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Goodbye to old frats and hello to boy band brothers

Goodbye to old frats and hello to boy band brothers

jonas.brothers.pol.rebaque

Pol Rebaque/Staff

Boy bands, whether you like them or not, have been influencing music for ages. Like fraternities, you either love them or hate them. The Clog imagines a perfect world where every fraternity, rather than having some weird Greek letter combination as its name, has a boy band theme. Quite honestly, we like boy band music better than anything we’ve ever heard played at a frat party — especially that one song by the Chainsmokers. Just imagine how sick it would be to get down to “Burnin’ Up” at a foam party or “What Makes You Beautiful” at an invite? So after a lot of deep thinking about fraternities and boy bands, we’re giving our readers another thing they never asked for. Enjoy!

The Jonas Brothers

Their frat would be all about brotherhood. You can catch them always having some sort of philanthropy event on the glade or playing beer pong while flexing in some bro tanks. They’re your basic fraternity, but they actually play some really good music, and the guys are walking definitions of the boy next door. 

5 Seconds of Summer

This fraternity, like the band, had a few bad years when it had some low recruitment and stopped throwing parties. Being caught with drugs caused the suspension of the frat for a few years. However, the members have cleaned up their act and are coming back strong (and drug-free). The frat is pretty trashed and needs a new paint job, but it shows promise.  

BROCKHAMPTON

Think bro-op rather than your basic fraternity. Like the bros of BROCKHAMPTON, this frat wouldn’t be mainstream — many people may not have even heard of it. They’re all pretty artsy guys and pride themselves on being a lot more inclusive than any other frat. They throw a bunch of chill kickbacks and play live music, but don’t let that fool you! They also throw some wild ragers full of mosh pits and fun. It’s always a good time with the BROCKHAMPTON boys.

NSYNC

As one of the older frats on campus, it has a pretty strong legacy and alumni network. The members usually only recruit legacies who can be traced back to the stone age of 1995. They’re a little past their glory days but are still considered a top frat because of their most successful alumnus, Justin Timberlake. They’re qwhite cookie-cutter but have made a recent commitment to be more diverse. It’s a spot to hit up when you’re bored on a Saturday night. 

One Direction

Of course, we saved the best fraternity for last. One Direction recruits the most people and throws the biggest parties. This frat is noncontroversial and provides water stations at all its functions. They even turned the consent talk into a song — making sure to play it every 30 minutes to remind partygoers what consent is. Getting bids for this house is harder than normal but worth the hassle. People arrive at this house before 11 p.m. because of how early it reaches capacity. 

While we’re on the subject of boy bands, check out our boy band playlist to get in the mood. Next time you want to dance rather than go to a frat party, stay in and throw yourself a boy band party! It’s probably a way better time than a sweaty, beer-stained frat that constantly plays “Closer” anyway.

Contact Sunny Sichi at ssichi@dailycal.org.

The Daily Californian

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Photo series: ‘Time’s Up’

Dariel Taylor | Contributing Photographer

Women have been dealing with issues such as domestic violence, sexual harassment, sexual assault, access discrimination and more terrible obstacles for years. The issues have been so consistent for so long it has been normalized, swept … Read More

The post Photo series: ‘Time’s Up’ appeared first on Mace and Crown.

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Former Cal men’s basketball player Brandon Chauca speaks on dismissal from team

Former Cal men’s basketball player Brandon Chauca speaks on dismissal from team

brandonchauca_calathletics_courtesy

Cal Athletics/Courtesy

Former Cal men’s basketball player Brandon Chauca published a blog post Wednesday recounting his side of the events that surrounded his dismissal from the team.

In the blog post, Chauca described the conversation with head coach Wyking Jones that led to his release from the team, as well as reflections on his time with the program.

Chauca was dismissed from the team in June 2017, but he retained his scholarship and financial aid through the completion of his degree. Chauca will graduate from UC Berkeley on Saturday.

In a statement made to The Daily Californian, Cal Athletics said Chauca was dismissed from the men’s basketball program for “a violation of team and university policies.”

“We did not initially disclose the reason for Brandon leaving the team in order to protect his privacy,” Cal Athletics said in the statement. “The reasons for dismissal were clearly communicated to him.”

