The Hoya, founded in 1920, is the oldest and largest student newspaper of Georgetown University in Washington, D.C., serving as the university’s newspaper of record. The Hoya is a twice-weekly, student-run paper that prints every Tuesday and Friday and online regularly throughout the year, with a print circulation of 6,500 during the academic year. The newspaper has four main editorial sections: News, Opinion, Sports and The Guide, a weekly arts and lifestyle magazine. It also publishes several annual special issues including a New Student Guide, a basketball preview and biannual food and fashion issues.
The Georgetown University Law Center announced Monday it will allow applicants to submit their scores on the graduate school entry exam, becoming one of four programs to offer an alternative to the once-mandatory law school aptitude test. The administration hopes the new policy will open the school’s doors to a more diverse pool of applicants, especially those considering other graduate programs. The announcement comes just over 18 months after the University of Arizona’s law school became the first to offer the GRE as an alternative to the LSAT in 2016. Georgetown Law now joins Arizona Law, Harvard Law School and the Northwestern University Pritzker School of Law, which announced the shift just hours before Georgetown. An Arizona Law study found the GRE was as good a predictor of law school success as the LSAT, and its results were later corroborated by studies at each of the other three schools. Law applicants have long lamented the limited testing schedule of the LSAT ― just four test dates are offered each year, while the GRE can be taken at any time on a computer. Moreover, the $118 registration fee and the cost of preparation can be enough to deter some students, particularly those who already have to take the GRE for other graduate programs, according to the press release announcing the new policy. “We believe this change will make the admissions process more accessible to students who have great potential to make a mark here at Georgetown Law and in successful legal careers, but who might find the LSAT to be a barrier,” Georgetown Law Dean William M. Treanor said in the release.
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Title sequences serve an important role beyond simply introducing the cast and crew of a TV show. Rather, they have the unique ability to pique a viewer’s interest in watching the show, and in some cases, even foreshadow the events of a given episode. The most successful TV intros are the ones that manage to capture the show’s essence in just a matter of seconds, keeping audiences not just interested in the show, but curious to see what direction it takes. There are many TV intros that I have come to love and can immediately recognize by their sounds or visuals. Among these are the opening sequences of popular sitcoms like “Friends,” “The Fresh Prince of Bel-Air” and “Seinfeld,” which are known for their iconic theme songs, as well as “Community” and Netflix’s “Grace and Frankie,” which have memorable animated intros. Although these comedies have some of the catchiest and most visually entertaining intros on television, my favorite opening credits belong to dramas. These are my picks for the best dramatic opening credits on television.
COURTESY HBOMy inspiration for this column, the “Game of Thrones” theme is a masterpiece: The song, dramatic and dark, somehow manages to capture the essence of the show in just under two minutes. Iranian-German composer Ramin Djawadi composed the piece specifically for the show, and the result of his work is perfection. The theme is developed around a simple yet powerful cello arrangement, and has been replicated countless times in popular culture. The visual component of the intro is also well-thought-out; it is essentially an animated journey through the show’s mythical world, Westeros, and focuses on the locations relevant to certain episodes.
COURTESY HBOAlso composed by Djawadi, the beautiful, eerie, string-laden theme of HBO’s “Westworld” plays over a detailed animated sequence that shows viewers the meticulous process of making the humanoid robots that inhabit the show’s setting, a high-tech futuristic theme park. It is incredibly satisfying to be able to see how the show’s main characters come to life on screen. One of the sequence’s best moments is a chilling shot of an android’s hands playing the theme song on the piano. Although rather minimalistic in terms of its sound and visual effects, the “Westworld” intro is remarkably evocative; as viewers watch, they may find themselves contemplating deep ethical and existential questions of whether or not the video’s subjects, the androids, are real, sentient beings, as well as what it means to truly be alive. The show’s opening credits perfectly set viewers up to embark on a thrilling sci-fi adventure.
