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�There is little doubt a game of this magnitude will present an early season challenge for us, but one that hopefully will make our team better as the season progresses,� UO coach Chip Kelly said in the statement announcing the agreement, which was reported earlier Tuesday on registerguard.com.
The agreement between the Ducks and Spartans calls for Michigan State to play at Autzen Stadium in 2014, and for Oregon to travel east the following year. Michigan State announced the dates as Sept. 13, 2014, in Eugene, and Sept. 12, 2015, in East Lansing, Mich., though those haven�t been confirmed by Oregon.
The Ducks and Spartans have met four times before, with each winning at home during a two-game series in 1979-80 and again in 1998-99. Over the last decade-plus the Ducks have also played home-and-home series with Big Ten members Purdue, Michigan and Wisconsin.
Since Mark Dantonio took over as head coach at Michigan State in 2007, the Spartans are 44-22 overall, including 1-4 in bowl games. The last two seasons each have featured 11 wins, including a bowl victory in January.
Stanford and Northwestern also will provide a preview of the future Pac-12/Big Ten matchups, having agreed to a home-and-home series in 2015-16.
Oregon has struggled of late to keep prominent nonconference home-and-home series on future schedules, with planned matchups against both Kansas State and Georgia dissolving in recent years. The Ducks did make a trip to Tennessee in 2010 that the Volunteers will return in 2013.
But in order to play another national powerhouse in 2011, the Ducks had to agree to face LSU in Arlington, Texas, a neutral-site game in name only. The 2012 schedule lacks a major nonconference foe, with the Ducks facing Arkansas State, Fresno State and Tennessee Tech prior to entering Pac-12 conference play.
In 2013, the Ducks currently plan to open at Nevada before facing the Volunteers and Idaho at home.
Along with Michigan State, the Ducks have future home-and-home agreements with Wyoming and Texas A&M. Oregon plans to host Wyoming in 2014 the week before facing the Spartans; the Ducks� return trip to Wyoming was scheduled for the following year.
Oregon and Texas A&M have an agreement to play in 2018 in Eugene and in 2019 in College Station, Texas. It�s unknown how the future series of planned matchups between Pac-12 and Big Ten teams might affect that series.
Samantha Stahla and Andrew Brooks, both of Fayetteville, N.C., were married Aug. 8 at Brooks’ residence in Fayetteville, N.C. The Rev. Robert Polson officiated.
Parents are Randy and Susan Stahla of Greeley and Dan and Marlene Brooks of Gonic, N.H.
Stahla graduated from Union Colony Preparatory School. She is a homemaker.
Brooks is a sergeant in the U.S. Army and will be deployed to Seoul, South Korea, for two years in May 2010. Samantha will be going with him. When they get back to the United States, they hope to move back to northern Colorado, where Samantha is from.
The newlyweds are at home in Fayetteville, N.C.
Sunday’s decision by the Motion Picture Academy to award an Oscar for best picture to Green Book has been met with a furious backlash from large sections of the political establishment, academia and official cultural circles.
The New York Times, Los Angeles Times, Washington Post, ABC and NBC all declared with one voice that the Academy had made an unpardonable mistake in selecting the film for the highest honor because of its “retrograde” views on race and the racial identity of the people involved in its production.
The film’s central crime, the critics declare, is the view that racial prejudice is a social problem that can be solved through education, reason and empathy, and that racial hatred is not an essential component of the human condition.
The backlash against Green Book is racist and right-wing in character. It comes from sections of the middle class that see the promotion of racial narratives and racial animosity as being vital to their social interests, and from a Democratic Party that sees working class unity as an existential political threat.
In Green Book, acclaimed classical and jazz pianist Don Shirley (Mahershala Ali) hires a working class Italian-American man, Tony Vallelonga (Viggo Mortensen), to serve as his driver and bodyguard in a musical tour through the South. Shirley, a classically trained pianist, sees the tour as a blow to segregation. He endures countless insults, slights and police harassment, finally canceling the last show of his tour because he is not allowed to dine in the same restaurant as his listeners.
