As with many elements of pre-pandemic life, the lights are turning back on for live theater performances around the Twin Cities — and not just the dim glows of our computer screens.

After being completely virtual in 2020, the Minnesota Fringe Festival will return Aug. 5-15 with a handful of live in-person performances. But virtual shows won’t completely disappear from the Fringe, as they increase the festival’s accessibility for performers and audiences alike.

Fringe-goers have many options when it comes to watching performances this year. The festival is offering pre-recorded virtual performances, archival video recordings, audio only performances, livestreams and live in-person performances, with over 100 shows to choose from.

To attend the festival, you have to purchase a Fringe Button online. The button functions as an access pass that allows Fringe-goers to purchase tickets for specific shows and view virtual programming on the Fringe’s website.

Dawn Bentley is the Fringe Festival’s executive director, and she also teaches Nonprofit Financial Management within the Arts and Cultural Leadership Master’s program at the University of Minnesota.

On one hand, Bentley said that the Fringe decided to utilize a hybrid structure this year to take COVID-19 precautions. At this point in the pandemic, she said, “It’s very important to meet people where they’re at … because not everyone is comfortable returning to the theaters and not all theaters are comfortable hosting people.”

Even as the world regains some sense of normalcy, the pandemic has not yet come to a halt. Theaters across the globe are still having to delay or cancel productions due to positive COVID-19 cases, including a handful of shows in London’s West End.

But the decision to integrate virtual options again this year was also due to the various benefits of an online format. Bentley mentioned that travel and transportation aren’t a barrier to entry when it comes to virtual programming, which makes the festival more accessible for audience members and artists.

“We think there is room for a hybrid Fringe in our future,” Bentley said. “I see no reason to let go of virtual programming, because I feel like it has actually opened us up to new audiences, new artists and new ways to Fringe.”

Scott Pakudaitis has been a regular attendee of the Fringe Festival since 2001. Because of conflicts with his work schedule, he can only make it to one in-person performance this year, but he’ll still be able to experience the Fringe through the online streaming options; he plans on attending a few livestream shows and watching a handful of recorded performances.

“I really appreciate that there’s this virtual option that lets me experience this wonderful art and not have to worry about fitting it into my work schedule,” he said.

For in-person performances, Bentley said the artists behind these shows each selected their own venues. There are plenty of unique indoor and outdoor locations on this year’s schedule, including Boom Island and Minnehaha Park, various Minneapolis theaters, a distillery and even a museum.

“The Scribbler,” one of the festival’s in-person shows, is coming to the Bakken Museum in Minneapolis on August 6-8. The show is a comedy that depicts a kingdom where no one knows how to read or write, including the town scribe, who has been keeping this inability a secret.

The show’s writer, Kyle Munshower, and director, Kevin Duong, are also looking forward to getting back on stage as actors in the show. “After a year that was so devoid of in-person connection in a lot of ways, I think it’s just gonna be really exciting to create a space for that connection to happen again,” Munshower said.

Munshower and Duong also noted the importance of the festival for both artists and fans, especially in terms of making theater accessible.

“I think what the Fringe Festival provides is just a way for audiences to either dip their feet in or to experience theater away from all the grandiosity of what the stereotype of theater is,” Duong said.

For artists, the Fringe Festival provides a platform to set them up for success. “For people like us who really love creating theater, [Fringe] is such a great way to get a foot in that door,” Munshower said. “It helps you build an audience, and it helps you do better the next time you do a show.”

These sentiments are consistent with those behind the scenes at the Fringe, as Bentley said that she wants to make sure that art is accessible to everyone. “Any artist can be a Fringe artist… and if you have a story you believe in and you want to tell, then there’s an audience out there for you,” she said.

Juana Garcia/The Cougar

As the semester approaches soon, the environment in which students choose to complete their work can play a crucial role in the quality, efficiency and effectiveness of their studying. 