Chauca, however, alleged in his post that he was given three main reasons from Jones for his dismissal. The first reason, Chauca alleged, was a lack of respect between himself and Jones. The second was an incident in which Chauca brought two women as guests to an end-of-the-year basketball banquet — a matter that Jones allegedly called “extremely disrespectful,” according to Chauca. The third reason was that Jones felt Chauca “would not play that much” during the 2017-18 season.

During his freshman campaign, Chauca saw action in 22 games, averaged 9.5 minutes per game and shot 19 of 47 from the field and 12 of 31 from the three. His time on the court drastically diminished in his sophomore year, and, in his junior season, he was sidelined by a broken wrist.

Contact Daily Cal Sports at sports@dailycal.org.

The Daily Californian

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Kanye West’s “free thinking” mentality is problematic

Ladies and gentlemen, Kanye West is in the building.

Kanye West has spent the better part of the past two weeks expressing his support for President Trump, conservative YouTuber Candace Owens and what he has called “free thinking.” To be fair, the lyrics that proceed West’s verse in “Lift Yourself” are objectively beautiful, though they may be controversial, as they are reminiscent of Booker T. Washington’s famous speech at the Atlanta Exposition, in which he urged the first generations of freed African Americans to pull themselves up by their bootstraps.

This newest song echoes West’s thoughts as he expresses that African Americans are trapped in a victim mentality and need to focus on lifting themselves up out of it. After facing some backlash over his support for Trump from fans and critics alike, West’s prodigy and BET Humanitarian Award recipient, Chance The Rapper, came to his defense in a tweet saying “black people don’t have to be Democrats.”

No matter how you feel about Kanye West right now, his recent tweets might have provoked a dialogue about how the political process works for poor African Americans who live in the inner-cities. Perhaps if the African American vote was not so assured for democratic candidates, elected officials would have to invest in actual changes to their communities rather than keeping their support gated behind walls of rhetoric.

“Democrats do a good job of propping up the disenfranchised as a way to get votes and muster support, but support for the black community has always come itself and not political parties,” said english senior Kaleb Michael Clark.

Kanye West’s’ tweets have done what they always do — anger people and provoke a response. It’s hard to imagine that a man who once claimed on national TV that former president George W. Bush “doesn’t care about black people” now pledges his support to a president who claims that there were “very fine people on both sides” of Charlottesville protests.

West’s remarks — while inflammatory — might not be all that surprising. Clark himself says he sees a lot of similarities between the two figures.

“They both became rich and famous by extorting the lower classes, they are both married to exotic women and they both have scores of die-hard supporters that prop them up in the face of well-deserved criticism,” Clark said. 

When asked if he believed the criticism would stick to West this time Clark said Kanye’s fan base would forget in a week. 

It might be hard to imagine that black people today can experience enormous success, they can still be the victims of racism despite it happening every day in ways that can really only be felt and are too difficult to articulate. Even with so much support from our 21st-century allies and people who understand the necessity of equality and equity, minorities are still the victims of institutional and casual racism.

But expressing the pain of that experience, exposing that reality and demanding better for the nation that we love, does not mean we are trapped in a victim mentality. It makes us Americans who are fighting for a better union.

This is not the first time that Kanye West has been controversial, nor will it be the last. West has made some of the most influential rap music in the world, but in the United States, being black and influential is a unique responsibility. As much as your celebrity status can be used to ignite change, it can also be used to suppress it.

Sometimes life for African Americans can be, in the words of West’s song, “poopy-di scoop,” whether it is from the reality of police brutality to the hidden relics of segregation and discrimination. But I have faith that it will continue to lift itself, without his help.

Mia Valdez is a creative writing senior and can be reached at opinion@thedailycougar.com.


Kanye West’s “free thinking” mentality is problematic” was originally posted on The Daily Cougar

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Movie review: ‘Life of the Party’

(Courtesy of Hopper Stone)

swaps two weeks in Italy for two semesters in college in a failing feminist comedy.

“Life of the Party” follows Deanna (Melissa McCarthy) recent divorcee as she re-evaluates her life in the aftermath of her ex-husband’s sudden departure to Italy with his new mistress. Having dropped out of college before her fourth year, she resumes her archaeology degree alongside her daughter Maddie (Molly Gordon), who is finishing her fourth year as well. Amid frat parties and public presentations, Deanna reclaims the college experience she was never able to have.

