Matthew Kistner, fourth-year CS and former Technique sports editor, was driving students in the School of Mathematics around campus in the Ramblin’ Reck when its odometer hit 22,022 miles. Unbeknownst to his passengers, this number was a huge milestone for Kistner. It meant that as of Monday, Nov. 4, he had traveled 3,000 miles in the Ramblin’ Reck as this year’s driver, breaking a record distance that had not been recorded since the mascot’s introduction in 1961.

As the Ramblin’ Reck Club’s driver, Kistner is behind the driver’s seat at every single appearance of the Reck, both on and off campus. He is responsible for its appearance at every single football game (except for the Jackets’ home opener in Ireland) and took it to ten states throughout the Eastern U.S. The Technique sat down with Kistner in the Reck Garage, his de facto “home base,” where he stores and maintains the 1930 Ford Model A Sport Coupe. He gave insight into the work and dedication necessary to uphold the Ramblin’ Reck’s image on campus. 

“So we didn’t know the exact number of the record in mileage,” said Kistner. “We just knew that nobody had ever crossed the 3,000-mile mark. … It was something really cool and neat to get to celebrate on Monday because it was a goal of mine to [surpass] the record as much as possible. I was not really thinking about the specific record or anything like that; I just wanted to do the most I could, you know, getting the Reck out as much as possible, driving it as much as possible and making it as accessible as possible. This really cool achievement just came with that at the same time.”

The record break came at an auspicious time in the fall football season: Homecoming. Instead of resting and celebrating his achievement, Kistener got right back to work, continuing to make the Ramblin’ Reck known on campus.

“A main goal of mine was to capitalize on the opportunity for the Reck to be as visible as possible to students, alumni and really anybody coming around campus this week because the Reck has, in years past, not been the most visible. It’s been a busy week, and the game was actually the end of it all for me. For a lot of people, the game is the beginning [of their Homecoming experience], but for me, it was the end. Getting to engage with so many alumni and students on campus throughout the week was really cool,” Kistner said. 

During Homecoming week, Kistner brought the mascot to every homecoming event he was able to attend during the weekdays and played an important role in the traditional events like the Mini 500, Freshman Cake Race and the Wreck Parade. As a graduating senior and a member of the Reck Club since freshman year, he is the steward of homecoming traditions and events, which was especially gratifying for him. 

“Getting to be a part of those events was really neat, and getting to experience that from the driver’s seat of the Reck was so insane. The Freshman Cake Race was really full circle for me this year because I had been a runner, I had been a member that helped with setup, I had planned it the year before, and now I was setting the pace driving the Reck in it this year. That was something that was really sentimental for me during a homecoming week,” Kistner said. 

Kistner has taken the Ramblin’ Reck to every away game, but for every trip over seven miles, he has to tow the coupe to its destination on a trailer. So, he drove most of that 3,000-mile record here on campus, interacting with students. In order to drive as many students as possible, Kistner spearheaded a new campaign called “Ride Days,” in which RSOs can schedule four-hour blocks to ride with him anywhere on campus. 

“They are hosted out of our Reck Garage if that organization doesn’t have a hub on campus, and [what we do] is completely up to the discretion of the organization. Usually, I send them a spreadsheet where members can sign up for a 30-minute time slot to ride in the Reck. People might think that 30 minutes is a lot, but it goes by really fast. We did six of those this past week, and that put us over 15 total Ride Days this semester. It’s a lot of driving, a lot of time behind the wheel,” Kistner said. 

The abundance of miles driven on campus is a marker of Kistner’s dedication to the student body and the betterment of the Institute overall. Spending hours driving, maintaining and repairing the Ramblin’ Reck on top of his 12-credit-hour schedule requires a unique level of commitment and motivation, which Kistner seems to have plenty of. 

“I always knew I wanted to be a driver since I arrived in 2021. It was something I strived towards, and a large part of what keeps me going is a motivation and a passion and spirit for Tech, as cheesy as that is. There are days, as much as I hate to admit, when I would like to just be a student that goes to class and then goes home and goes to bed. But then I think about the fact of how rare and unique an opportunity I have every single day is. … I think about the fact that I only get 366 days to do this job, and I don’t want to leave any regrets behind.”