During the tour, Vallelonga acquires not only immense respect for Shirley (“He’s like a genius”), but develops a close friendship with the musician. The “doc” introduces the bigoted former garbage truck driver to classical music and jazz. Shirley teaches Vallelonga to express himself in letters that melt his wife’s heart. After Vallelonga punches a police officer who calls him a “n****r w*p,” Shirley explains to Vallelonga the need for dignity and composure in the struggle against oppression.
Green Book succeeds precisely because it draws its characters as individuals, not as racial stereotypes. Shirley is a highly cultured artistic genius who was invited to study at the Leningrad Conservatory at the age of nine. Vallelonga is not a “white man,” but a man—one who is as warm-hearted as he is uneducated.
It is, in fact, a remarkable film, with a heartfelt, elevated comedy reminiscent of Charlie Chaplin. It is a “popular” movie in the best sense, addressing lofty social and political ideals without pretension, in a way that is approachable and appealing to a mass audience.
The press, however, treats its warm reception as nearly criminal.
He goes on to state: “It reduces the long, barbaric and ongoing history of American racism to a problem, a formula, a dramatic equation that can be balanced and solved.” In other words, racism is an insoluble problem which can never be overcome.
Writing in the New York Times, Brooks Barnes calls the film “woefully retrograde and borderline bigoted."
In contrast to the Green Book, Barnes extols Black Panther, a blockbuster superhero movie glorifying a fictional African ethno-state called Wakanda.
What is the “transformation” of the academy that the Times wants to see?
It is, first of all, to make racial essentialism, and the stereotypes, political reaction and artistic garbage that flow from it, a precondition for films receiving awards. Films depicting humane relations between people of different races are henceforth to be banned.
This “transformation” would introduce a race test for films, with awards being given out not on the basis of the quality of the work being evaluated, but of the skin color of the people who produced it.
Where does this lead? Why not establish two different academies and sets of awards—one for best “black” film, and one for best “white” film? And why stop at film? Why not have separate schools and colleges? Why not separate drinking fountains?
The sickness of racism is gripping substantial sections of the upper-middle class and dominant sections of the political establishment, academia and official cultural commentary. The top 10 percent of society, immensely jealous of the vast wealth piled up by the financial oligarchy yet fearful of the masses, sees in racial and identity politics a way of pursuing its social interests not only against those above, but, more importantly, against those below.
This racist view of politics has been invested with tremendous political significance and has become the central electoral strategy of the Democratic Party, which fears above all any effort to unite workers of different nationalities in a common struggle.
BAKU, Azerbaijan – An Azerbaijan Airlines passenger plane with 23 people aboard crashed on the Caspian Sea coast and all aboard were believed killed, a police official said early Saturday.
The police duty officer in the Sabunchi region north of the capital, Baku, said the plane's wreckage was found along the shore. He declined to give his name because he was not authorized to act as a spokesman.
The plane disappeared from radar shortly after takeoff from Baku's airport en route to Aktau, Kazakhstan, on the other side of the Caspian, two airport employees told The Associated Press. Both said there were 18 passengers aboard and one said there were also five crew members.
Both Baku and Aktau are centers of the thriving Caspian Sea oil industry, which has attracted substantial foreign investment. There was no immediate indication whether any Westerners were aboard the plane.
V. C. J. Perera, or Jayantha Perera as he is called by friends, has worked in tourism for over three decades, but he is better known to many as an astrologer. While astrology has its critics and adherents, he may be best known in that sphere for his association with the Kandalama Hotel.
Its construction was based on a calculation by him and went on to become a success despite getting off to a very rocky start.
Angoda sita Romayata (From Angoda to Rome) is a biographical account of his life travels. Fresh out of school, Jayantha Perera travelled to Italy.