From Deanna’s very first scene in which she dons a pink sweater emblazoned “proud mom,” McCarthy’s screen presence is as charming as ever. Her character is sincere and well-meaning, a refreshing alternative to the jaded divorcees frequently found in films. But even after brushing out her tight curls and ditching her oversized glasses for a more youthful look, she remains aggressively momlike with cringy archaeology jokes and comforting, homemade lasagna.

But that’s the extent to which McCarthy’s character shines. The film breezes past any potential conflict of Deanna attending college with her daughter. Though Maddie’s disagreement with the situation is evident through rolled eyes and desperate attempts to shoo her mother out of her sorority house, she almost immediately turns to unbuttoning Deanna’s blouse at a frat party. Maddie initially expresses her annoyance with her sorority sisters for inviting her mom to a party, but suddenly supports Deanna’s presence with no apparent instigator for change – a bothersome inconsistency in character.

Alongside its lackluster conflict, the film tries to incorporate commentary on serious issues, such as climate change and gender equality. But its attempts falls flat amid the frivolous makeovers and party scenes. While Deanna toasts to cleaning the coral reefs and maternity leave for all genders, the college students around her party on. The portrayal feels unrealistic, only allowing the older characters to care about such problems, and robbing its plot of any nuance.

The film also tries to present a feminist message. Deanna’s husband convinced her to drop out to raise their daughter while he continued his degree, and Deanna re-enrolls in order to fulfill her own dreams. Attempts at embodying the feminist spirit, however, are underscored by the female characters that so easily fall into stereotypes. Deanna’s goth roommate serves as a stereotypical millennial, complete with fear of just about everything and a penchant for staying in her room.

Meanwhile, one of Deanna’s classmates, Jennifer (Debby Ryan), and her unnamed sidekick hate Deanna for no apparent reason. Ryan’s acting as a stereotypical mean girl is heavy-handed, complete with tossing her hair over her shoulders and rolling her eyes, and reminiscent of the mean girls in Disney TV shows. The intense female support shown by both Deanna and her sorority sister friends throughout the film is rendered useless by petty, meaningless rivalry.

While many of the sorority sisters exist simply to stand there, look pretty and drink, the one plus-size character besides Deanna features many stereotypes of fat characters, such as general stupidity and running up the stairs at the mere mention of cake. The stereotype is reinforced when Deanna praises her new friends for their intelligence and kindness only to then focus on the reassurance that their bodies are perfect as well, with Deanna commenting on one girl’s thin legs and another’s toned body. The film’s refusal to challenge the notion that women must be beautiful, even when presented in addition to other qualities, refutes the seemingly feminist spirit of the scene.

Though “Life of the Party” features a genuine performance by McCarthy and has the potential to serve as an adequate feminist comedy, its inability to move beyond basic stereotypes ensures its failing grade.

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Fatal collision closes Prospect and Carriage for several hours

The intersection of Prospect and Carriage Roads was closed for several hours last night due to a fatal collision. Just before 7:00 p.m. Wednesday night, Fort Collins Police Services received a call about a two-vehicle collision involving a 1995 Ford Bronco and 2008 Honda sedan at the intersection, which was closed for the next five […]

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MOVIE REVIEW: ‘Breaking In’ is a painfully ordinary thriller – Gabrielle Union and Billy Burke elevate an otherwise unspectacular thriller

Home invasion thrillers are something I’ve always really enjoyed, if only because home invasion was always one of my biggest fears as a child. This was exacerbated even more when I saw “The Strangers” in middle school, which royally screwed me up. My spark in these films was reignited this year with the spectacular sequel to “The Strangers,” “The Strangers: Prey at Night,” which found a way to stylishly reinvent the sub-genre of films. “Breaking In” is not like “The Strangers,” as there isn’t a random murderer involved, but motivated killers out to get something within the house. “Breaking In” is much more of a thriller than a horror film, but with star Gabrielle Union behind the project, it’s certainly an interesting and intriguing take on the genre.

Shaun Russell (Gabrielle Union) is a mother who recently lost her estranged father in a freak accident. Traveling to his secluded home outside of Chicago with her two children, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to clear out the house for sale, their trip is quickly cut short by a group of four armed men invading the home for a rumored safe that Shaun’s affluent father kept in the high-tech house. Led by mastermind Eddie (Billy Burke), but shaken up by sociopath Duncan (Richard Cabral), Shaun must save her captive children inside the fortress of a home before it’s too late.