COURTESY HBOThe “True Blood” title sequence is incredibly captivating and well-made — in fact, it was nominated for the Emmy Award for Outstanding Main Title Design in 2009. The intro was developed by Digital Kitchen, an independent film agency, and features “Bad Things” by Jace Everett, a classic country track that highlights Everett’s deep, smooth voice and Southern twang. The intro’s audio pairs perfectly with its imagery; the video intersperses shots of decaying animals, the bayou and the Deep South, which is where the show takes place, with raunchy and gory glimpses that may make you do a double take. The title sequence for “True Blood” is just as edgy and dark as the show itself, and will intrigue, excite and perhaps even frighten its viewers all at once. Other television intros worthy of honorable mentions are “Narcos,” “Orphan Black,” “Mad Men,” “The Walking Dead” and “Hannibal.” Although these title sequences are critically acclaimed for their visual effects and music, they deserve recognition for something far more important: keeping viewers invested in and passionate about what they are watching. So as you tune into the next episode of your favorite TV show, take note of its title sequence; whether it is just a quick, minimalistic intro or an audiovisual masterpiece, it is sure to grab your attention — and keep it. Claire Nenninger is a senior in the College.
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It is often a lonely endeavor for artists, even those who have college degrees, to map a successful journey through the art industry. This is the result of art departments facilitating art practices without producing viable workers; of archaic perspectives that do not classify many art practices as work; and of elitism in labor practices in the arts. This week I spoke with professional artist Brent Fogt (MSFS ’85) in Chicago about his experiences in academics and the arts. Fogt’s story highlights the need for educational and professional programs that can help artists identify and pursue potential employment opportunities. After graduating from Georgetown, Fogt worked at the US Department of Commerce under the Presidential Management Internship program. While working there, he began spending lunch breaks at various D.C. museums that were walking distance from his office. This unstructured exposure to art institutions eventually inspired him to shift focus from political science to the arts. Fogt attained his Bachelor of Fine Arts in 1997 from the University of Texas College of Fine Arts. He appreciated how the program exposed him to art history in addition to studio practices. Georgetown also recognizes the importance of both fields and merged the two disciplines in 2007, creating today’s Art & Art History Department. Fogt subsequently pursued graduate studies at the University of Michigan’s Stamps School of Art and Design. His practice then took him to Jackson, Miss., as an Assistant Professor of Art at Millsaps College, and in 2010, he moved to Chicago. The 21st century art world does not have clearly defined paths to employment, similar to disciplines like political science. Fogt and his classmates in the arts were encouraged to be entrepreneurial in order to succeed, even if that meant engaging with the work force outside of the arts. Many university art departments do not describe themselves as pre-professional programs. Though they might include professional development components, many prefer to stay inside the ivory tower to facilitate individual insights and discoveries without the confines of social or financial realities. This choice offers several advantages. First, creative practices benefit from an intellectual environment not shaped or evaluated by deliverables or political trends. Second, students need to establish a minimum level of personal awareness and priorities before accurately identifying their roles in the industry at large. However, the confines of the ivory tower also impose certain limitations. The arts are one of many sectors in the economy where readily accessible paths to sustainable long-term work opportunities are both few and elusive. Even superlative academic training often leaves artists to independently build a functional career. The reality is that many give up. This is not an efficient model. Resources are used to train and prepare people in the arts but not how to work in the arts. This problem is compounded by a cultural resistance to recognizing artists as workers and art as something of communal value. It would help if artists and academics worked to replace that narrative with one that duly places the arts alongside other professions that effect political, economic, social and communal lives and institutions. One way to achieve this is to balance the ivory-tower environment with real-life training. Education for some professions already works this way. Pre-law and pre-medical programs pair classroom instruction with internships and residencies to facilitate the transition from the classroom to the workplace. Art departments should develop a version of this model. Transitioning from the classroom to a job in the arts, however, hinges on a broader cultural recognition of the artist as a worker. Current econometrics fails to classify many art practices as labor, reflecting choices and traditions that need to be challenged. For instance, gross domestic product growth typically infers improved well-being. However, treating victims of a train wreck or health problems caused by urban pollution increases GDP, without prompting a celebration of train wrecks or health problems. Artists are among numerous labor groups undervalued because excessive reliance on neo-liberal econometrics distorts the perceived value of their work. Sustainable work options for artists are also limited because of the art industry’s winner-take-all mindset. Other industries, sports for example, also often reward only the most famous or highest-achieving. Though the quality difference between some artists’ work might be negligible, the difference in income or financial stability might be colossal. To redress this inequality will require a broad cultural shift from elitist to democratic practices and, again, the experts — artists and academics — should shape the campaign. Fogt appreciates his time as a student of the arts because it pushed his work to new levels and taught him the value of being entrepreneurial in the 21st century art economy. He assesses himself by using both external and internal criteria. He considers participation in exhibitions, residencies and workshops as confirmation of his status as a professional artist. He also considers it affirming when working on his art brings him joy. Fogt started a BOLT studio art residency at the Chicago Artists Coalition this July. This yearlong residency will allow Fogt to create new works and expose him to local critics and curators, as well as the work and processes of the other residents. This exposure will advance both his production as an artist and his career as a worker. Programs like these are important for helping those who work in the arts to find viable options for employment. To learn more about Fogt’s work, visit his website. Bruce McKaig is a professor in the Art & Art History Department at Georgetown University.