"It also includes a glossary of 700 Italian words and their meanings in Sinhala The book includes many photographs, in both colour and black and white"
He was prompted to do this, naturally enough, by an astrological prediction. It seems almost beyond belief that in 1975 when he landed in Rome, Sri Lankans could enter Italy and spend up to a month without a visa.
The book starts with details of his family life, school days at Wesley College and Ananda College, Colombo, and provides an interesting account of what it was like to leave one’s country of birth with very little money (due to currency restrictions of the era) and what it was like to an Asian in Europe.
It also includes a glossary of 700 Italian words and their meanings in Sinhala.
From 1975 to 1976, Jayantha Perera lived in England. After returning to Sri Lanka, he worked at computer jobs until starting his career as an Italian and English-speaking national tourist guide in 1988, which he continues to this day.
The book contains his experiences in tourism, not all of it positive. Throughout the book, he engages in a debate of how chance and fate play a part in one’s life, including chance encounters with people which can change one’s destiny.
The book includes many photographs, in both colour and black and white.
It is priced at Rs. 350 and is published and distributed by Ora Lanka Publishers, 187, Delgahawatte, Angoda.
"The book contains his experiences in tourism, not all of it positive. Throughout the book, he engages in a debate of how chance and fate play a part in one’s life, including chance encounters with people which can change one’s destiny"
Looking for quirky characters, upbeat songs, and touching messages? Look no further than A.Y. Jackson Secondary School’s comical production of The Addams Family: A New Musical Comedy.
Based on the cartoons by Charles Addams, The Addams Family: A New Musical Comedy was released in 2009, and written by Marshall Brickman and Rick Elice, with music and lyrics by Andrew Lippa. The story follows the morbid Addams family, as Wednesday Addams falls for an overly ordinary boy, Lucas Beineke. The Beinekes are invited to dinner by Wednesday, and the dinner quickly goes awry, as the two families immediately discover they are nothing alike. Wednesday and Lucas experience the indecisive trials of young love, as most do, but once overcoming their complications with each other, their love eventually forces the families to accept each other, as each family member gains some much-needed self-knowledge.
Brett Riddiford gave a thrilling performance as Gomez Addams, portraying the fatherly character with a comforting love for his family and a comical anguish as he watched his daughter growing up, all the while continuing to have an entertaining accent, and singing with a strong tenor voice. Wednesday, played by Mary-Lisa Nefedova, brilliantly showed Wednesday’s intimidatingly dispassionate character, but also her growing sensitivity to Lucas. Nefedova’s powerful soprano voice was impressive in the upper ranges, with clearly articulated diction throughout. Moreover, Megan Hooper’s chilling portrayal of Morticia Addams was confident and impressive, conveying the gruesomeness of the motherly role with finesse. Playing Wednesday’s little brother, Pugsley, Josh Alcantara created a childlike, impish atmosphere around himself when onstage. Similarly, Paige Watson kept the audience in tears of laughter with her hysterical role as Grandma.
Josh Alcantara, performs as character Puglsey Addams (L), Ryan Hooper, performs as character Mal Beineke (2nd L),Cam Wissing, performs as character Lucas Beineke (3rd L),Olivia Westland, performs as character Alice Beineke (Centre), Paige Watson, performs as character Grandma (3rd R), Sam May, performs as character Soldier (2nd R), Kevin Anderson, performs as character Fester Addams (3rd R), during AY Jackson High School’s Cappies production of the play The Addam’s Family, on April 24th, 2015.
The makeup team, consisting of Monica MacFadyen, Hannah Anderson, and Lianne Heath, outdid themselves on each and every character’s hair and makeup. For example, Morticia’s makeup, including blood red lips and smoky eyelids, elevated her ghoulish role in the unwholesome family. The various generations were well depicted through makeup and hair, with the older members looking realistically aged and the younger members retaining a fresh, youthful appearance. Likewise, the slicked hair of Gomez and the subtle “baldcap” of Uncle Fester were also professionally conceived and integrated into the characters’ looks.