Here’s the thing about “Breaking In”: you’ve seen it before. While this isn’t particularly surprising, it still doesn’t completely excuse it. The difference between the predictability in “Breaking In” as opposed to other Will Packer-produced thrillers that I’ve enjoyed like “No Good Deed” and “Obsessed” is that “Breaking In” is all over the place when it comes to tone. It’s not well-written or clever enough to be taken seriously, nor is it silly enough to have dumb fun with. It rests solely in the center of just a “meh” thriller. That being said, it’s not without its highlights.

Union is great in the film as Shaun. With the role seemingly built for her from the ground up, Union takes on the role with the force one would expect from a film like this, but the effect is still thrilling to watch when she’s in full force. It’s been a while since we’ve seen Union really turn it up in a film, and I enjoyed watching her return here. Burke is also a very good villain in the film. He’s written in a very cookie-cutter way, but Burke breathes a very dark and oddly magnetic life into the character that could’ve easily just been slept through or even ham-fisted by another actor. Together, Union and Burke elevate the film in its lead roles to beyond the unspectacular thriller it is.

Direction from James McTeigue is also not bad, though pretty unspectacular compared to his previous visual-heavy work on films such as “V for Vendetta” and “Ninja Assassin” (or even “Survivor,” if we’re being honest). It’s obvious he’s working with a much smaller budget here, and what he does is pretty and slick, but without anything clever to really go off of, the film falls rote pretty quickly.

The writing in the film is by-the-numbers, and most of the time it rests on a decent level of dialogue, straying into cheesy territory every now and then, but I’ve heard much worse dialogue in similar films. The issue is that the film goes in every direction you expect it to, even with the twists that the film throws at you in the final act, it’s pretty apparent that they’re coming, if only because they’re twists that have been done in other, better films.

“Breaking In” doesn’t really fall off until the final act. At only 88 minutes, “Breaking In” is short, but its final act feels like it could’ve cut 20 minutes off of it. Every time the film feels as if it’s coming to a close, the film throws another twist our way that prolongs the film’s runtime even further. There comes a point when the twists wear off just because there are so many that the film tries to throw at you that they aren’t special anymore. You reach a level of fatigue with the film come the final twist that you really don’t care what happens, and the final blow (so to speak) lacks any sort of payoff, both objectively and in context with the film’s bloated finale.

I honestly wish “Breaking In” was more ridiculous than it was, if only because I could’ve had more fun with it. The film exists in this strange limbo where it’s not legitimately good enough to be taken seriously, nor batshit crazy enough to truly elicit a lot of fun from the film. When you see the twists coming from a mile away, and they’re neither fun nor clever, it’s hard for me to really enjoy much of what’s going on. Union and Burke try to legitimize the film as much as they can, but without anything to truly work off of, their efforts become in vain, but no one else hams it up enough either to take it over-the-top. It’s all just…there.

The thing here is that, despite Union and Burke’s presence, “Breaking In” is just painfully ordinary. There’s nothing here apart from the performances that hasn’t been done a million times before, and even with a skilled director behind the camera, the film just can’t seem to get past the rote formula that comes with domestic thrillers such as this. I can’t discredit it for a lack of effort by any means, as the film at least tries to throw some curveballs into the equation, but all of them fall flat in the grand scheme of the structure of the film. As a thriller, it’s not very thrilling, and as a horror film, it’s not scary at all. Throw in a few jump scares, and take a wild guess how it ends and I guarantee you that you’ve already seen “Breaking In” before ever buying a ticket.

2/5

Photo courtesy of Universal Pictures

Directed by: James McTeigue
Starring: Gabrielle Union, Billy Burke, Richard Cabral, Ajiona Alexus, Levi Maeden, Jason George, Seth Carr, and Christa Miller.
Runtime: 88 minutes
Rating: PG-13 for violence, menace, bloody images, sexual references, and brief strong language.

Universal Pictures presents, a Will Packer Productions production, a Practical Pictures production, a James McTeigue film, “Breaking In”

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MOVIE REVIEW: ‘Tully’ is an adorably brutal domestic comedy – Not a typical family comedy in the content sense, but Jason Reitman, Diablo Cody and Charlize Theron’s second pairing is magic struck twice

“Young Adult” is one of, if not my favorite comedy ever. There’s something so bitingly familiar about everything touched upon in that movie that makes the laughs hurt just as much as they make you cackle. The pairing of director Jason Reitman, writer Diablo Cody and star Charlize Theron made for perhaps one of the most well-rounded dark comedies the world has ever seen. When it was announced that the three would team up for another film, my immediate thought went to that they were producing “Young Adult 2,” which ended up not being the case. In lieu, we got “Tully,” a film that I almost resented for not being “Young Adult 2,” but when you have a team as talented as this behind a film, how can one resist?

