The Supreme Court decreased labor unions’ power by ruling against nonmember fees Wednesday morning.

In a 5-4 decision along party lines, the conservative-leaning court decided that unions can no longer charge fair share fees to those who choose not to join. Twenty-two states including California allow public-sector unions to collect fees from workers who opt out of membership in order to pay for the union’s collective bargaining.

Janus v. American Federation of State, County, and Municipal Employees overturns precedent from Abood v. Detroit Board of Education, a 1977 decision in which the court ruled that public unions could charge nonmember fees as long as they were solely used for bargaining and not political activities, since the court has long held that money constitutes speech.

Mark Janus, a child support specialist in Illinois, argued that unions’ actions are inherently political, and therefore paying fees violated his First Amendment right to free speech.

Public labor unions are legally bound to represent every employee in their units, and AFSCME argued fees such as Janus’ were created to avoid free riding. However, Justice Samuel Alito, who wrote the majority opinion of the court, said nonmembers like Janus do not benefit from the union’s activities since they may not agree with the union’s stances and actions.

The court deadlocked in a similar 2016 case, Friedrichs v. California Teachers Association, following the death of conservative Justice Antonin Scalia. His vacancy was filled by Justice Neil Gorsuch, who joined the court in April 2017. Gorsuch has cast the deciding vote in multiple cases this session.

Critics have said government unions will likely face a decrease in revenue, power and membership numbers.

[Related link: Union members protest Supreme Court case on nonunion fees]

Kathryn Lybarger, president of AFSCME Local 3299, the University of California’s largest employee union, said she thinks the decision will perpetuate labor abuses.

“The court’s ruling will normalize wage theft, income inequality, discrimination, and other labor abuses by effectively forcing the only private organizations that exist to correct these injustices to deliver their services for free,” she said.

AFSCME 3299 said in a statement that the ruling will reduce wages and hurt the economy since workers can no longer be required to pay for the cost of bargaining.

Artwork Courtesy of Def Jam Recordings

In the mid to late 1980s, hip-hop was beginning to evolve. The days of Grandmaster Flash and the Furious Five were coming to a close and a new wave of hip-hop acts was emerging. This was the start of the Golden-Age era, which included Eric B. & Rakim, Boogie Down Productions, De La Soul and of course, Public Enemy.

Public Enemy consisted of Chuck D, Flavor Flav, Professor Griff and Terminator X at the time of this album’s release. This was their second album following 1987’s “Yo! Bum Rush the Show.” “It Takes a Nation of Millions to Hold Us Back” is considered to be one of two game-changing hip-hop albums released in the summer of 1988 (the other being N.W.A.’s “Straight Outta Compton”).

When digesting Public Enemy’s music, you notice that it doesn’t follow the rock-influenced beat of Run D.M.C. or the violent gangster life of N.W.A. Public Enemy believed in what Gil Scott-Heron believed in: using music as a means for people to go out and make a difference in the world. This is done by Chuck’s demanding, angry and passionate lyrics. He makes his stand clear right at the start with “Bring the Noise,” a track that sets the tone for the album with its explosive pace that provokes an indescribable reaction, this feeling that you are part of something revolutionary.

This also is where you are introduced to the production of the Bomb Squad. It’s a style that was experimental for the time. There are various samples that are repeatedly played and layered throughout the song, which is very abrasive. It’s a method that can be very annoying to those new to Public Enemy and especially those who’ve never listened to experimental hip-hop. However, this style of production also backs up the lyrics.

Tracks like “She Watch Channel Zero?!” prove my point. The song is a criticism of consuming too much TV because it can blind a person’s sense of reality. It features a sample of Slayer’s “Angel of Death” which gives the listener a mind-numbing sensation like the white noise on a TV set.

I love Chuck’s perspective on the topics presented here on the album. “Night of the Living Baseheads” is an anti-drug song and tells how drugs are a major problem for people (particularly African-Americans) moving forward in society. Chuck notes out plenty of characteristics to know if someone is involved with drugs. He points out their behavior, their locations, the crimes committed and the punishment that comes along with the involvement.

Another personal favorite is the track, “Black Steel in the Hour of Chaos.” This provides gritty storytelling from Chuck of how he was thrown in jail and got out successfully. The samples provided in the track provided a vibe akin to that of a spy film. There’s not a lot of layering so it’s not as crazy as the other tracks which brings a nice change to the album.