The sets, created by Carmen Hicks, Jordan Cunha, and Jake Taylor, were intriguing and creatively supported the theatricality of the musical. There were rolling flats with the interior of the house painted in red, highlighted with interesting touches of décor, such as family portraits of various generations. The reverse side of the flats depicted a dungeon-like atmosphere with more dismal touches of colour painted to resemble bricks and mortar. The chorus, dressed as the dead ancestors of the current Addams members, did a seamless job of transitioning sets and occasionally holding smaller set items like painted trees and even a bus sign. This provided an interesting texture when the ghostly ancestors were required to chime in on musical numbers with the backup vocals, as their voices would seemingly emanate from the sets themselves.
When you’re an Addams, you’ve got to be ready for graveyard ghouls and un-dead servants. But when you’re a part of the A.Y. Jackson S.S. cast and crew for The Addams Family: A New Musical Comedy, you’ve got to be ready for graveyard ghouls, un-dead servants, musical numbers and more!
The well-known story of The Addams Family, created by cartoonist Charles Addams, has been around for 77 years, as it was first created and published as a series of comic strips in 1938. This adaptation of the original comedy, The Addams Family, follows the story of Wednesday Addams as she invites her comparatively normal love interest, Lucas Beineke, and his family for dinner with her not-so-normal family. The Addams and the Beinekes have their obvious differences and spend the entire evening dwelling on them. As Wednesday later confesses that she will be marrying Lucas, the two families swing into chaos.
A.Y. Jackson took to this theatrical performance with determination and dedication, to result in a sidesplitting performance that kept the audience thoroughly entertained. Actors made excellent use of the stage and room, as actors were often seen in the aisles. The show was filled with ghoulish choreography, witty humour and impressive behind the scenes work that polished this act into a work of art.
Brett Riddiford had the perfect amount of chemistry with every one of his fellow actors/actresses, which resulted in a sidesplitting portrayal of the father of the Addams family, Gomez Addams. As the story progressed, Mary-Lisa Nefedova, playing Wednesday Addams, proved to the audience that she could keep her cynical character perfectly intact, even in the funniest of moments. Keeping the crowd entertained was Kevin Anderson, playing Fester Addams, a delusional uncle who was set on making sure Wednesday was going to be able to wed.
Megan Hooper as Morticia Addams, the mother of Wednesday Addams, brought many impressive vocal performances into the spotlight such as “Just Around the Corner” which also featured a dance number with Death, played by Josh Alcantara. Helping out between scene changes and adding humour to the musical were the un-dead members of the Addams Family, The Ancestors. Emma Ahern as the 20s Flapper Ancestor led in a solo dance that impressed the crowd. The Ungrateful Dead Zombie Pit Band, conducted by Megan Holzhuter, not only played all of the scores fairly well during the musical but also acted their part as zombies at the same time, a difficult feat to accomplish.
Makeup was very well done for the majority of cast members, to add a more realistic feel to the characters. The set portrayed the goofy cartoon vibes of a musical, with many touches of Addams Family decor. Painted by cast members, the set was completed by a team led by Caleigh Hartery and Emma Ahern (who also played two of the Ancestors onstage). Spotlights were employed extremely well, as they moved seamlessly with the characters on stage and in the aisles. Gels were used sparingly in lighting, but were very effective when used during numbers such as “The Moon and Me”.
The students of A.Y. Jackson Secondary School put on a superb musical show, accompanied by live music and a continuous stream of laughter from the audience. Finishing with a standing ovation, The Addams Family: A New Musical Comedy was a hit with all.
Sijyl Fasih, Critic, Elmwood School.
Love and trust: the pillars to a successful marriage. These pillars, however, begin to shake when a daughter’s wish leaves her father torn between his child and his wife. Hilariously depicting the plight of both a father and a husband was the cast and crew of A.Y. Jackson Secondary School in their rendition of The Addams Family: A New Musical Comedy.
