Aggies reach best-ever ranking of No. 2 in women’s AP Top 25
Texas A&M moved up to No. 2, its highest ranking ever in The Associated Press women’s college basketball poll, a day after winning its first Southeastern Conference regular-season title.
CHARLOTTESVILLE, Va. – Sam Hauser scored 18 points and No. 21 Virginia (16-6, 12-4 ACC) ended a threegame skid by handing Miami (7-16, 315) its sixth loss in a row, 62-51 on Monday night.
Trey Murphy III added 12 points for the Cavaliers, who took command with a 14-2 run to end the first half. Miami closed within six points several times after halftime, but each time Virginia kept the Hurricanes from getting closer.
Kameron McGusty scored 14 points and Elijah Olaniyi had 12 for the Hurricanes, who were trying to make Jim Larranaga the 16th coach to win 100 ACC games in his career. Miami scored 18 points in the paint in the first half but only eight after halftime.
The Hurricanes led 28-27 with four minutes left in the first half but Murphy and Jay Huff each hit a pair of free throws for the Cavaliers. Justin McKoy added a basket and Hauser hit two of his four 3-pointers to give Virginia a 3930 lead. A layup by Murphy made it 4130 at the break.
Big Picture
Miami: In what has been a long year for the injury-depleted Hurricanes, the last four minutes of the first half demonstrated one of their problems. They turned the ball over on four of five possessions as Virginia ran off 12 straight points.
Virginia: Coach Tony Bennett shuffled his lineup in hopes of finding a spark for his struggling team. Tomas Woldetensae was back in the starting five after missing two games because of contact tracing. Neither Jay Huff nor Kihei Clark was on the floor to start the second half.
Don’t do it, Seattle. Don’t mess around and bungle the best quarterback situation the Seahawks franchise has ever seen.
The Seahawks and face of the franchise Russell Wilson have found themselves in the spotlight in recent weeks after another promising campaign ended prematurely, and after the traditionally good soldier voiced his concerns.
“I’m frustrated with getting hit too much,” Wilson said at the Super Bowl after receiving his Walter Payton NFL Man of the Year Award. Those sentiments followed a season that saw his career sack total increase to 394 – the most in the first nine years of any quarterback’s career.
“I want to be able to be involved because at the end of the day, it’s your legacy, it’s your team’s legacy, it’s the guys you get to go into the huddle with and at the end of the day, those guys you’ve got to trust,” Wilson told "The Dan Patrick Show" shortly after the Super Bowl.
And then came the report from The Athletic outlining where the cracks in the relationship may have begun.
Frustration over criticism coaches of his shortcomings.
Frustration over a lack of receptiveness from coaches when Wilson offered input.
Frustration over a conservatively shifted approach on offense that seemed outdated and ineffective after Wilson opened the season at a blistering pace.
That only further stokes questions about Wilson’s future in Seattle. According to an NFL Network report, roughly one-third of NFL teams had contacted the Seahawks about potential trades for Wilson. The Athletic and CBS Sports reported Wilson had expressed interest in the Las Vegas Raiders, Miami Dolphins, New Orleans Saints and New York Jets as potential destinations if Seattle intended to trade him.
However, two people familiar with the thinking of Seahawks brass told USA TODAY Sports that Seattle has no intention of trading Wilson. They also said Wilson hasn’t made outright trade demands. They spoke on condition of anonymity
from
his
because they weren’t authorized to speak on behalf of the team.
That’s good news for Seahawks fans, and it’s the smart decision by a franchise that just recently awarded Wilson a fouryear, $140 million contract extension in the spring of 2019, briefly making him the highest-paid player before Patrick Mahomes and Deshaun Watson surpassed him last year.
Russell is only 32 and already the most prolific quarterback in the history of the franchise. He owns 39 of the organization’s major passing records.
He helped guide the team to its only Super Bowl victory, and the Seahawks might have won a second had coach Pete Carroll called a goal-line run play against the Patriots in 2014. Wilson ranks among the most electrifying, effective, versatile and durable quarterbacks in the league. One day he’ll have his bust unveiled in Canton.
Smart teams don’t trade quarterbacks like Wilson. Instead, they do everything possible to support and capitalize on the blessing they have in that player.
Here’s where the Seahawks have erred: Too often, they have taken Wilson
for granted. Sure, they paid him handsomely, but they haven’t done a very good job of consistently surrounding him with top-level talent. Far too often, they’ve let him run for his life playing behind a shoddy offensive line, and while backed by an inconsistent rushing attack and/or wide receivers.
Carroll, who also has final say on personnel, is known as a defensive coach. But the Legion of Boom days are long gone, and his unit also hasn’t done its part to help ease pressure on the prized quarterback.