This year is breaking records for more than just the Ramblin’ Reck. With admissions reaching record highs and GT Athletics experiencing unprecedented growth in support (Kistner even mentioned that he had to hide the Ramblin’ Reck from rowdy fans that stormed the field last weekend), Kistner and Ramblin’ Reck Club as a whole are leveraging the refreshingly vibrant energy on campus to enrich the student experience. 

“Our president, Simran Patel, [fourth-year ECON], works really hard, and she makes my job way easier. A lot of people get confused and think that I am also the president, which is very much not the case. … My job is the car, not the Club, whereas her job is the Club. Nothing that I have achieved would be possible without her stepping up to the plate and doing everything she’s done this year. It’s not just me setting records this year, it’s also her behind the scenes,” said Kistner. 

With the win against the University of Miami, the Jackets have clinched bowl eligibility, extending Kistner’s term as driver through December, making him the first alumnus to drive the Ramblin’ Reck through the tunnel at a football game. Now a history-maker on campus, Kistner’s love for the Institute was obvious as he expressed his excitement about the Jacket’s growing school spirit. 

“There’s a whole new vibe on campus this year,” he said, “and the only thing that we can do as student leaders on campus is keep raising the bar.”

The post Tech’s mascot wrecks a long-standing record appeared first on Technique.

Last Friday, Sept. 13, was one of the first cold and rainy nights in Atlanta, ushering in the upcoming fall season. However, the fall gloom was forgotten inside of Terminal West where Summer Salt performed an intimate show surrounded by warm lighting and cardboard waves. 

The indie surf-rock band’s Driving Back to Hawaii Fall Tour celebrates the ten-year anniversary of their inaugural EP “Driving to Hawaii.” Founded by lead singer and guitarist Matthew Terry and Eugene Chung, the surf-rock band is touring on a literal journey back to Hawaii with Winston Triolo (bass and backing vocals) and Anthony Barnett (lead guitar and backing vocals).

Before Summer Salt took to the stage, it was obvious that they had garnered a cult following over the last decade and that the vibes were going to be good. Fans filed in donning matching Hawaiian shirts and pastels and enjoyed opening sets from Mini Trees and Will Paquin.  

Opening with “Life Ain’t the Same,” an upbeat hit off of their album “Happy Camper,” Summer Salt quickly set the tone for the night — it would be upbeat yet relaxing, full of catchy tunes and wholesome interactions with the audience. 

They followed up shortly after with “Revvin’ my Cj7,” which Terry describes as an ode to his father. He sings from his point of view. Terry is almost drowned out by the audience belting along, “And I don’t know why / I’m always putting up a fight / When I’m so damn tired / From working overtime.” His almost perfectly smooth voice seemed to glide over Barnett’s jazz melodies, producing a song that has not lost its catchiness or emotional significance in the seven years since its release. 

The band’s jazz and vintage influence is evident in most of their songs, especially the ones with catchy hooks accompanied by what can only be described as beautiful harmonies that satisfy the ear. Before the band played “So Sweet to Me,” they encouraged everyone to sing the hook if they knew it, and unsurprisingly, the entire crowd started “oohing” and “aahing” at the charming hook reminiscent of a tropical beach vacation. 

Summer Salt delivers this niche sound so well that it can be easy to get lost in the music and not realize the intention behind their every move. Chung incorporates hits to the snare in such a way that keeps the crowd nodding, but not jumping. Triolo and Barnett know exactly when to amp up the vocal progressions, or when to play more conservatively to highlight a specific element of the song. The respect and admiration the band members have for each other shine through this way. 

The band incorporated a few songs from their new EP “Electrolytes” throughout the show. Songs like “Deja Vu” and “Poolside” maintain the same general feel and sound of their music but with a more mature and carefree approach. Touring member Triolo’s influence was definitely evident on the more recent projects, with his vocals occasionally coming into the spotlight in some of them.

The feelings of relaxation and warm nostalgia brought at the show so far climaxed midway through their performance of the entire “Driving to Hawaii” EP. Before performing “Tidal Waves,” Terry mentioned that it was funny how ten years later, he could still relate to this song that they do not perform often, and it was obvious that he has held a quiet reverence for it. The band as a whole paused often to share their feelings with the small audience, evoking a sense of community with the audience that added value to the show.