Written by Rick Elice and Marshall Brickman, The Addams Family: A New Musical Comedy brings back the devilishly delightful lives of the Addams. Wednesday Addams has grown up and fallen in love with a sweet young man named Lucas Beineke. Both lovers decide to marry, yet have not even met each other’s families. And if that weren’t upsetting enough, Wednesday discloses her secret to her father, begging him not to tell anything to her mother. Gomez Addams must now do something radical— keep a secret from his wife, Morticia.
Brett Riddiford served as the highest point of comic relief in the role of Gomez Addams. While maintaining a clear Spanish accent for the entirety of the performance, he embodied the role’s comic characterizations through flamboyant facial expressions, zany mannerisms, and exaggerated character blocking. Mary-Lisa Nefedova’s withdrawn body language around her parents embodied the gloom and teenage rebellion of Wednesday Addams. Nefedova’s breakout solos also featured passionate melodies that testified to her sworn love for Lucas.
Other key performances included Kevin Anderson, portraying Wednesday’s caring uncle, Fester. Present during all set transitions, Anderson’s body language gave the illusion that he was orchestrating the transitions through magic, contributing to the surrealism of the comedy. Megan Hooper, whilst playing Morticia, kept a morale that demanded praise from the entire cast. Jacob Taylor portrayed the zombie butler, Lurch, with subtle mannerisms that left that audience roaring with laughter.
Emma Brown, performs as character Jilted Bride (L), Emma Ahern, performs as character 20’s Flapper (2nd L), Lianne Heath, performs as character Spanish Conquistador (3rd L), Sam May, performs as character Soldier (4th L), Megan Hooper, performs as character Morticia (centre L), Brett Riddiford, performs as character Gomez Addams (Centre R), Maddie McKerrow, performs as character 60’s Hippie (3rd R), Priya Sarwal, performs as character Puritan (2nd R), Caleigh Hartery, performs as Riverboat Gambler (R), during AY Jackson High School’s Cappies production of the play The Addam’s Family, on April 24th, 2015.
Josh Alcantara, in the role of Wednesday’s younger brother, Pugsley, showed talent and expertise in the art of dance. Even when performing a lyrical solo to “What If”, he maintained proper dancing posture alongside the quirkiness of his persona. Alcantara’s versatility was also present in the numbers “Just around the Corner” and “The Moon and Me”, in which he played Death and the Moon.
Led by A.Y. Jackson student, Megan Holzhuter, each member of The Ungrateful Dead Zombie Pit Band performed with conviction and strength, battling challenging scores with competence. Despite a few intonation lapses, the instrumentalists ably complemented the vocalists through a well-maintained sonic balance.
Of course, no production is complete without a dedicated crew. The make-up consisted of well-blended facial pallor and dark, cynical contouring, which depicted the family’s morbid circumstances. The show’s lighting scheme followed a period of dimness during set transitions and the illumination of the stage upon the snap of Fester’s fingers. The lighting crew adhered to this decision, executing it with precision. As for the set, double-sided and mobile wooden panels created the Gothic aura of the Addams Family estate; the eight Ancestors performed each transition with finesse.
Although undertaking a challenging task, A.Y. Jackson Secondary School’s cast, crew, and student led band gave an entertaining and family-oriented performance of The Addams Family: A New Musical Comedy.
It’s often said that marrying someone entails marrying their family. What if that family included an un-dead butler, a little boy with a taste for torture, and a grandmother who spends her days toiling over a cauldron? A. Y. Jackson Secondary School’s production of The Addams Family: A New Musical Comedy hilariously explored such a situation and such a unique family.
With music and lyrics by Andrew Lippa, and a libretto by Marshall Brickman and Rick Elice, The Addam’s Family: A New Musical Comedy first premiered on Broadway in 2010. The plot revolves around the reaction of the offbeat Addams family to the worst of all possible news; Wednesday Addams is in love with a normal boy! In an effort to support his daughter, Gomez Addams, the patriarch of the clan, invites the boy, Lucas Beineke, and his parents over for “One Normal Night”. What follows is a series of missteps and musical numbers as the Beinekes get to know the creepy kooky family with a taste for the macabre.