I can’t also forget about Flavor Flav when it comes to talking about Public Enemy. One of the greatest hype men ever, Flavor Flav has a high-pitched voice and a trademark “YEAH BOI!” yell which provides a contrast to Chuck’s demeanor. “Rebel Without a Pause” is a good example of these two working. It shows Chuck delivering his lyrics at a high pace while in between verses, Flavor Flav tells him that he should slow down because the audience is losing track. It’s a good balance of the seriousness and the comedic relief these two can offer.

You can see how “It Takes a Nation of Millions to Hold Us Back” was a template for many artists to help take hip-hop to the next level. It’s not surprising to see groups such as Death Grips follow what the wild production of Bomb Squad was doing. You can also see how the likes of Nas and Kendrick Lamar have placed a lot of focus on the lyrics and storytelling in their music. In fact, “To Pimp a Butterfly” reminds me of “It Takes a Nation” for their takes on political topics.

This is an album that belongs to the Hip-Hop 101 course, it’s really hard to imagine what the genre would have been if this album didn’t exist. For anyone new to the genre or those who want to hear the classics, this is a priority listen! Do take a few listens to fully grasp the album because this isn’t designed to be played at parties. This is an album that makes you sit down and try to understand the problems that surround us. What makes this album even more special is that it’s a fire that continued on for generations and inspired people to make a difference. Many of the artists we love now are indebted to Public Enemy. All I can say is “Yeah Boi!”

Track Picks: “Bring the Noise,” “Don’t Believe the Hype,” “Louder Than a Bomb,” “Caught, Can We Get a Witness?” “She Watch Channel Zero?!” “Night of the Living Baseheads,” “Black Steel in the Hour of Chaos” and “Rebel Without a Pause”

Label: Def Jam Recordings

Listen to the album here:

Editor’s Note: All opinion section content reflects the views of the individual author only and does not represent a stance taken by the Collegian or its editorial board. As temperatures rise, the beautiful summer weather means we can finally shed our layers and spend more pleasant time outdoors. Hiking and exploring new areas are great […]

Pride flags and flags of allied organizations decorated the south steps of the Capitol as Melissa Etheridge’s song “Pulse” played, to honor those who lost their lives in the Pulse nightclub shooting in 2016. Anderson Cooper’s voice streamed from a stereo announcing the names of the 49 individuals who lost their lives in the Pulse shooting. Then, those in the congregation observed several moments of silence for those who had lost their lives from AIDS, bullying, hate crimes and suicide.

The LGBTQ community and its allies stood shoulder to shoulder Wednesday night at the Texas State Capitol to celebrate the 49th anniversary of the Stonewall riots. This was the eighth annual celebration of the event in Austin, hosted by Austin Pride.

On June 28, 1969, Stonewall Inn, a gay bar in New York City, was raided by police.

Police raids on gay bars were a frequent occurrence in the 1960s, in which police would arrest anyone without proper identification as well as individuals wearing opposite-gendered clothing, according to event speakers.

But Stonewall was different, as the nearly 200 patrons resisted police officers’ attempts to raid the bar. Eventually things got violent on both sides, and 200 to 300 bystanders joined in on the riot on the patrons’ behalf. This kicked off several days of revolt riots and helped spur the gay liberation movement, according to event speakers.

“We all stand here today on the shoulders of LGBTQIA activists who came before us,” said Jessica Soukup, a transgender feminist speaker and activist, during the event. “They fought, they struggled, they were beaten raped and murdered, they were ignored as they died of AIDS, they were subject to torture and brainwashing. I’m telling you today: We will not go back.”

Several songs which represent the LGBTQ community played throughout the event. Miss Austin Pride 2018, Kelly Kline performed “This Is Me” by Keala Settle and The Greatest Showman Ensemble, lip-syncing and dancing along to the song. At the end of the event, “We Are Family” played, and the crowd joined organizers, speakers and performers on the south steps of the Capitol to unite in song and dance.

“In June 1969, a group of predominantly black drag queens and trans women started a movement that would change the world. Fueled by passion, they fought for what they knew was right: equal treatment for all people, regardless of sexual orientation,” said Elle Smith, a Cedar Ridge High School junior and student-essay Austin pride contest winner, during the event. “They have passed that passion down to us, and now we must use that fire to grow through oppression and replace it with a new growth of equality.”

Something unusual happened at Stonewall Inn that night, said Ann Cvetkovich, women’s and gender studies professor and LGBTQ studies program director.