Unlike most of their songs that excel in melody and instrumentation, the lyrics of this song work in tandem with the composition to produce a true work of art. The jazzy guitar and drums gently build up and crash throughout the song as the title insinuates. Over it, Terry sings, “And as I fall from this home as a feather / Into your pocket where I’ll haunt myself forever.” He continues in the chorus, “What’s the day? / What’s the hour? / Sip on dreams I don’t recollect now.”

Summer Salt’s genuine emotions radiated warmth just like the concert lights. Their passion for music came through with every song. The feelings of enlightenment, nostalgia and relaxation that come with summer shine through their music, and Terry’s outstanding vocal performances accentuate them. What really made the show memorable, though, was the strong mutual appreciation between the audience and the band, creating a unique and unforgettable moment of community. Summer Salt’s Driving Back to Hawaii Fall Tour is a must see for all indie surf-rock fans, or just concert lovers in general.

The post Trop-rock band Summer Salt rolls into Atlanta appeared first on Technique.

On Aug. 8, Glass Animals landed in Alpharetta’s Ameris Bank Amphitheatre for their second show of their “Tour of Earth.” The band is currently touring their album “I Love You So F***ing Much,” which they released in July 2024. Though David Bayley (vocals), Drew MacFarlane (guitar and keyboard), Edmund Irwin-Singer (bass) and Joe Seaward (drums) started Glass Animals in 2010, they have experienced a meteoric rise since their single “Heat Waves” went viral in 2020. Now, their otherworldly production has put them among the stars.

In the minutes leading up to the concert, crowds started filing into their seats, and the audience swelled with excitement. As the sun set, the stadium lights reflected on hundreds of neon 70s-style outfits, perfectly aligning with the space-synth aesthetic of the new album. 

Glass Animals threw quite a production, and it was evident from before the show even began. Fog overwhelmed the stage, which was covered by a huge curtain displaying the album’s cover. Suddenly, the curtain fell to reveal the band playing “whatthehellishappening?” from their new album in front of a grandiose visual display. Vintage spaceship control panels surrounded the band, and an LED screen that spanned the entire stage illuminated the amphitheatre.  

During the first few songs, Bayley struggled to get comfortable with the crowd. He seemed a bit reserved, singing behind the microphone stand on the elevated back-half of the stage along with the rest of his band. The vocals were a bit shaky, but he maintained a high energy level throughout the first few songs.

The songs themselves did not stand out during the first half of the show, and the production was its most impressive element. The band shifted to a more gothic mood with their third song “Wonderful Nothing,” as the stage dimmed and flashed soft green lights. As Bayley danced across the stage, a plasma ball emerged in the center of the stage that flashed erratic rays of green light. Glass Animals totally nailed the atmosphere and aesthetics of their concert. 

The audience followed each song with roaring cheers for the band, and it was obvious that Bayley fed off of its energy. He gradually became more comfortable with the audience; he descended to the lower stage and started dancing as he performed, all with a smile on his face. By the time he started singing “Space Ghost Coast To Coast,” an upbeat hit off of their 2020 album “Dreamland,” the fans in the pit were dancing almost as
vigorously as him. 

The energy reached a climax with Bayley’s elaborate ten-minute performance of “Gooey,” the band’s first popular hit from 2014. The song blended in with most of the others in terms of sound and lyricism but gave the catchiest chorus of the night when Bayley sang, “You just wanna know those peanut butter vibes” repeatedly. In true Glass Animals fashion, the most memorable part of the night was his performance. After the first verse of the song, Bayley sprinted off stage and emerged a couple minutes later among the crowd in the lawn where he sang the next verse.

It was obvious that connecting with the audience so closely in a venue of this size was Bayley’s true passion. Any sort of reservations that their virality had converted them into one-hit wonders melted away. 

Upon his return, he took a moment to address the crowd: “I was a bit nervous to come on stage, but it’s like a big warm hug seeing all you guys,” said Bayley. 

After that performance, Glass Animals took a victory lap, playing some of their biggest hits. Each song was memorable and unique, and the energy they brought with them was unmatched. “Take A Slice” was the best song instrumentally. McFarlane played its TikTok-famous guitar solo whose suspenseful high notes sounded even better than the record. 

The show concluded with “Heat Waves” as the encore, and hearing it was worth waiting in the post-concert traffic. It is unfathomable that a wall of synthesizers accompanied by a laser light show could incite such raw emotions, but that is what Glass Animals gave in their final performance of the night. The repetition of the song’s chorus makes the melancholy breakup song incredibly catchy, forever imprinting the lyrics “Sometimes all I think about is you, late nights in the middle of June,” on the listeners. 