Here is a list of off-campus study locations around the Houston area designed to fit the needs of different learners attending UH.

Quiet spots

For students who require an extremely quiet environment with little to no disturbances, they can look forward to checking out a variety of the Houston Public Libraries. 

The Jungman Neighborhood Library, located on Westheimer Road, is a great place for this sort of atmosphere. This library has more of a modern look due to its recent renovation. With large glass panel windows extending from the ceiling to the floor, natural light shines through giving the place a welcoming and motivating feeling. 

The library has a series of available computers to use, printers and free Wi-Fi. There is minimal noise, secluded areas and a wide variety of comfortable seating.

Coffee shops

On the other hand, students who love loud and noisy areas full of commotion can visit coffee shops and cafes. 

For example, a highly recommended choice is Mercantile Montrose located off-campus on Stanford. Mercantile is always bustling with incoming students and customers, giving it a great ambiance and an overall positive vibe. With a variety of seating ranging from outdoor to large community tables for group studying sessions, Mercantile has it all.

Take a study break and enjoy their highly recommended beverages and pastries as you sit on the wooden swing and clear your mind. For a light studying session, you can always enjoy the live music and events or just have a quiet evening of people watching.

Typically, the store is somewhat busy during weekdays, providing a great balance of noise and quiet. Most stores have cafes such as Starbucks which can be great places for snacks and drinks.

Outdoors

Lastly, while all these locations have their benefits, nothing beats the outdoors for a relaxing, but productive day. The benefits of studying outdoors or in parks are innumerable and can include improved calmness, mental clarity, increased natural energy, relaxation and boosted problem-solving.

According to a recent Houston Lifestyle article, one of the most popular parks to visit is Discovery Green. Spread out on the vibrant green grass or take a seat under a group of tall sturdy trees. This park offers free Wi-Fi, shady areas, public art, a variety of seating and large landscapes of green space. 

After a productive day of work, take a break and enjoy the host of numerous programs and activities. This includes relaxing free yoga classes that are offered on Tuesday and Saturday!

Unlike last year with the strict quarantine limitations, use this year as an opportunity to explore thrilling or relaxing off-campus places to make studying more enjoyable and less of a chore for you. The environment you place yourself in can heavily impact your mood and outlook.

arts@thedailycougar.com

—
“Off-campus study spots students find in Houston” was originally posted on The Cougar

This review contains mild spoilers for Netflix’s “Fear Street” film trilogy. Catch up with the first review in this three-part series. 

After thoroughly enjoying the first installment in Netflix’s “Fear Street” trilogy, “1994,” I eagerly awaited “1978,” the next installment, during the week in between releases. My anticipation mostly came from learning more about Shadyside’s history, particularly one of the killers encountered in the first film. Much to my surprise, I ended up enjoying this film more than part one.

“1978” continues where “1994” left off: Deena (Kiana Madeira) and her brother Josh (Benjamin Flores Jr.) reach out to C. Berman (Gillian Jacobs), the only survivor of the Camp Nightwing massacre mentioned by Josh in “1994.” The teens even have to face the resurrected ax-wielding killer head on several times. Like Sam, Berman had also seen a vision of the town witch, Sarah Fier, and lived to tell the tale. The teens urge Berman to tell them her story, as they believe her survival could help them defeat Sarah Fier once and for all.

As Berman begins her story, we’re transported to July 1978. There, we meet Cindy (Emily Rudd) and Ziggy (Sadie Sink) Berman, two sisters who are exact opposites. Cindy is a perfect goody-two-shoes with an equally stand-up boyfriend Tommy (McCabe Slye). Meanwhile, Ziggy is as fiery as her hair and ends up in trouble as often as her sister stays out of it. Ziggy’s trouble isn’t typically her own doing — she’s harassed and attacked by Sunnyvale campers and unfairly punished for their actions. 

