In the team’s first two contests, senior forward Faith Woodard and junior guard Dorothy Adomako led the way for Georgetown on the boards. In the Hoyas’ first game, Woodard and Adomako each pulled down 11 rebounds, a game-high.

In the loss to Virginia Tech (3-0, 0-0 ACC), Adomako led the team with eight boards.

Woodard pulled down another six.

Ultimately, Georgetown needs to work harder in the paint if the team wants to

dominate the glass. Adair is confident that the Hoyas are prepared to meet the challenge.

“If we just bring that intensity night in and night out, we will be fine.”

Natasha Adair Head Coach

“[Georgetown] fights ... and that’s what I want,” Adair said. “I want to see the grit. I want to see the grind, the determination.”

Consistency is a major focus for Georgetown heading into the upcoming game against Minnesota. One of Adair’s mantras this season is what she refers to as “94 for 40”. The phrase is a reminder to her players that the goal is to go the full 94

feet of the basketball court for the entire 40 minutes of the game, leaving everything out on the floor.

Adair has been impressed with the way her team has responded to this challenge in its first two games and has emphasized the importance of maintaining that energy while on the road.

“We have definitely displayed the ‘94 for 40’,” Adair said. “If the consistency of what we need to do is there and, if we just bring that intensity night in and night out, we will be fine.”

For senior guard Jade Martin, the road trip to Minnesota is a homecoming. Martin is from Bloomington, Minn.; a city just 20 minutes south of the University’s campus in Minneapolis. The senior was a five-year letter winner and varsity starter at John F. Kennedy High School in Bloomington.

Martin and the Hoyas take the court at Williams Arena on Friday. Tipoff is set for 4 p.m.

FILE PHOTO: AIDAN CURRAN/THE HOYA

Graduate student forward Crystal Thomas played 50 minutes and recorded two shots in Georgetown’s victory over St. Francis (Pa.) last Sunday. She has 21 points on the season.

GU Looks to Extend Run RUTGERS, from B10

DERRICK ARTHUR/THE HOYA

Senior forward Faith Woodard tallied a total of 33 points and 17 rebounds over both of Georgetown’s games last weekend. She shot 10-for-21 overall from the field.

the analyst

“earned the right to be our quarterback,” and that he wants to a positive influence on Prescott in the coming weeks.

In other words, he was humbly allowing the Cowboys organization to quell controversy, questions and hard feelings by conceding in the name of the team.

At least Keenum and Romo have their dignity, and that is a lot more than most athletes can say.

Unlike Romo’s announcement, Keenum’s was made by head coach Jeff Fisher during a press conference on Tuesday. The decision came as a relief to Rams fans, analysts and journalists everywhere, as uproar over Keenum’s start over Jared Goff began in early September and has not ceased.

The locker room was not as giddy as the media however, according to ESPN staff writer Alden Gonzalez.

Gonzalez chronicled the melancholy atmosphere of the Rams’ locker room on Wednesday: Despite his statistical shortcomings, Keenum won the support and respect of his team during his 10 weeks as starting quarterback. And, coming off a win — though a touchdown-less 9-6 against the struggling Jets — Keenum’s teammates weren’t expecting him to be benched.

Goff spoke profusely about his respect for Keenum as both a player and

person in a press conference.

Fisher explained that Keenum would remain a team captain. And other teammates, such as left guard Rodger Saffold, expressed their dismay that Keenum would no longer be starting, especially after they found a way to pull out a win this past weekend.

In the case of Case Keenum, the members of the Rams organization said it all: Keenum earned the respect of his teammates through his work ethic and attitude, and he would step down just as graciously as he had stepped up.

As Romo explained in his press conference, the starting quarterback spot was the goal these men had been working towards their entire lives, and it is heart wrenching to have this dream taken away, even if he no longer deserves it.

As Romo so eloquently stated, the NFL is a meritocracy. You keep your spot with your stats, your on-field intelligence, your ability to fit into a team’s plan and yield results. It is all too easy to be forgotten if the guy who replaces you leads your team to an 8-1 record. It is all too easy to be benched when everyone in the universe seems to be pressuring the coach to start the other guy, the one with a high draft pick and a boatload of potential.