Mary-Lisa Nefedova portrayed Wednesday Addams as a young woman being torn apart by her loyalties. Nefedova’s powerful vocals cut through the air, conveying her character’s inner turmoil in her show stopping solo “Pulled”. Brett Riddiford played Gomez Addams with Spanish flair and panache. Riddiford committed his entire person to every joke, throwing himself about the stage like a ragdoll.
Megan Hooper captivated the audience with her aloof characterization of Morticia Addams, the matriarch of the family. Josh Alcantara delivered a well-rounded performance as Pugsley Addams, Wednesday’s precocious younger brother. Alcantra sold broad comedy, musical numbers, and multiple dance solos. Olivia Westland gave a professional quality performance in the role of Alice Beineke, Lucas’ mother. Westland brought the show to a whole new level of hilarity with her frenzied rendition of Waiting.
Thanks to the hard work of stage manager Mitchell Reed and the Addams Family Ancestors, who played double duty as chorus and crew, the show ran without a single hiccup. The pace was steady throughout, the scene changes were smooth and efficient, and each lighting and sound cue was perfectly timed. The original choreography by Caleigh Garbutt and Allison Hodgins was both aesthetically pleasing and germane to the narrative. Garbutt and Hodgins incorporated a wide variety of styles into their choreography from tap, to ballet, to tango, to classic musical theatre. The set, designed by Carmen Hicks, Jordan Cunha, and Jake Taylor, was versatile and easy to manoeuvre.
The students of A. Y. Jackson Secondary School successfully brought the eccentric Addams family to life with superb performances and precise technical elements. The Addams Family: A New Musical Comedy left the audience wishing they could Move Toward the Darkness with the Addams clan.
The last thing you’d ever expect to hear regarding the Addams Family is “normal,” but that’s exactly what you get – or as close as it can get to normal – when Wednesday brings a regular old family home for dinner. The Addams Family: A New Musical Comedy is a new twist on the classic cartoon tales of the Addams family, based on the later Broadway musical version, and skilfully performed by the students of A. Y. Jackson Secondary School.
Hidden in the heart of Manhattan’s Central Park lies the Addams Family estate, where the entire clan, both living and dead, gather, and where we are first introduced to the notion that Wednesday Addams is in love. Her Uncle Fester is overjoyed, and, along with their family ancestors, he feels determined to help young love triumph. Fester and the Ancestors have their work cut out for them, however; the two families are polar opposites, and though each one promises their child a normal night, things quickly take several unexpected turns.
Brett Riddiford played Gomez Addams, the suave Spanish patriarch of the family. Riddiford proved himself a versatile actor throughout the play, being able to snap between the melodramatic, pleasing eccentric who was the source of much of the production’s humour, and the strong, passionate husband and father who could evoke heartfelt bonds between himself and his fellow actors. This was most apparent in a scene where he was comforting his daughter Wednesday through the song “Happy Sad”. Both of them garnered great emotional responses with their performances. Mary-Lisa Nefedova portrayed Wednesday Addams; she maintained the stony expression and mannerisms that are so characteristic of the role for the duration of the play. Along with having a powerful and well-supported voice, she cut a strong figure on-stage.
Mary-Lisa Nefedova, performs as character Wednesday Addams (L), Emma Ahern, performs as character 20’s Flapper (2nd L), Sam May, performs as character Soldier (3rd L), Josh Alcantara performs as character Pugsley Addams (centre), Lianne Heath, performs as character Spanish Conquistador (2nd R), Caleigh Hartery, performs as Riverboat Gambler (R), during AY Jackson High School’s Cappies production of the play The Addam’s Family, on April 24th, 2015.