“Gay liberation was an idea and a movement whose time had come in 1969,” Cvetkovich said. “The Stonewall riots were just one manifestation of something that was already happening in a range of ways.”

The Stonewall bar was known for welcoming the most marginalized groups of people in the LGBTQ community, such as transgender individuals and homeless gay youth, according to event speakers.

“It’s important to remember those who were there, including, for example, the transgender women of color who have sometimes been left out of the story," Cvetkovich said. “We march on Gay Pride in order to remember those who came before us and also to renew our commitment to fighting for sexual and gender liberation.”

At the end of the celebration, event organizers told the crowd to join them on Aug. 11, for Austin’s Pride celebration.

LavenderCal sees 3 decades as LGBTQ+ faculty, staff support network

For nearly three decades, LavenderCal has served as a support network for UC Berkeley’s LGBTQ+ faculty and staff.

Composed of nearly 300 members, LavenderCal regularly hosts social activities for campus LGBTQ+ and allied staff and faculty, said member and executive assistant to the graduate division deans Sharon Page-Medrich, who called visibility a key group goal.

“Campus for a long time has made diversity and inclusion a core part of its values,” Page-Medrich said. “I think Berkeley really has been a trailblazer … in affirming and supporting our communities.”

LavenderCal maintains a list on its website of faculty and staff who identify as LGBTQ+, as well as a list of those who identify as allies. While Page-Medrich said she believes these lists do not reflect the true number of LGBTQ+-identifying people and allies on campus, she stated that the lists are helpful to point students toward an adult role model or open ear.

“The only way to change the hearts and minds of people in general, through society, is to be visible as coworkers, as colleagues, as teachers, as neighbors, as friends, to show that … all the worst stereotypes are wrong and backwards,” Page-Medrich said.

LavenderCal was founded in 1989 as LeGaSEE, or Lesbian Gay Staff Empowerment and Enlightenment, by UC Berkeley staff members Jessea Greenman and Cathy McIntosh. After undergoing multiple name changes since its founding, the group became LavenderCal in 2004.

LavenderCal’s goals — to encourage, support, assist and welcome the perspectives of LGBTQ+ staff and faculty — help foster what member Adam Berman, executive director of emerging initiatives at the Haas School of Business, calls a “welcoming” campus.

Berman, now out, said that while he was not out at Berkeley either as an undergraduate in the 1980s or a professor in the 1990s, his reluctance was related only to his personal comfort.

“Living in the Bay Area is much easier than in many other places in the U.S. and the world,” Berman said. “I don’t feel we’ve experienced discrimination here but we do receive many questions.”

LavenderCal helped to found the Philip Brett LGBT Fellowship Fund in 2009. Named after the late Berkeley professor who helped develop lesbian and gay musicology, the fund issues research scholarships in the field of LGBT studies, according to the UC Berkeley website.

But even inclusive communities such as Berkeley can grow, said campus law professor and LavenderCal ally Ty Alper, who highlighted that the UC Berkeley School of Law only started installing gender neutral bathrooms just this year.

Alper also emphasized that allies should actively work to support their LGBTQ+ counterparts.

“I think the role of the ally is to not only be supportive of activism around LGBTQ rights, but to take proactive steps to make our community a more welcoming and inclusive space for everybody,” Alper said.

Contact Alexandra Reinecke at areinecke@dailycal.org and follow her on Twitter at @arhine9.

The Daily Californian

Courtesy of Walt Disney Pictures

After the delayed sequel “Finding Dory” debuted to roaring success, Pixar has capitalized on the nostalgia factor once again to smash box office records last week, with the biggest and well-deserved opening weekend of any animated film in history. In the 14 years since its prequel, some of the eager-eyed youngsters that rushed to see the premiere of the original “The Incredibles” have now grown into adulthood. For those returning fans and the new wide-eyed kids, “Incredibles 2” delivers commentary on socio-political issues, light humor and action-packed scene.