This year, neither Keenum nor Romo had the numbers to keep them afloat in the NFL’s meritocracy — but at least they have their dignity, and that is a lot more than many other washed-up athletes can say.

Amanda Christovich is a sophomore in the college.

THE ANALYST appears every Friday.

“I expect it to be a tightknit game. I wouldn’t be shocked if it finishes on PKs.” DAVE NOLAN Head Coach

It was after Corboz’s overtime strike in New Jersey that the dream season began.

“Beating Rutgers was the beginning of our great

success for this season, because they were a top-25 ranked team,” Farrell said.

“And then beating Virginia just catapulted that even further, because they were ranked third at the time.

That’s when we knew we had a really good team this year, and we can play with the best of them.”

Beyond any defined goals, however, the Hoyas continue to take it one game at a time, enjoying the ride.

“They just want to keep playing,” Nolan said.

“They enjoy being around each other. They’re well aware of the circumstances, that you’re in an NCAA tournament, and it’s win and move on, lose and your seasons over. But they’re not looking at it like that. They’re enjoying the run they’re on, and they want to keep it going.”

Kickoff on Friday is set for 1:30 p.m.

football

Rookies Earn Starting Jobs CHRISTOVICH, from B10

up everywhere. She’s a little bit like Crystal, in that she plays central, and she can play wide on both flanks,” Nolan said, referencing how Tiernan compares to graduate student forward Crystal Thomas.

“She’s going to be a danger. But they’ve got a good supporting cast around her.”

With Scarlet Knight freshman midfielder Nicole Whitley, who Nolan compared to Corboz, along with others supporting Tiernan, Rutgers has the individual quality to turn a game in a moment.

“It’s a toss-up,” Nolan said. “I just watched our first game against them this morning, and the game went on certain moments. They scored early, Tiernan scored a great goal from distance … I expect it to be a tight-knit game. I wouldn’t be shocked if it

finishes on PKs.” Four games into the season, before taking on Rutgers, the Hoyas had done what they were expected to do in going 3-1 and competing against No. 1 Stanford (18-1-1, 10-1-0 Pac-12).

DERRICK ARTHUR/THE HOYA

Junior running back Alex Valles, right, recoreded 40 yards on the ground, averaging 4.4 yards-per-carry in Georgetown’s loss to Bucknell Nov. 12. Sophomore quarterback Clay Norris targeted Valles four times for 10 yards in the matchup.

Last Chance to Notch League Win COLGATE, from B10

and I have been clicking pretty well,” McLaughlin said.

On the ground, junior running back Alex Valles has averaged 4.6 yards per carry and tallied 476 rushing yards for the season.

Other backs junior Isaac Ellsworth and sophomore Christian Bermudez have added 212 and 108, respectively.

The offense faces the test of a Raider defense that has held opponents to under 100 rushing yards in its last five games.

Junior defensive lineman Pat Afriyie, an All-Patriot League First Team selection, currently leads the conference in sacks and tackles for loss.

“They’re really talented up front,” Georgetown Head Coach Rob Sgarlata said. “They’re well-

coached. They run to the ball. They have seven or eight returning starters, so it’s a veteran group.

They’ve been holding people to 70 yards a game rushing, so that’ll be a challenge for us.”

“We think we are a tough group of receivers, and the Colgate guys are also a pretty tough group,” McLaughlin said.

“So we think it’s going to be a smash-mouth kind of

game with them.”

Although this season has seen a seven-game skid after a 3-0 start, an upset on the road would be a powerful farewell for the graduating class.

“As the last game, we really want to win this, because our seniors deserve it.

They’ve really worked their hardest for it,” Akere said.

Kickoff is slated for 1 p.m. on Saturday at Andy Kerr Stadium.

Sports

Women’s Soccer Georgetown (17-2-3) vs. Rutgers (12-4-6) Friday, 1:30 p.m.

Shaw Field

friday, NOVEMBER 18, 2016

talkING POINTS

Men’s basketball The men’s basketball team lost its game on campus at McDonough Arena on Thursday night.

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women’s basketball

Hoya Staff Writer

After kicking off its seven-game road swing with a 73-63 loss to Virginia Tech last Sunday, the Georgetown women’s basketball team heads to Minneapolis this Friday where it looks to rebound against the Minnesota Golden Gophers.