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If only Vin Scully had stayed one more year. Results of Monday’s trade deadline reinforced the already strong possibility that the Los Angeles Dodgers could finally make it to the World Series. The Dodgers snagged one of the most coveted players on the market, right-handed pitcher Yu Darvish, from the Texas Rangers within the last few minutes before the 4 p.m. deadline. With the arrival of Darvish came relief to anyone worried that the Dodgers’s Clayton Kershaw’s back injury would be a detriment to the team’s incredible record and a potential World Series appearance. Before the deadline, the Dodgers were already one of the few almost-perfect teams this year. Sluggers were plentiful. Anyone who follows baseball in any capacity knows that the Dodgers’s young phenom, first baseman Cody Bellinger, is the west coast’s response to rookie slugger Aaron Judge of the New York Yankees. Cory Seager, Chris Taylor and Justin Turner were all batting over .300 as of Tuesday, with Puig and Grandal not far behind. The Dodgers’ bullpen, too, boasts multiple ERAs under two, recently added contingency lefties, and the starting lineup included the best pitcher in baseball — what more is there to say? If the Dodgers seemed unstoppable before, they are unequivocally unstoppable now. Right? Wrong. The most valuable reason for the Dodgers’ acquisition of Darvish is not to improve upon an almost-perfect team; it is to attempt to preserve a team with an unexpected Achilles heel — Clayton Kershaw. I know, I know. Kershaw, one of the Dodgers number one assets, is their Achilles heel? Sit down and let me explain. In the regular season, Clayton Kershaw is one of the Dodgers’ greatest strengths. But in the postseason, he has been one their greatest weaknesses. From the very beginning of his postseason appearance in 2008, Kershaw has been notorious for delivering shockingly disappointing postseason performances. This is one of the main reasons that, despite the many postseason appearances as the Dodgers have made in the last decade, the Dodgers have been unable to win a single World Series title. Kershaw almost ditched his reputation last season, when he posted four wins in a row —though, really, only three should count as one of the wins came when Kershaw was used as a closer — but doubts resurfaced after another loss on Oct. 22, 2016 against the Chicago Cubs. Kershaw let up five runs, four earned, in five innings — a score that is very uncharacteristic for the ace. It is important to note however, that Kershaw’s failure in his fifth game is understandable, seeing as he pitched on short rest almost the entirety of last October. But even if Kershaw has largely ended his streak of postseason failure, he still might not be capable of sustaining short rest through the postseason. Whether or not Kershaw’s injury will throw a wrench in his rhythm remains to be seen, as even the smallest injuries can completely upset a pitcher’s mojo. Chances of re-injury are also always high, especially if Kershaw is rushed. And the postseason jitters question will remain until the beginning of the postseason. So the overall reliability of the best pitcher in baseball is lower than usually expected. While their ticket to the playoffs seems nearly guaranteed at this point, the Dodgers could never survive the postseason if they lost Kershaw to injury or postseason jitters. Yu Darvish serves a much greater purpose than being the potential second-best pitcher in the Dodgers’ starting rotation — if something goes wrong with Kershaw, Darvish will hopefully be his replacement. In the regular season, the Dodgers dominate. But in October, Los Angeles does not only need a great addition to the starting lineup and a replacement for the injured Kershaw, they need a pitcher to possibly replace the healthy ace too. The acquisition of Yu Darvish could fix the glaring mistake the Dodgers have made year after year in October, the mistake that frankly may have kept them from winning the World Series: Relying on Clayton Kershaw.
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