The film starts exactly where its predecessor left off — with the Incredibles, a family of five with a wide range of powers, attempting to stop the Underminer’s (John Ratzenberger) robbery. After the Incredibles and Frozone (Samuel L. Jackson) stop the Underminer’s machine, police reprimand the Incredibles because using superhero powers is illegal. While police arrest the family, Winston Deavor (Bob Odenkirk) approaches Frozone with job offers for him, Elastigirl (Holly Hunter) and Mr. Incredible (Craig T. Nelson) to work for Devtech, Winston and his sister Evelyn Deavor’s (Catherine Keener) company. Devtech is a successful telecommunications company and Winston is personally invested in dismantling the laws against superheroes. With few financial options, mother of the Incredibles family Elastigirl agrees to join Devtech and fight crime for positive superhero publicity, leaving her husband, Mr. Incredible, to take care of their three kids. Elastigirl fights the antagonist, Screenslaver (Bill Wise) while Mr. Incredible juggles daughter Violet Parr’s (Sarah Vowell) love life, son Dashiell “Dash” Parr’s (Huck Milner) math homework and infant son Jack-Jack Parr’s (Eli Fucile) developing and out-of-control superpowers.

Courtesy of Walt Disney Pictures

The film’s combination of nostalgia and cultural relevance provides a strong sense of commentary that is synonymous with other Pixar films. Mr. Incredible and Elastigirl relive their golden crime-fighting days, with throwbacks such as the appearance of Mr. Incredible’s old car and Elastigirl’s new “elastibike.” Though some of the viewers may have grown up, the timeless characters are as charming as ever, especially Edna (Brad Bird). The filmmakers amped up the nostalgia factor by bringing back most of the original voice actors and a familiar opening scene. Of the main cast, only Dash is voiced by a different actor than the original film, and the difference isn’t noticeable.   

Elastigirl steals the show. Unlike some male-dominated superhero movies from Marvel and DC, which rarely comment on the catastrophic collateral damage to property in the film, Devtech chooses Elastigirl to boost superheroes’ image because of her delicate crime-fighting style and consequently minimal damage record in comparison to Mr. Incredible and Frozone. Through Elastigirl’s role, the film adds commentary on women’s roles in the workforce and family dynamics that can appeal to older audience members and inform the new generation watching.

Perhaps, it is the villain reveal that carries more weight than the slightly forced dialogue on women in the workforce. Although important to address gender equality, the take feels safe at times. The film illustrates the sacrifice it takes for a parent to raise a child (and that it is OK for women to be the breadwinners of the family), but it also challenges the perception that men are the sole powerhouses behind big ideas and power moves in the workplace. Though some have criticized the filmmakers for sexualizing Elastigirl, it’s important to focus on the underlying messages of female empowerment here. Furthermore, the way in which the law forces people with superpowers into hiding pokes at rising nativist sentiments in the United States and give the movie even more traction amid the modern political climate.

Courtesy of Walt Disney Pictures

Throughout the majority of its 118-minute runtime, the film switches back and forth between Mr. Incredible taking care of the kids and Elastigirl fighting crime — a distinct duality that further highlights Elastigirl’s breadwinner role, and the accompanying commentary. Additionally, in some of the action scenes, the soundtrack creates enough suspense to give just a little more interest and jump factor. However, at the beginning and end of the movie, the family is a united front fighting crime which, combined with the bright colors of the animation and the nostalgic touches, makes the film an overall happy occasion.

A true feel-good movie with strong messages, “Incredibles 2” is a must see for the kids who have grown up, the parents who have been by their sides and the new generation of Pixar and Disney fanatics.

Grade: A-

The post ‘Incredibles 2’ Packs Nostalgic Punch appeared first on The Emory Wheel.

Berkeley High School students sculpt better future through ‘Art/Act: Youth’

Doug Smith/Staff

The newest generation of teen activists continues to take the world by storm, marching for our lives and speaking out against injustice. Unsurprisingly, the art students of Berkeley High School are partaking in this movement, using their intellect and artistry to produce masterful commentary on a similarly pressing issue: environmentalism.

Since 2016, the David Brower Center has annually held the environmentalism-focused event “Art/Act: Youth,” working closely with Berkeley High School art teacher Kimberley D’Adamo Green to bring it to fruition. Running through Sept. 14, the free exhibition hosts the works of more than 80 students from grades nine through 12, highlighting their insights on the problems plaguing our planet.

With its energy-efficient, low-impact design, the building itself is undeniably more functional that beautiful. Gray ceilings mirror the gray floors, which match the gray couches, whose asphalt-like appearance mimics the exposed-cement support pillars scattered throughout the space. Like much of the art, 50 percent of the center is made of recycled materials, its monochrome minimalism providing a sharp contrast to the colorful eclecticism of the art.