Minnesota (2-0, 0-0 Big Ten) comes into the matchup with Georgetown (1-1, 0-0 Big East), having won its first two games of the season. The Golden Gophers scored an impressive 103 points in a 16-point victory over Harvard (1-1, 0-0 Ivy League).

In its second contest of the season, Minnesota came away with a 79-69 win over Virginia Commonwealth University (1-1, 0-0 Atlantic Ten) on the road.

“There are different variables on the road. You don’t have your homecourt advantage. You’re not in front of your fans.

You have to take into consideration that you’re going into the game and the other team has a sixth man,” Georgetown head coach Natasha Adair said.

Junior guard Carlie Wagner has led the way for the Golden Gophers

They’re enjoying the run they’re on, and they want to keep it going.”

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HEAD COACH DAVE NOLAN

The number of seniors on the football team who will play in their last home game on Saturday.

women’s soccer

Long Road Trip To Challenge GU Molly O’Connell

NUMBERS GAME

in both of the team’s first two games. Against Harvard, Wagner poured in a game-high 27 points, 12 of which came on threepointers. She hit another four shots from beyond the arc in the matchup against Virginia Commonwealth University, finishing the contest with a game-high 26 points.

“I’m more comfortable stepping into the tournament than I was when I first started here.”

FILE PHOTO: AIDAN CURRAN/THE HOYA

Junior midfielder Rachel Corboz tallied two assists in Georgetown’s 2-0 win over St. Francis (Pa.) last Sunday.

Corboz has recorded four assists and one goal in the Hoyas’ postseason run in their 2016 campaign.

Scarlet Knights to Pose 2nd-Round Test Chris Balthazard Hoya Staff Writer

Liz Wenger Senior Defender

“[Minnesota] has players that can score,” Adair said. “We just have to make it hard for them, and that’s our defense. We have to hone in on what we drill every day, what we emphasize every day, and being consistent with it and doing it for 40 minutes.”

In addition to trying to See GOPHERS, B9

Having already broken the Georgetown record for most wins in a season with 17 victories, the Georgetown women’s soccer team looks to further extend that mark in the second round of the NCAA tournament on Friday at Shaw Field against No. 22 Rutgers.

The Hoyas (17-2-3, 6-1-2 Big East) played the Scarlet Knights (12-4-6, 4-2-5 Big Ten) on Sept. 2, winning 2-1 behind an equalizing penalty and a strong individual effort in overtime from junior midfielder Rachel Cor-

boz.

Georgetown impressed in its first-round match against St. Francis (10-12, 6-2 Northeast), totaling 24 shots to just two from the Red Flash, but largely lacked a finishing touch in the 2-0 victory.

Should the Hoyas advance past Rutgers, the winner of the game between defending champion Penn State (11-4-4, 7-1-3 Big 10) and No. 15 Virginia (14-4-2, 6-2-2 ACC) awaits Sunday in the third round. On Sept. 11, the Hoyas beat the Cavaliers 3-2 in a comeback victory.

Head Coach Dave Nolan downplayed the factor of playing a team for a second

time in the same season.

“Rutgers will be super motivated,” Nolan said.

“But if they’re not motivated playing in the second round of the NCAAs, they’ve got problems. And if we advance and Virginia advance, those Virginia kids will be looking to play into the Elite Eight.”

Attacking midfielder Caitlin Farrell, who sits second on the team with nine assists and who all season — on the side opposite senior forward Grace Damaska — has torched outside backs for pace, thinks last meeting’s overtime ending adds to the intensity of Friday’s

football

match.

“I think they’ll come out strong because we beat them in a tough way last time, scoring twenty seconds into the first overtime,” Farrell said. “So if I were them, I would be pretty excited for this game.”

Nolan is particularly conscious in planning for Rutgers senior forward Madison Tiernan, who has notched 11 goals and six assists on the season.

“She’s a real handful.

She’s the full package. She’s strong, fast, can shoot right and left foot, and she pops See RUTGERS, B9

the analyst

Seniors Ready for Final Career Game Dean Hampers Hoya Staff Writer

On Saturday, 16 senior players will wear the Georgetown uniform for the final time. Following a tight loss on Senior Day last week, the Georgetown football team will travel to Hamilton, N.Y., for its season finale against the Colgate Raiders.