Kevin Anderson saw a lot of stage time as Fester, Gomez’s brother, and the puppet master of the night. He was often seen on-stage guiding the movements of the Ancestors – ghosts who doubled as the stage crew for the production. Olivia Westland, as Alice Beineke, was rarely unnoticed while on-stage. Her timing was precise and she maintained her character well even through the uncharacteristically strong emotions that Alice experienced. Megan Hooper, portraying Morticia Addams, was commanding and powerful in her role, and sported a strong voice in song and in dialogue.
Although working with minimal equipment, Gavriel Rodriguez and Jessica Dahanayake were able to effectively light the stage and regulate the sound from the microphones of the cast, as well as several sound effects. The set design was simple and effective. The hair and makeup were done well, especially when they were used to age the actors. With so many actors on stage, the choreography team deserved praise as well for their dance numbers and overall coordination of the cast.
The Ungrateful Dead Zombie Pit Band performed well, offering very pleasant melodies before each act and to each song, in addition to providing many of the sound effects during the show. Megan Holzhuter conducted the band, and her co-band director, Naryan Shukle, orchestrated the music.
Powerful musical numbers, complex choreography, and emotional connections on stage that came straight from the heart characterized A. Y. Jackson’s performance of The Addams Family: A New Musical Comedy. This, along with on-point comedy throughout the show, brought the audience to its feet in a well-deserved ovation.
The production at A.Y. Jackson Secondary School was reviewed by 32 critics representing 12 schools. The critic discussions were mentored by teacher Allyson Weatherdon of Sacred Heart High School and student reviews were edited and selected for publication by teacher Joan Strong of Bell High School, who could see only the reviews, not the names or schools of the reviewers.
Next review: Redeemer Christian High School’s production of A Midsummer Night’s Dream.
The Citizen and 38 high schools are participating in the Cappies, a Washington, D.C.-based program that uses high school critics to review high school theatre. The program is a unique partnership between the Citizen, the Ottawa-Carleton District School Board and the Ottawa Catholic School Board. Three schools from other boards in the region and four private schools have also joined. The four winners of the lead acting categories will receive a bursary provided by the national law firm Gowling Lafleur Henderson LLP. Follow the Cappies on Twitter @OttawaCappies.
Louisville men's basketball crushed Simmons College of Kentucky in the Cards' final preseason tuneup Saturday at the KFC Yum Center.
Ahead of the Louisville men's basketball team's exhibition game versus Simmons College, Louisville coach Chris Mack called Simmons' style of play "unpredictable."
But Mack and his team seemed to have the Falcons' number Saturday as the Cardinals cruised to a 90-41 victory at the KFC Yum Center in the final preseason tuneup before Thursday's season opener.
Simmons made two quick baskets to go up 5-0 before Louisville went on a 13-0 run over four minutes to take full control before the first media timeout. The Cardinals allowed just 7 more points in the first half.
Louisville stuck with the same starting lineup it used in last week's exhibition against Bellarmine: Christen Cunningham, Darius Perry, Jordan Nwora, V.J. King and Steven Enoch.
Enoch led Louisville in scoring with 16 points and four rebounds, and four more Cards scored in double figures.
Mack said at his press conference Friday that Louisville's defensive progress is "75 to 80 percent" complete and that he wanted to see more communication and better positioning.
Mack did a lot of the communicating himself Saturday, screaming "Hands!" to remind his players to block passing lanes while pressuring the ball.
The first few defensive possessions against Simmons were rocky, but Louisville cleaned it up and held the visitors to 21-percent shooting. The Falcons' 41 points are the fewest the Cardinals have allowed in an exhibition since 2000 (the oldest game score provided in Saturday's game notes).
On offense, Mack advocated for quick ball movement and smart passes. For the most part, he got it. Louisville finished with six turnovers and 25 assists on 32 made field goals.
"Six turnovers, I think any coach will take that," Mack said. "You move the ball, you do what the game tells you to do. I think we have a together group that wants to play the right way. Our execution isn't always the best, but good teams hit the open man. I thought tonight we found our inside guys a lot more than we did against Bellarmine, who crowded the paint a lot more as well."