Using varied mediums, ranging from found objects to acrylics, the exhibition displays thought-provoking demonstrations of the impact of humanity on Earth. The art is both two-dimensional and three-dimensional, ranging in scope from a brush leaf sculpture to realistic examinations of insect life. While the phrase “environmental art” may bring to mind animal paintings or wildlife landscapes, much of the art goes well beyond that, featuring complex pieces that border on surrealism with heavy imagery of nature.

Ranging in skill level from first-time painters to seasoned sculptures, the artists hail from both an advanced studio art class and an introduction to materials class. Regardless of technical talent, the students deliver exceptionally cognizant pieces.

“They were unusually careful at making each of the pieces really polished, really finished, ready for exhibition, so that the craft of it didn’t take away from the importance of the subject matter,” said D’Adamo Green in an interview with The Daily Californian.

D’Adamo Green saw that the students felt particularly motivated when they were told that the pieces would be for an environmental exhibition at the David Brower Center.

“I think there is such a commitment in this generation to figuring out ways to preserve our environment,” D’Adamo Green said. “I think you see that in the level of care that they put into each of these artworks.”

The David Brower Center chose to host the budding artists’ work as part of an initiative with D’Adamo Green to develop a youth program through the center. Within this vein, the center provided funding for both a scientist and an artist to consult with the students on their work. As a result of contributions such as this, the “Art/Act: Youth” exhibit continued to grow and improve over the past three years while still maintaining its central focus on environmentalism.

D’Adamo Green’s shared goal with the David Brower Center is “to build a new generation of young, environmental artists.”

That goal is realized in the art displayed. Students Anna Reed, Maya Otey, Anaya McFadden, Alex Lafetra Thomsen, Mayorie Ovalla Rojas and Kiki Valenzuela collaborated on one particularly punchy piece, an examination of Flint, Michigan, which provides impactful commentary on the city’s water crisis. The work — made entirely of recycled materials — consists of three cutout images of children done on manila folders and pasted onto a background of aquamarine water bottle labels. Mounted above, PVC pipes painted to look like rusted water ducts ominously rest. Below, plastic water bottles filled with polluted water stand.

“The students did all this deep research into what’s happening in Flint,” D’Adamo Green said about the work’s artists. “They thought about how to represent what is happening to people in Flint through the language of art.”

Other highlights include a lifesize silhouette of a mother and daughter whose clothing is made up of fragmented illustrations of the moon landing, representing the lack of women in STEM and environmental leadership roles. A papier-mâché sculpture of a human torso with a burst-open chest reveals mangled organs and discarded plastic waste, demonstrating how humanity is closely tied to the environment.

“Art/Act: Youth” successfully provides complex analysis of global problems through its originality. The works depict the chaos of pollution and the beauty that is lost while also communicating potential solutions. While the range of skill levels is apparent, the work done by the advanced studio art class shines through its layered meanings and intense symbolism, coupled with excellent technique.

Fascinating commentary ran through many of the works, distinguishing the exhibit as not simply beautiful, but also entirely insightful. The art show provides hope that young people will tackle our contemporary environmental crisis, sculpting a better future for us all.

Contact Casey Lane at clane@dailycal.org.

The Daily Californian

It was 6 p.m. The low hum of the room began to develop into animated chatter. Players trickled in and mingled with familiar faces before checking the event list for their seat assignment and settling in.

Decks were laid out and adjusted for precision. One player in a green, zipped sweatshirt cracked his knuckles and rolled his head in a circle to loosen up. Another sat stoically with his hands flat on the tables. Overflowing briefcases and day-packs were stuffed in corners and under tables — the signs of a long work-week ditched for the weekend.

Friday night Magic: The Gathering tournaments at Addictive Behaviors usually start this way; they occur weekly and attract players of all ages and intellects. Sign-ups take place in advance either online or in-store, and a master list is then made to match opponents based on skill level and previous scores.

Magic: The Gathering is a game that revolves around strategy, shop owner Brock Sprunger said. “It has a lot of complicated mechanics that are pretty simple to execute,” he said.

Players can purchase different variations of standard or modern decks every few weeks and trade cards with other players to customize their collection. Because the game can be so complicated, there is a lot of debate and discussion that takes place about certain cards — which creates more interaction between players.

“It’s kind of like our NFL football game,” shop regular James Barnum, 30, said.

Jessica Lambright watched as her 10-year-old son, Sam, sat across from his opponent — a man twice his size and triple his age. They were about to play their first round of Magic: The Gathering. She was talking about the different color decks available for the game when suddenly she stopped mid-sentence — she’d forgotten to teach Sam how to shuffle his cards.