Some around the league argue Carroll has too much power and has no one to check him on his decisions. Whether true or not, the coach has to figure out how to salvage this situation. Carroll must take a long, hard look at practices. Why is his quarterback getting hit so much? Why does his defense so easily yield yards and points? Why can’t his offense sport a more modernized look?
Carroll did make a change at offensive coordinator this offseason, and according to multiple reports, Wilson signed off on the hiring of former Rams pass-game coordinator Shane Waldron. The goal should be maximizing everything Wilson has to offer, and giving him the weapons and protection he needs to thrive.
Wilson wants input on the roster constructed around him, and part of that is because he understands he can’t effectively deliver on expectations if his support staff is lacking.
If Wilson wants to make suggestions on areas that need upgrades, the Seahawks should listen.
If Wilson wants more freedom to execute the offense according to his strengths, then why not “Let Russ cook,” as Carroll agreed to do early in the 2020 season before reverting to conservative ways down the stretch. Wilson has earned that.
For nine years, Wilson has given everything he has to this franchise. It’s not unreasonable to want assurances that his bosses are committed to building a winner with the same aggressive nature Wilson has displayed on the field.
People familiar with the situation said that as Wilson watched the Super Bowl, he noted a couple of things: How clean the Tampa Bay Buccaneers' offensive line (a unit in which the franchise heavily invested) kept quarterback Tom Brady. How Brady's organization embraced his personnel suggestions (Rob Gronkowski, Antonio Brown, Leonard Fournette). How much give-and-take both Brady and Mahomes had with their offensive coordinators.
With aspirations of following in Brady’s footsteps and playing into his 40s, and winning multiple Super Bowls, Wilson – traditionally the picture-perfect company guy – felt compelled to publicly express concerns he had previously shared privately with Carroll and team officials.
It’s believed Wilson's motivation stems from a desire to see changes implemented in Seattle. His preference isn’t to be traded, the two sources told USA TODAY Sports. They noted that Wilson has a no-trade clause, so any such move would have to come with his approval.
So now, the pressure is on the Seahawks. No, they don’t have to do anything. But they risk further alienating their biggest star, and pushing him to the point where he flat out demands a trade.
For many comedians, poets, musicians and other creatives, telling jokes, sharing stories and singing for audiences can be a cathartic experience.
Gathering for live performances has been difficult to impossible during the COVID-19 pandemic, but opportunities for artists to connect with audiences in socially distanced environments are on the rise as local comedy clubs and other venues host free to low-cost open-mic nights.
The big draw for comedy fans is the chance to see a new performer have a breakout moment or perhaps be surprised by a big-name comic using the forum to try out new material.
These metro Phoenix venues offer weekly or monthly open-mic nights.
Stir Crazy Comedy Club
At Stir Crazy Comedy Club’s Open Mic Night with Lamar Mitchell J.R., comedians can get a start, develop their comedy style or perfect their jokes. Eight spots of five minutes each are available during the open mics.
The shows also feature booked comedians, who are more experienced and get 10-minute slots. Local and outof-state comics have appeared in the show.
Host and promoter Lamar Mitchell J.R. tries to mix up the lineup each week,
bringing in new comedians with varied styles.
“We’ve been doing this show for two years and I don’t think I’ve booked the same person twice. I try to give everybody that is doing comedy that opportunity,” Mitchell said.
He said he tries to include comedians of different backgrounds, styles and material.
“I’m open to every comedian on the scene. I don’t discriminate. I don’t have my friends or my favorites that get precedence over the next person,” Mitchell said.
Mitchell, a comedian since 2014 and a promoter for other shows around the Valley, gives feedback to up-and-coming comics.
“A lot of the newer ones will talk with me after the show and ask how was their set, what they can do better,” Mitchell said.
Mitchell said that while open mics give comedians their start, they need to dedicate themselves to growing over time.
“If you are really trying to do it, you have to put in a lot of work, learning to be comfortable on the stage, learning how to deal with the nervousness. It takes a while to get to that point,” Mitchell said.
Mitchell said the open mic is a good way for people who have always wanted to try comedy to see if it is for them.
“If you’ve ever been told you were funny, if you have any type of stage presence or personality, it’s worth trying,” Mitchell said.
Stir Crazy is operating at reduced capacity, using socially distanced seating with tables for no more than 10 guests. Staff members wear masks at all times; guests must wear them when not eating or drinking. The club uses disposable paper menus and disposable utensils are available on request.
Comics can sign up starting at noon on the first Monday of each month at https://stircrazycomedyclub.com.
Details: 7 p.m. Wednesdays, March 3 and April 7. Stir Crazy Comedy Club, Westgate Entertainment District, 6751 N. Sunset Blvd., Glendale. $5. 623-5658667, https://stircrazycomedy club.com.