And it’s certainly a sight to behold. Not as bruising as “Young Adult,” but touching enough to last with you forever.

Marlo (Charlize Theron) is a pregnant mother of two in her last month of pregnancy before her third child arrives with her lethargic husband, Drew (Ron Livingston). Her oldest daughter, Emmy (Maddie Dixon-Poirier) is entering the age where she is beginning to struggle with self-esteem, while her younger son, Jonah (Asher Miles Fallica) suffers from behavioral problems that cause problems with his private school. Tully receives much of the niceties in her life from her affluent brother, Craig (Mark Duplass). Despite this, Marlo suffers from severe post-partum depression from the frenzied stress of being a mother, which worsens when her newborn daughter, Mia, arrives. As a gift, Craig gifts Marlo a night nanny to watch the baby come nighttime to allow her to rest, to which Marlo refuses for the first bit of Mia’s life, but when her life hits a wall, she caves in, and Tully (Mackenzie Davis) arrives at her door to help her. Strange at first, Marlo begins to open up to Tully, and the relationship they form is one that simply can’t be formed from a simple friendship.

“Tully” is a film that’s heartwarming and adorable, but like the previous collaboration between the three commodities of the film hits all the emotional cues one would expect from the team that brought you “Young Adult.” This is a film that has many laughs, many cringe-worthy scenes of emotional levity, and some truly cuddly moments of real vulnerability that make this film one of the most touching films about domestic life in a very long time.

Theron, as per usual, is continuing to prove herself as perhaps the finest actress of her generation. While her physical transformation is what you might first notice in “Tully,” it’s her emotional change that carries the film to new heights. Lethargic, desperate and at her wit’s end, this is not the situation one might expect a character played by Theron to be in. There’s a rawness to Theron in the film, that, even when she begins to let loose after Tully’s arrival, is still down-to-earth and remarkably dynamic. Davis is also a powerhouse in the film too, but operating on the complete opposite spectrum as Theron. Tully is the antithesis to Marlo, bright and airy, willing to help out in any way she can. She’s the help everyone wants, and the friend everyone needs. The pureness to her character is a breath of fresh air for the sometimes bitingly cynical writing of Cody that really gives the film a levity you might not get with any other actress. Supporting performances from Duplass and Livingston are also really great, and surprisingly different for the actors, as, in a typical film, their roles would likely be switched, but here, it works wondrously.

Reitman is a burgeoning king of the quiet indie comedy. Far from the genre of Mumblecore, there’s a realness to his films that don’t require any pretension to get its point across. “Tully” isn’t quirky because it has to be, and one could even argue that the uniqueness of “Tully” isn’t quirkiness at all, but it’s simply a story of a relationship never explored before. “Tully” doesn’t have to try to engage you, because it’s an engaging story on its own merits. The synthesis between Reitman and Cody is as palpable as ever and it really shows the dynamic pairing they have together, and working with Theron turns them into a Hollywood dream team.

One might think that any film starring Theron is already setting up an unrealistic expectation of female beauty, but there’s a decided ugliness about “Tully” that’s really resonant. Not with Theron’s appearance, however tired and “normal” she might look, but the mundanity of it all creates an atmosphere that makes you believe in the world presented here. It’s written from a perspective that only a writer that’s a mother could understand. There’s a realness to it all that, despite Marlo’s distance connection to wealth that offers her the chance to experience a night nanny, you never get the idea that she ever expects anything from it, actively shunning the idea at first. There’s a really powerful message of not being afraid to ask for help when you need it, and while not everyone will have access to a night nanny, there’s a message that a support system of any kind, especially come the film’s wondrous final act, is what one should seek out.