“1978” is also made more enjoyable by the smaller cast of characters. Cindy and Ziggy’s relationship as sisters is front and center. Secondary characters never steal the spotlight, but rather give us more details about the pair. One example includes Cindy’s friends at the camp, who have minor roles in the overall story but reveal that Cindy was not always the prim and proper girl she pretends to be. 

Camp counselor Nick Goode (Ted Sutherland) and camper Ziggy Berman (Sadie Sink) hide from the ax murderer pursuing them. (Netflix)

Like “1994” before it, “1978” has an absolutely stellar soundtrack. Viewers with a keen ear will notice the care put into the selections. Songs chosen for scenes in the 90s are all from 1994 or earlier, and songs for scenes set in 1978 follow suit. My favorite moment was C. Berman’s official introduction at her home in “1994” with Nirvana’s 1994 cover of David Bowie’s “The Man Who Sold the World.” Bowie’s original 1970 version appears in the climax of the film in 1978. Other similar moments are scattered throughout the first two films, and it was incredibly fun to pick out these details as a classic rock fan. The soundtrack and setting make up a large part of the overall classic summer camp slasher borrowed from the likes of “Friday the 13th” (1980) and “Sleepaway Camp” (1983) — copious amounts of X-rated teenage delinquency, blood and gore abound. Experiencing this part of Shadyside’s history through C. Berman is what ultimately makes “1978” a better film and allows it to rise above its predecessor. 

Compared to “1994,” “1978” seems to be made by a completely different team, particularly evident in the beautifully done climax. The score fades away to the diegetic sound, and we’re left to hear the horrible squelch of blades in flesh accompanied by tight shots on the dying characters in their final moments. If writer-director Leigh Janiak used “1994” as her warm up, then she’s getting comfortable and showing us what she’s got with “1978.” I only wish she’d shown off her skills sooner and committed to making the better film first, as she’s quite clearly very capable. 

Rarely are sequels better than the original, particularly in the horror genre, but “Fear Street Part Two: 1978” happily turns that slasher trope on its head. Both films have some storyline and stylistic flaws that make it obvious they come from Netflix.
“1994” and “1978” feature popular, recognizable actors from Netflix hits (e.g. Maya Hawke in “1994” and Sadie Sink in “1978”) and are made to appeal to a wider audience with accessible storylines. However, I’ve still enjoyed both films for what they are: modern teen slasher flicks that break from the prestigious, highbrow films currently dominating the horror genre, such as “Hereditary” (2018) and “Midsommar” (2019). The “Fear Street” films are far easier viewing, particularly for horror fans looking beyond the sort of horror films that are currently in style. 

With only one more film left, “1666,” I’m anxious to see what’s in store for Deena, Josh, Sam, C. Berman and the whole of Shadyside. 

The post ‘Fear Street Part Two: 1978’ will make you swear off summer camp appeared first on The Emory Wheel.

Camila Cabello can’t shake sophomore slump on flashy but flimsy ‘Don’t Go Yet’ 

Epic Records/Courtesy

Grade: 2.5/5.0

Reborn as a solo star, former Fifth Harmony member Camila Cabello became a household name in 2018 with the soaring popularity of her passionate, self-titled debut album. The extraordinary success of her Latin-music-influenced pop record, boosted by the notable earworm “Havana,” marked either a sign of promise or a strike of luck for Cabello. But considering her lackluster discography in subsequent years, the latter prospect appears to be more likely — and unfortunately, her latest single “Don’t Go Yet” adds to the accumulating evidence.

Released July 23, “Don’t Go Yet” is the lead single from Cabello’s upcoming third album Familia, which Cabello stated is inspired by “who you want to sit at the dinner table, get wine-drunk, & dance in the living room with.” Fittingly, listeners might need to get wine-drunk to fully enjoy this mediocre track: The song, though beaming and confident, leans into the most mechanical domains of Cabello’s artistry.

