Word: fifthly
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...Yale pitching helped the cause, walking a total of eight Crimson batters.Junior Bailey Vertovez took the mound for the opening 4.1 innings, striking out three and allowing three runs off four hits, only one of which was earned. Sophomore Margaux Black appeared for two outs in the fifth and turned it over to Madick, who earned her fourth save of the year, holding the Bulldogs to three hits and no runs.Harvard scored in three of the first four frames to jump out to a 4-0 lead. Macadam contributed with an RBI single in the second and a lead...
...second round, shooting 76 and 77, respectively. Saturday had much nicer weather and the Crimson continued to roll. Balmert shot a 71, the lowest single-round score in the tournament by three strokes. Balmert entered the day in 14th, but her remarkable third round sent her roaring into fifth place. While Brigham Young University took first overall, solid second and third-round performances allowed Harvard to finish above the other Ivy League schools. Yale finished third, but was well behind the Crimson, tallying a total score that was 23 shots higher than that of Harvard. And while this is also...
...slump in the second game and went 2-for-3 with two walks, two RBI, and two stolen bases. Freshmen Tyler Albright and Sean O’Hara also came alive for the Crimson with multi-hit games in the middle of the order. In the fifth, senior Matt Kramer opened the game up with a two-run blast...
...Madick added. “I think she had a first pitch strike on all but two of the batters.”Vertovez took over in the circle after the fourth and despite surrendering a hit and a walk, held Holy Cross scoreless for the fifth and final inning. The game was cut short because the Crimson’s eight run lead was enough to apply the “Mercy Rule.”HARVARD 2, HOLY CROSS 1 In the first game of the day Harvard came out admittedly missing some the intensity that had helped...
...alchemy that gave birth to Akron blues-rock duo the Black Keys’ fifth album, “Attack & Release,” may seem unlikely. Since their 2002 debut, “The Big Come Up,” the Keys have been the standard-bearers of self-produced, self-recorded, basement-tape rebellion. Their high-water marks, 2003’s “Thickfreakness” and 2004’s “Rubber Factory,” distilled their blues formalism and lo-fi aesthetic into a highly evolved and deeply primal sound...