“Tully” is absolutely fantastic. It’s real and raw, vulnerable and funny, bruising and heartwarming, and everything in between. Reitman, Cody, and Theron have all struck gold again in a much different, yet entirely appreciated way. This is a film about the trials and tribulations of not only motherhood, but sisterhood through strife. While starting as hired help, Tully morphs into Marlo’s housekeeper, chef, therapist, confidante and best friend in a way that never feels like something to be pitied like “The Help,” but that their relationship is symbiotic in all the ways they differ from one another. This is a beautifully restrained film that showcases the best that everyone involved has to offer, and then some. You come into “Tully” expecting one thing, and while expectations will give you that one thing, it’s hit in the first act, the rest of the film will grant you something your heart won’t forget.

4.5/5

Photo courtesy of Focus Features

Directed by: Jason Reitman
Starring: Charlize Theron, Mackenzie Davis, Mark Duplass, and Ron Livingston.
Runtime: 95 minutes
Rating: R for language and some sexuality/nudity.
Now playing in select Charlotte-area theaters.

Focus Features presents, a Bron Studios/Right of Way Films/Denver and Delilah/West Egg production, in association with Creative Wealth Media, a film by Jason Reitman, “Tully”

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Emerald Recommends: traditions and tips for the ASUO Spring Street Faire

The sun is out and 13th Avenue’s bike racks have been cordoned off to make room for vendors. The air will soon smell of Hawaiian food and elephant ears, and 13th Avenue will be bustling. The second ASUO Street Faire of the year starts in a few days. Emerald writers are here to tell you about their yearly traditions, favorite foods and helpful tips for the last faire of the school year.

Getting sunburned at the Quad

Getting sunburned is never fun, especially if you have pale Irish skin like I do. Luckily, the not-so-forgiving Northwest rain means that sunscreen is a necessity only a few months out of the year. However, people face a harsh learning curve when it comes to remembering to apply sunscreen around this time of year.

After not needing to think about sunscreen for eight months straight, it’s easy to forget when first venturing outside the house. It’s not a coincidence that my first sunburn of the season comes right as the UO’s biannual ASUO Street Faire comes around. After scarfing down an elephant year in record time, I like to take my bloated body to the grass quad to spread out and relax. And every year I end up peacefully falling asleep in the sun, only to wake up in agonizing pain. When will I learn? Who knows. All I can do is ease the pain with aloe vera and remember to lather my sunscreen. That is, until next year’s street faire.

-Zach Price

Buying succulents

I’m a freshman, so I don’t really think I can say that I have a Street Faire “tradition”. However, I can say that the last time that I went to the Street Faire I almost bought a succulent. I don’t really even like succulents, but I felt compelled as a millennial to do so — they’re cool, right? But succulents aren’t aesthetically pleasing to me. I do like plants, though. Early in high school, I was known as “that kid in the greenhouse” because I would spend the transitory time in between classes in the greenhouse.

Many students have seen me whispering to my sunflowers. They were mammoth Russians, if I were to be specific, and they were much more preferable to succulents. Maybe I’ll purchase some other kind of plant during the faire. Maybe I’ll try out a succulent to see if they’re as bad as I think they are. Who even knows at this point? At least I’ll have the next four years to decide.

-Ryan Nguyen

Making fingers fancy

Every year, both in fall and spring, my hands get quite the makeover. The Street Faire is full of vendors selling sweet and delicious treats, but there is one booth that I’ve been loyal to since my first term of college: the rings. It’s obvious that this booth is a big hit because I always have to push and elbow my way to the front row of admirers. The rings are stacked by size, with the majority of the inventory dainty and silver.

When I first arrived at UO, I had a small inkling that I wanted to make wearing rings part of my permanent getup, but I didn’t know where to find the ones I liked — let alone ones that didn’t break the bank.

Enter the Street Faire — the ring vendors are helpful and don’t push customers to purchase. I return to their booth every year, and I stock up on rings like you wouldn’t believe. I have backups upon backups, and I am not exaggerating when I say they are great quality. Sure, they bend a bit if you play with them too often, but they have never once turned my fingers green. Take the time to give each tray a diligent look, because the faire will be over before you know it — and your fingers deserve to feel fancy.

-Sarah Urban

The post Emerald Recommends: traditions and tips for the ASUO Spring Street Faire appeared first on Emerald Media.

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The Honor Society of Phi Kappa Phi Accepting Applications for Council of Students

The Honor Society of Phi Kappa Phi, the nation’s oldest and most selective all-discipline collegiate honor society, is currently accepting applications for its 2018-2020 Council of Students. The Council, comprised of student vice presidents from chapters across the nation, serves as the student engagement committee for the Society. Established in 2007, the Council is tasked […]

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