While the track does steadily improve throughout its runtime, “Don’t Go Yet” as a whole struggles to escape the dullness of Romance, her sophomore album. The record floundered as a flirtatious but ultimately forgettable venture, and Cabello’s single falls into the same snares. Playful and spunky, the track can only entertain for so long.

Considering how vibrant the song’s music video is — a colorful, flamboyant spiral of familial love and felicity — it’s disappointing that the song is so underwhelming. “Don’t Go Yet” flickers with firework sparks of promise, satisfying most with its chorus’s burst of much-needed joy. Though misguided in many ways, the track’s one clear consistency is its celebratory elation. Spirited dancehall and reggaeton influences help uplift Cabello’s self-assured delivery, and the singer’s return to her Latin roots is refreshing after Romance’s wearisome pop tropes.

While the song checks off the basics of a radio-playable song, the buzz of “Don’t Go Yet” fails to divert more major missteps: namely, Cabello’s vocal experimentation. Her first verse is tolerably nasal in a signature way, but it’s her second verse that makes the song difficult to redeem; she shifts from traditional singing to a whiny, tipsy flow that’s irritating instead of intoxicating. Perhaps the tone change was a well-intentioned creative choice, an attempt to imitate the wildness of a drunken night or establish showy nonchalance, but its inclusion only highlights her weak vocals.

In this same verse, Cabello lets the song’s stronger, more imaginative qualities slip into dullness. The artist imagines herself “in satin/ the room was platinum and gold” at first, dreamy and idealistic. Less than a minute later, this attractive imagery fades with Cabello slinkily singing that “I wore this dress for a lil’ drama” and calling “Baby, come to mama” in a painfully predictable rhyme.

Some relief does emerge after this shoddy verse. The song’s pleasant bridge embraces classic Latin instrumentation, and the merry ensemble chanting “No te vayas, quédate” (meaning “Don’t go, stay”) briefly melts the romantic atmosphere into a more familial, friendly one. The track concludes with a funky fade of various percussion, hinting at an after-party that seems more compelling than the main attraction.

Like its final few seconds, the song itself is little more than an ephemeral flash of fun, too fleeting and simple to be satisfying. The heart of “Don’t Go Yet” might just be its unintentionally appropriate title — the song functions not only as a hopeful plea to a late night lover, but also a futile solicitation to listeners.

Contact Taila Lee at tlee@dailycal.org.

The Daily Californian

The Daily Trojan features Classified advertising in each day’s edition.  Here you can read, search, and even print out each day’s edition of the Classifieds.

Click the icon to download the PDF of today’s Classifieds:

To place an ad, please contact an ad representative:

(213) 740-2707

USC Student Publications Student Union – Room 400

Los Angeles, CA 90089-0895

http://dailytrojan.com/ads

The post Classifieds – July 28, 2021 appeared first on Daily Trojan.

With the warm weather and clear skies here in Colorado, many have gardening on their mind. As with any harvest, gardeners may be getting far more produce than they had intended, but while all those surplus vegetables would usually go to waste, Coloradans have a new opportunity to put that produce back into their own […]

West Valley Police arrested Michael Chad Breinholt on Aug. 23, 2019, after he arrived at his girlfriend’s workplace intoxicated and drugged. Both his girlfriend and her coworker reported him as suicidal and in need of help. Instead, West Valley Police arrested him for driving under the influence when they arrived at the scene.

Despite his urgent plea to be taken to a mental hospital, police handcuffed Breinholt and focused on putting him in jail. A scuffle occurred, and Officer Taylor Atkin announced that Breinholt reached for his holstered gun. Sgt. Tyler Longman then fired at Breinholt’s head at point-blank range, killing him instantly. This was Longman’s third time killing someone in the line of duty.

On July 22, 2021, Salt Lake County District Attorney Sim Gill finally announced that Longman was justified in killing Breinholt, stating “The law is clear.” Yet even Gill expressed his desire to change the law. However, Breinholt’s family remains in shock over Longman’s continued employment, asking “Why is he still carrying a gun?”