Lawn Gnome Publishing
Lawn Gnome Publishing hosts the Goodnight Phoenix Open Mic on Tuesdays
to let storytellers, comedians, singer-songwriters and other artists share their work that speaks to the human experience.
Each performer gets five to 10 minutes on stage, and about 10 people have taken the mic at each event. The open mics have attracted a diverse array of performers. One brought out a trombone player who did a solo.
Aaron Hopkins-Johnson, owner of Lawn Gnome Publishing, said open-mic audiences get exposed to new ideas and styles of art.
“It creates a space for safe discourse, where we can talk about ideas and themes, really change perceptions and not just be polarized in our homes or behind our screens,” Hopkins-Johnson said.
Hopkins-Johnson said many artists haven’t been able to perform live during the pandemic. The open mics allow them to get back out in front of audiences with COVID-19 safety precautions in place.
“A lot of these guys who are coming out right now, they’ve had all of this time to work on new stuff, write new songs and practice. For a lot of them, it’s a chance to perform in front of people for the first time in a year,” Hopkins-Johnson said.
He said although some performers have done livestreams and studio albums, it’s not the same as the back-andforth between artists and audiences.
“There’s this whole other religious experience, a spiritual connection with being able to perform, feeling that audience that is there watching you and then tailoring your performance to make that performance unique and special,” Hopkins-Johnson said.
Hopkins-Johnson, a spoken-word poet who has traveled the country and played as a studio musician, emcees the open-mic nights. He often starts by beatboxing and playing the harmonica or reading a poem.
Hopkins-Johnson said the open mics offer beginning artists a less intimidating space to get a start.
“If you are excited by watching poetry at the poetry slam, but you aren’t quite ready to make that leap of competing against these people and being judged by random members of the audience, the open mic is a great gateway to try to start exploring your voice,” Hopkins-Johnson said.
The open mics take place outdoors on the patio. Audience members are admitted on a first come, first served basis. Seating is socially distanced and audience members are required to wear masks when they are not drinking beverages.
covers.
Artists interested in performing can sign up at the venue starting at 6:30 p.m. on show nights or in advance by emailing lawngnomepublishing @gmail.com with the subject “Goodnight Phoenix.”
Details: 7 p.m. Tuesdays. Lawn Gnome Publishing, 912 N. Fifth St., Phoenix. Free. 602-721-9175, https://www.lawngnome publishing.com.
Performers
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New Faces of Comedy at
Tempe Improv and Stand Up Live
New Faces of Comedy is for beginners who want to get experience onstage as well as established comics who want to work out new material.
Open-mic nights are held once or twice a month at Tempe Improv and Stand Up Live in Phoenix. Twelve to 15 comedians get five minutes of stage time and are expected to bring at least 10 people to watch the show. Their guests get free admission but have to buy at least two drinks.
Producer Rob Greene said many comics get onstage for the first time at the open mic.
“It gives new comedians a chance to work the big stage and perform in front of a crowd,” Greene said.
More people have wanted to try doing standup comedy lately, he said.
“With a lot of people staying at home watching Netflix and seeing their favorite comedians’ showcases, they are wanting to be a part of it,” Greene said.
He said many new comics show natural talent during their first open mics.
“Some people are just natural performers. There’s some people who say they’ve never been onstage before, and they get out there and you can see the confidence,” Greene said.
Greene said the open mics also showcase seasoned local and out-of-town comics who headline or open for major acts. One of the events featured Carlos Mencia, who was headlining that weekend.
“Every show is unique. You never know who is going to be there,” Greene said.
Greene has watched comedians who started at the open mics develop over the years.
“I’ve had guys who I’ve seen them start a couple of years ago nervous. Their timing was off. Their jokes were so-so, and year after year they were coming back, working hard and working not just New Faces but other clubs. Now, they are to the point where they’re opening up for headliners,” Greene said.
Stand Up Live and Tempe Improve are operating under reduced seating capacity with adjustments to the floor plans to accommodate social distancing. Groups are separated by partitions between tables and parties of 10 or more are discouraged.
Guests must wear masks when not eating or drinking. Hand sanitizer is available and disposable masks are available on request. Staff members must wear masks and undergo temperature checks before their shifts.
Comedians interested in taking part in open-mic nights can email newfacesaz@gmail.com.
Tempe Improv: 8 p.m. Thursday, March 4. 930 E. University Drive. $5 admission with a two-drink minimum. 480-921-9877, https://www.tempeimprov.com.
Stand Up Live: 7 p.m. Sunday, Feb. 28, and 8 p.m. Wednesday, March 17. 50 W. Jefferson St., Phoenix. $5 admission with a two-drink minimum. 480-7196100, https://phoenix.standup live.com.