Most of Glass Animals’ songs were not discernible from each other save for a few hits that knocked it out of the park. Although they sometimes missed the mark on individual performances or lyricism, they nailed the concert’s production, and the visuals alone were enough to light up the entire venue and keep the whole crowd dancing. Overall, they gave Atlanta a thrilling show that the audience is sure to remember.

The post Glass Animals lights up Alpharetta venue appeared first on Technique.

Shawn Levy’s third film in the “Deadpool” franchise opens with Deadpool (Ryan Reynolds) in a frantic fight, but before the audience can get their bearings, he already lands two jabs on Disney for acquiring 20th Century Fox, one at Reynolds’ wife Blake Lively’s “Gossip Girl” performance and another at the audience for expecting Wolverine (Hugh Jackman) to appear so early in the story. This scene sets the self-referential tone of the rest of the film.

“Deadpool and Wolverine” is exactly what the Marvel Cinematic Universe (MCU) needed — a fast-paced, action-packed feature with an engaging and well-paced plot, unhinged comedy and thrilling fight scenes with compelling special effects. It is a refreshing standout of Marvel’s new era, reminiscent of their golden age classics. 

As expected, the team-up between the two powerhouses, Reynolds and Jackman, produced a superb joint performance. Since their first appearances in 2009’s “X-Men Origins: Wolverine,” the actors have perfected their respective characters. 

Even in a third installment, Reynolds still has not exhausted his comedic artillery. The “meta” jokes were not overused and retained their value, and he definitely made the most of the raunchy comedy in the MCU’s first R-rated movie. Jackman nails every facet of Wolverine, delivering his familiar broodiness, sarcasm and rare hilarious moments.

Both actors had serious scenes, and shockingly, Reynolds was the most compelling. He leverages the empathy fans have grown to feel for Deadpool over the first two movies and looks inward, delivering an emotional performance alongside his onscreen partner Vanessa (Morena Baccarin).  After two movies worth of Deadpool-esque shenanigans, it seems that he is finally ready to find a purpose for his powers. 

The two actors brought their commitment to the stage, giving the audience some of the most exciting fight scenes they have seen in years, with the best ones, ironically, being between each other. Clearly, Jackman’s roles in “The Greatest Showman” and “The Music Man” honed his skills in dance, sharpening his ability to follow battle choreography. The fights were agile, fast-paced and awesomely gory — probably due to “Deadpool’s” fancy new Disney budget. 

Recently, fans have complained that recent Marvel films’ battles are not as engaging because their overused, not-so-convincing CGI overwhelms the audience. But here, thanks in part to its roughly $200 million production budget, the effects were compelling, and the film boasted more action than the average Marvel movie. 

The storytelling overall was above average, but not exceptional. It felt like Levy’s purpose was to pay homage to Marvel’s 20th Century Fox characters rather than focus completely on the plot. Without spoiling the cameos, the film evokes a similar nostalgia that “Spiderman: No Way Home” did when it brought back all of the past Spiderman actors. However, even if a fan does not religiously follow the happenings of the MCU or “X-Men,” the film is still worth the watch. As usual, fans should stay for the end-credits scene to get the most out of the experience.

Levy underlines the many cameos with an unoriginal and somewhat tired “this Marvel character takes on the multiverse” premise. Though the concept is more concise in this feature compared to other newer Marvel productions, fans should watch season one of “Loki” to avoid a lot of unnecessary confusion. 

Though the multiverse contains infinite possibilities, it seems that Marvel confines itself to a similar trope each time — some big bad villain threatens to destroy the “space-time continuum,” and a ragtag group of variants must rise to the challenge and defeat them. Deadpool said it best towards the end of the movie. “Marvel, can we be done with the whole multiverse thing?” 

Marvel’s “Deadpool and Wolverine” is almost perfect. The story is good, but the characters’ performances really stand out. Reynolds and Jackman delivered the perfect mix of action, comedy and drama that would make any Marvel fan shed a tear. It brings the quality that so many have been looking for in the years since Phase 4’s onset. This is a must-watch film in theaters, and experiencing each joke and surprise cameo with an audience makes for an even better watch. 

The post “Deadpool & Wolverine:” an epic Marvel tribute appeared first on Technique.