This case raises the question as to why we don’t terminate officers who fire their gun and kill someone multiple times during their career. Any officer who kills in the line of duty needs to hand in their badge to make everyone safer.

According to the Salt Lake Tribune and Frontline, 38 officers in Utah have fired their guns in more than one encounter in the past 17 years. Of those 38, three officers fired three times, and two officers fired four times. And based on a study by James P. McElvain, a current police chief with a doctorate in sociology, any officer who previously fired their gun is more than 51% as likely to fire their weapon again.

Sgt. Longman shot and killed two others before Breinholt. In those previous instances, his department and the prosecutor found the shootings justified. However, the body camera footage from Breinholt’s death shows the situation was anything but justified.

Breinholt, restrained by handcuffs, could have been tased or pepper-sprayed. Yet Longman unnecessarily aimed at Breinholt’s head with his gun and threatened “You are about to die, my friend.” Longman did not fire for the safety of others — he played the executioner.

Even with the abstract thought of “justifiable” and “unjustifiable” shootings, firing your weapon as a police officer should carry a heavier connotation. Just as doctors and school workers can be terminated following malpractice or misconduct, police need to be held to the same standards — especially if an officer has killed once or multiple times.

Yet many officers who fire their guns will be placed on administrative leave, and then return to work after two weeks. They do not need to complete any additional training or follow-up evaluations. Police are reluctant to label this as a problem, as most officers never even fire their gun, and it’s not talked about within the media or policing communities.

In addition, police departments themselves fail to keep records of officers involved in multiple shootings. And whenever an officer goes under investigation for a shooting, it is treated as their first. Ignoring these issues will allow law enforcement to continually justify the usage of their guns in any situation when in reality, officers should rarely fire their guns.

As of May 2021, Utah law mandates that the investigation of these incidents be tracked and made available to the public, as they weren’t previously. Police departments must also continue to collect data on their officers involved in multiple shootings.

However, this alone will not solve our problems. Police can always use more training in regards to firearms and how to de-escalate situations. Departments could also continue to evaluate their officers after these instances. But once an officer kills someone, they should not remain on the force, or at the very least, they should not carry a gun. We seek to employ peacekeepers and officers who serve and protect the law — not be above it. But our safety is violated when officers like Longman remain employed and use a gun.

It’s disheartening to see police brutality of any kind, and to see individuals branded as our “protectors” enforce the law by their own means. Our laws reserve capital punishment for the worst of the worst, yet some officers exercise the power to kill without repercussions. It’s time to end this now.

Police departments and agencies fail to do their jobs when they don’t hold themselves accountable. Officers who over-rely on their guns to protect themselves and others are not suitable to work in law enforcement. Other situations have occurred where officers competently use guns or other force to protect others. But for officers like Longman, there is no excuse. We should not uphold the mentality of “justifying” these harmful decisions because there is no justification for killing someone else.

c.alexander@dailyutahchronicle.com

@CamdenAlexande1

window[‘bsa_content_preview_only_’] = true;

The post Alexander: Police Officers Are Not above the Law appeared first on The Daily Utah Chronicle.

The Upper St. Anthony Falls Lock and Dam stands on land that belonged to the four Dakota tribes of Minnesota, and now organizers are looking to use that land for a project that will center Native American voices.

The University of Minnesota will soon be involved in discussions on how the land will be used and how students will be able to engage with it, such as a potential outdoor classroom. Organizers also hope to offer to return the land to the four Dakota tribes.

Robert Lilligren, a tribal citizen of White Earth Ojibwe and president of the Native American Community Development Institute (NACDI), said he has learned more about Native American history in his city through his engagement in the lock and dam project.

“It has become really apparent to me how much damage colonization and industrialization did to sacred and pristine sites on the river, and how much opportunity there is right now to stop desecrating these sites and start respecting the first peoples’ stories along the river,” Lilligren said.