She laughed and shook her head. “That’s going to be a problem.”

Sprunger was at a table against the wall playing with a young boy in an orange beanie. He said he likes to compete alongside everyone else on Friday nights. Sprunger opened the shop in 2004 to satisfy a desire among Eugene gamers for a communal location to play Magic. He said Addictive Behaviors is a hub for people to meet and hang out. Anyone — regardless of background — is welcome.

“People aren’t jerks,” Barnum said about the Friday night crowd.

He talked leisurely about the game and his experience playing while his opponent, Nate Stanley, 19, sat in front of him — neither of them seemed to have trouble multitasking. Both men have been playing since they were teens and they shifted their cards around the table with ease.

“The goal is to win, but I’m more just here to have fun,” said Stanley. “My deck is pretty janky so we’ll see.”

Across the room Kevin Lee stood poised near the counter and shifted his weight every so often as he observed the players; he was checking out the competition.

Lee is a gamer through and through — he said he taught himself how to add and subtract by playing Zelda when he was 3 years old. Other commitments in college forced him to take a break from Magic, but now that his schedule has cleared, Lee is looking to get involved once again.

The skill level of players at Addictive Behaviors looks diverse, he said. He chuckled when he saw Sprunger, who was still playing with the young boy. “The owner is a classy fellow,” Lee said.

Light slashed across the room as the sun began to lower outside. Shadows fell over the Magic and Zelda posters that were plastered on the walls. Players continued to rotate tables as games finished and others started — the tournaments on Friday nights usually don’t end until around 10 p.m.

Barnum lost his game to Stanley in round one but still went on to win the whole tournament. Next week he’ll have a spot at the reserved table. Playing Magic: The Gathering is much better in real life than online, said Barnum.

“It’s like a puzzle combined with a bit of randomness,” he said.

The post Friday Night Magic: Players gather at local game shop appeared first on Emerald Media.

Enter for a chance to win a Cengage Unlimited subscription BOSTON – June 27, 2018 –  If you could have an ‘unlimited supply’ of anything, what would it be? Cengage, an education and technology company, today announced the Cengage Unlimited Summer Sweepstakes giving students the chance to win one of ten free all-access subscriptions to Cengage […]

Enter for a chance to win a Cengage Unlimited subscription

BOSTON – June 27, 2018 –  If you could have an ‘unlimited supply’ of anything, what would it be? Cengage, an education and technology company, today announced the Cengage Unlimited Summer Sweepstakes giving students the chance to win one of ten free all-access subscriptions to Cengage Unlimited this Fall.

Commercially available in August, Cengage Unlimited offers students complete access to more than 22,000 digital products across 70 disciplines and 675 courses – for $119.99 per semester or $179.99 a year. Students using digital platforms can also get a print rental for $7.99 plus free shipping.

To enter, simply post an image, video, GIF or Boomerang to Twitter or Instagram, to show what you want an unlimited supply of – and include the Cengage Student social media handle (Twitter: @CengageLearning or Instagram: @cengagestudent) and hashtag #CengageUnlimited. A drawing will be held on August 1 and ten winners will be selected. Click here for full sweepstakes rules.

WHAT: Cengage Unlimited Summer Sweepstakes – Students, show us what you want an unlimited supply of and be entered for a chance to win one of ten Cengage Unlimited subscriptions.

WHO: Legal residents (18-years of age or older) of the United States and the District of Columbia, except where prohibited by law.

WHEN: Entries must be submitted by 12:00 PM ET on July 22^nd via social media, online or via mail-in entry.

WHERE: Submit entries by uploading an image, video, GIF or Boomerang to Twitter or Instagram, using the Cengage social media handles (Twitter: @CengageLearning — Instagram: cengagestudent) and hashtag #CengageUnlimited.

To enter online or via mail, visit: https://www.cengage.com/learn/unlimited-supply

Winners will be selected on August 1. For more information on Cengage Unlimited, visit: www.cengage.com/unlimited.

About Cengage
Cengage is the education and technology company built for learners. As the largest US-based provider of teaching and learning materials for higher education, we offer valuable options at affordable price points. Our industry-leading initiatives include Cengage Unlimited, the first-of-its-kind all-access digital subscription service.  We embrace innovation to create learning experiences that build confidence and momentum toward the future students want. Headquartered in Boston, Cengage also serves K-12, library and workforce training markets around the world. Visit us at www.cengage.com or find us on Facebook or Twitter.

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Cengage
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