After a pair of secondhalf turnovers and a series of missed opportunities against Bucknell (4-6, 3-2 Patriot League) resulted in the Hoyas’ (3-7, 0-5 Patriot League) seventh straight loss, the Blue and Gray seek to cap their tumultuous season with a victory against the defending conference champions.

Amanda Christovich

Romo, Keenum Fade With Dignity

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“We’ve played him for three years now and he’s a hell of a player — he’s a great playmaker. He knows to run the ball well.”

DAVID AKERE Junior Defensive Back

Colgate (4-5, 3-2 Patriot League) has decisively won three of its last four games, most recently racking up 437 total yards in a 38-17 drubbing of Lafayette. Heading the Raiders’ offense is dual-threat senior quarterback Jake Melville, the team’s captain. The New Jersey native boasts 31 career starts and 56 total touchdowns, including 21 in this season alone.

“We’ve played him for three years now and he’s a hell of a player — he’s a great playmaker. He knows how to run the ball well, he knows

DERRICK ARTHUR/The HOYA

Sophomore outside linebacker J’V’on Butler tallied a game-high 11 tackles and forced a fumble in Georgetown’s loss to Bucknell Nov. 12. Butler has 84 tackles on the year. how to throw the ball up as well,” junior defensive back David Akere said of Melville.

Melville’s wide receivers on the edge include junior Alex Greenawalt and senior John Maddaluna. Both receivers stand more than 6 feet tall and weigh more than 200 pounds, and they have combined for over 1,100 receiving yards this year.

The Hoya defense has conceded less than 22 points per game this season, placing it at the top of the conference. It also

ranks fifth in the nation in red-zone defense, allowing opponents to score just 52 percent of the time from inside the 20-yard line.

Sophomore linebacker J’V’on Butler, who earned a Patriot League Honorable Mention last week, leads the team in tackles on the season with 84, while junior defensive back Jelani Williamson has grabbed four interceptions.

Georgetown looks to improve on both sides of the ball after losing the time of possession battle last week.

The Hoya offense continues to be led by sophomore quarterback Clay Norris, who has filled in for senior Tim Barnes after his seasonending shoulder injury.

Norris threw for 157 yards against Bucknell, including a 23-yard touchdown strike to junior wide receiver Jim McLaughlin, who finished with a career-high six receptions.

“It’s been a season-long thing. As Clay has been getting more comfortable, he See COLGATE, B9

Visit us online at thehoya.com/sports

he head coach of the Los Angeles Rams, Jeff Fisher, announced on Tuesday that the elusive Jared Goff will finally start in Week 11, and that former quarterback Case Keenum is now officially benched. After weeks of frustration and multiple sports columns expressing doubts about Fisher’s quarterback decisions — mine included — Fisher finally decided it was time to solve the problem of Goff.

In addition, Dallas Cowboys quarterback Tony Romo officially conceded the starting quarterback position to rookie Dak Prescott during an emotional monologue read at the Tuesday press conference. Romo, after breaking a bone in his back during preseason play, was expected to return to the Cowboys this coming weekend.

But with an unstoppable 8-1 record with Prescott on the field, it became clear that Prescott, not Romo, should be leading the Cowboys to a playoff berth this season.

Romo and Keenum have, of course, extremely different circumstances. Romo was watching Prescott succeed from the bench while recovering from injury; Keenum was throwing intercep-

tions in London while Goff waited in the wings.

But what the two have in common is the extreme grace they personified in losing the starting position. This week in the NFL, two men illustrated the epitome of sportsmanship both in public and in the locker room.

Romo’s press confer-

The way that Romo and Keenum handled losing their starting spots exemplifies good sportsmanship. ence is a must-watch. He didn’t answer any questions, he didn’t make any excuses and though he read a prepared statement, his words were sincere and laden with his own passion for the game of football and the Cowboys as an organization.

He took viewers through his own personal struggle, as a “kid just starting out and wanting to be part of something bigger than myself.” He talked about how he believed Prescott has See CHRISTOVICH, B9