One of these sacred sites, Spirit Island, was located right next to the St. Anthony Falls. The land was quarried for limestone in 1899 and later fully removed to clear a channel for ships.

The new project will temporarily grant the federally-owned land surrounding the upper lock and dam to the city of Minneapolis this December. Friends of the Falls and NACDI are working with the city to develop this project, hold conversations with tribal leaders and potentially offer the land to the four Dakota tribes that are in Minnesota. As they are still in conversation with tribal leaders, the ownership and involvement has not been determined yet.

President of Friends of the Falls Mark Andrew said his goal is for visitors to gather and learn about the connection Native Americans have to the riverfront land and how colonizers forced them from it.

Lilligren said he is excited about the opportunity to center Native voices in this project on land that was stolen from their ancestors. He said many Native American people are used to empty promises when it comes to their participation in such projects. However, after six months of dialogue, Lilligren said he was convinced of the Friends and the city’s “authenticity and sincerity in doing this.”

Lilligren said conversations with members of the four Dakota tribes about the project and their involvement have been promising.

“The descendents of the people who were here first … have expressed interest and gratitude in being engaged so early in a process rather than just reacting to other peoples’ visions,” Lilligren said.

Organizers, tribal leaders and community members are still determining the land design, but suggested ideas include a natural park representing Indigenous culture and a contemporary visitor or interpretive center.

Andrew said there is strong potential to partner with the Department of American Indian Studies and College of Design at the University to create one or more outdoor classrooms for students.

John Koepke is professor of landscape architecture with Ojibwe heritage at the University serving as a liaison between the University community and Friends of the Falls. He said there could be opportunities for students to engage in language learning, traditional ceremony and broad education about important issues in Native communities.

“I think it’s a great opportunity for the University to strengthen its relationship with the Dakota community and for [all] students to be more aware of the history of Native peoples in our state,” Koepke said.

The project will likely not be completed for years, but the design and engagement processes are now underway after being stalled by the pandemic. Community organizations and individuals can share their ideas during ongoing public meetings hosted by Friends of the Falls, NACDI and the city.

Andrew said several of these meetings will likely take place on the University campus. Koepke said that students, especially those with Indigenous ties, will have the opportunity to directly engage with the project.

“I really foresee the board reaching out to the American Indian students on campus and the American Indian Studies Department, and involving them in thinking about the planning or the programming, what kinds of activities they might want to see there,” Koepke said.

Junior outside hitter Abbie Jackson, who UH volleyball head coach David Rehr described as the team’s heart and soul in 2020, is one of the key returners for the Cougars in 2021. | Courtesy of UH athletics

As the upcoming college volleyball season looms closer, Houston volleyball announced its 2021 schedule Monday morning.

The Cougars enter 2021 with lots of positive momentum to build on after winning the 2020 American Athletic Conference West Division title.

UH’s schedule features a lineup of non-conference opponents to open up the season highlighted by Lipscomb, who UH takes will meet on Aug. 27 to open up its season, Oregon State, Oklahoma, Texas A&M and Alabama.

“Our schedule this season is one that will set us up to achieve our goals later in the year,” Rehr said. “Facing teams from the Pac 12, Big 12 and SEC will not only make our team stronger but also prepare us for our journey to compete for a conference title.”

13 of the team’s 32 total matches will be held at Fertitta Center,  which will return to full capacity.

The five Cougars named to the All-Conference teams last season will be returning, including sophomore setter Annie Cooke, who was named the 2021 American Setter, freshman of the year, the outside hitter pair of junior Abbie Jackson and senior Kortlyn Henderson, senior libero Kortlyn Henderson and junior middle blocker Rachel Tullos

Rehr, who enters his third season as the Cougars head coach, has made a significant impact in his first two years and the 2021 season will be a major opportunity for UH volleyball to take another step forward as a program.

sports@thedailycougar.com

—
“UH volleyball releases 2021 schedule” was originally posted on The Cougar

1. Keep and Use Your Syllabi

In the sister version of this article, Six Ways to Slay the Semester, the author recommended using an agenda, but agendas don’t work for everyone.
Not to mention, assignments and due dates change.
That is why I always make sure I know where the syllabus for each of my classes is, whether that be an electronic copy in Folio or a printed copy in a folder that I can quickly locate, because a course calendar is often located in the last pages of it. This way, you can always keep track of the homework you have to do tonight, tomorrow, and next week.
The syllabi also contain important information about attendance policies, grading percentages, the professor’s contact information, and other important information you’ll need to know throughout the semester, so make sure you can locate a copy of it at all times.
Sometimes, the professor updates the calendar online as changes to the coursework occur due to hurricanes or topics that took longer than expected. Professors should announce this in class. Then, you can make a note on your paper copy of the syllabus, see the update on the electronic copy, or write it in your agenda. But be warned, if you do use an agenda, instead of or in addition to, your syllabi, write in pencil because nearly all professors have a clause in their syllabi that says they reserve the right to make changes as necessary.

2. Use the Resources Available to You

This goes behind talking to your professors or attending their office hours, which I whole-heartedly recommend. It includes:
Going to office hours
Emailing the professor with questions
Attending review sessions if they are available
Taking professors who offer to provide feedback on your paper before the due date up on their offer
Making an appointment with the Academic Sucess Center to receive tutoring
Going to the SMART Center located in Science Center 132-134 and online for Math and Science tutoring
Making an appointment or walking into the Writing Center in the back right corner of the Lane Library for help on your paper or project. (Some professors even offer extra credit for this)
Asking the reference librarian for help using Discover and the other databases to conduct research for papers and projects
And so much more.

3. Find a Balance Between A Hermit and a Party Animal

Just because you shouldn’t stay up late and party every night or every weekend in college doesn’t mean you should stay in your room or in the library studying the whole time either. In order to maintain your health and sanity and ultimately suceed in college, you’ll have to find a balance between staying in to study and going out and spending time with friends.
Part of this has to do with time management, a skill I quickly learned as a freshman in college that can make or break you, but it also has to do with trusting yourself.
Not only do you have to manage your time to make sure you have time to read the chapters that are due tomorrow and the next day as well as start researching for the paper that is due in two weeks, but you have to trust yourself that if you go to Starbucks and have coffee with a friend or watch a movie on Netflix, that you will come back and read for an hour or two.
The same goes for if you’re more inclined to spend two hours in the library down a research rabbit hole, you have to trust yourself and make sure to make time for that movie or that event that the Office of Student Activties was hosting tonight that you wanted to go to.
If you do spend too much time with friends, staying up late, or partying, your grades will suffer. If you spend too much time studying your mental health, and possibly your physical health will suffer. Remember it’s important to keep a balance between work and play.

4. Relax. It Will Be Fine.

If I could say only five words to a freshman me, it would be these five words “Relax. It will be fine.”
Since I’m sure I’m not the only freshman who has felt, is currently feeling, or will feel in a perpetual state of there being too much to do and not enough time to do it in, probably partially brought on by all the information you’ve been told by this newsletter and other emails in the last few weeks, I thought I’d share these words with you.
It may feel like there is too much to do and not enough time to do it in and the stakes are so high you can’t possibly let anything drop at any moment. However, that’s not what is going on, and it’s not good for your stress level either.
Unlike high school where you were in school seven hours a day and then assigned three or four hours of homework that was all due in the next day or two, in college, you have a lot more time during the day that you can manage yourself and the due dates are spread out over weeks.
Sure that means time management is crucial, but it also means that all four hours of homework don’t have to be done tonight.
You can plan your schedule; you don’t have to be up until eleven, midnight, or later, every night this semester if you plan your time wisely.
At least until mid-terms, Then, it gets a little dicey,
But again, I repeat, “Relax. It will be fine.” Even if it doesn’t feel like it will be.