After “Joker” took home the biggest prize of the Venice Film Festival, a pandemonium of anxiety and debate erupted across the internet. Although the hysteria might be overstated, the grounds for concern are valid. Since a gunman likened himself to the famed Batman villain in 2012, numerous instances of mass violence have occurred. The worries suggest that the latest comic-book adaptation might spur violence or enable toxic behavior. Intensifying the discourse even further, the press junket has pitted writer-director Todd Phillips (“Old School” and “The Hangover”) against
“woke culture.”

What complicates the conversation the most, however, is the fact that “Joker” is a pretty effective psychological drama, as well as one of the most stylish and best acted movies of the year. Where lesser films can slip by the public consciousness unexamined and undissected, the merits of Phillips’s work invite debate around
its morality.

 In a sea of think-pieces and animated dialogue, only one thing is certain about the latest superhero-inspired release: “Joker” will not change anyone’s preconceived notions. The origin story for the iconic villain proves spectacular for fans of the Batman universe, but problematic and flawed for anyone with moral apprehensions.

Co-written by Scott Silver (“The Fighter”), the adaptation reimagines the titular character as Arthur Fleck — a poor, downtrodden clown with an unspecified mental illness prompting spontaneous laughter — played by Joaquin Phoenix (“Her,” “Gladiator” and “The Master”). The plot presents a series of misfortunes that answer the usual origin question, suggesting that the villain is a product of the environment that molds him. An abusive childhood, a crime-laden city and classist frustrations prompt the character to put on the paint and confront the world that scorns him.

Thus, analogies to Martin Scorsese’s similarly minded classics “Taxi Driver” and “The King of Comedy” — the latter having explicit allusions in Phillips’s film — prove apt, but only to a certain extent. “Joker” lacks the authenticity of the former as well as the satire of the latter. Criticisms of American society and culture feel flat and undeveloped despite inklings of truth. Simply put: “Joker” is not as profound as it purports to be.

Yet, the psychological drama effectively subverts some constraints of the comic-book genre. The art direction pops with bright costumes to offset the dilapidated setting, captured with striking, grainy cinematography. Action, when it actually occurs, never appears flashy, but rather with a shocking realism that reflects how repulsive the violence is. The score and soundtrack heighten the imagery with eeriness and intensity.

The greatest feat of “Joker,” however is the magnificent, committed performance from Joaquin Phoenix. For those unfamiliar with his filmography, the lead actor might be the best working actor since Daniel Day-Lewis retired a couple years back. Here, Phoenix presents a deep-rooted pain behind every glance and smile. Laughs arrive purposefully at the exactly incorrect times and moments, shifting viewers uncomfortably in their seats. When he inevitably erupts, his ferocity provokes genuine fear. The physicality of the acting sets it apart, as the ungainly nature of Phoenix’s shrinking frame morphs into a foreboding prance and pounce over the course of the narrative.

Despite being so clearly well-produced and acted, “Joker” struggles to shake debates of its morality. Although the movie definitely does not glamorize violence nor condone it, the titular character becomes not only the hero in his own mind, but also the hero of the film’s story. 

Scores of civilians rally behind the symbol of Joker as a combatant against classism, even though the mob mentality is the antithesis of the film’s implicit and explicit messaging. The resulting riots in “Joker” are, thus, no more emblematic of America’s cultural climate than those of “The Purge,” which is to say not representative in the slightest.

Moreover, Phillips claims his movie is a call for self-reflection during interviews, but nothing depicted in the film warrants internal consideration on the part of the viewer. Maybe the Arthur Flecks of the world need more care and compassion in their lives. Then again, Arthur Fleck does not exactly exude those
qualities himself.

Returning to the controversy, few people will view “Joker” and have their preconceived opinions altered. Arthur’s journey may embolden toxic behavior in those who see themselves in it. Likewise, any concerned viewer will not be dissuaded from his or her moral stance on the film.

“Joker” is about as well-made as a comic-book movie can be, but it fails in that it proves hopelessly unable to win over anyone who was not already interested in the Batman series and the film itself.

Good endings are a luxury in television — closure, doubly so. 

Renowned shows as recent as “Game of Thrones” revolutionized television but failed to stick the landing without disappointing a majority of their fans. The more popular a show is, the more likely it will buckle under its own weight when attempting to end in a satisfying way. So when Vince Gilligan’s “Breaking Bad” ended in 2013 with near universal praise, it was an industry anomaly, perhaps a delicate perfection.

Gilligan’s newest project, “El Camino: A Breaking Bad Movie,” picks up right where the series ended: a man is free, but where does he go now? Recently captive Jesse Pinkman (Aaron Paul, “The Path”) is on the run — from authorities and from his past as right-hand man to Walter White (Bryan Cranston, “Power Rangers”), the biggest drug kingpin in the U.S. 

Freedom is one thing, but whether or not he can have peace is another.

Every loose end was tied in the show finale. But “El Camino” wraps the story in on final bow. So, when “Breaking Bad” ended in 2013, it broke the mold by being as satisfying an ending could be for a schoolteacher turned drug kingpin. But the series finale only gave audiences half a serving
of redemption.

The film continues the character arc that Jesse ended with during the finale. In contrast to his partner, Jesse lives with a moral conscience that knows he can never repent for his sins. Guilt, remorse and self-hatred drive most of his being, and Aaron Paul excellently captures the struggle the character has as they continue to come to terms with himself throughout the two-hour
runtime.

This movie is not just fan service, it is designed to finish the story of arguably the greatest victim by his partner’s actions. Being strung along until he was over his head, Jesse was rarely ever in control of his fate. But Gilligan masterfully uses “El Camino” to give the character not just an end but a future as well.

Propelling this journey, both within our protagonist and out on the familiar streets of Albuquerque, is tension. The setting itself is a race against time as Jesse dashes from one location to the next while avoiding custody. The cinematography highlights moments dramatically ironic and impossibly suspenseful with long takes and purposeful focus. Even Aaron Paul’s acting confronts its audience with a character that may be too broken to succeed.

None of the references to itself are so ham-fisted that it takes away from the experience. Each are purposeful and meant to connect to Jesse, as it is his story now. 

 “El Camino” removes any ambiguity from a character deserving more of an ending than a mere “they got away.” The film is not evidence of lightning striking twice. On the contrary, it is an epilogue that enhances its
original material.

Jeff Tweedy is particular. The Wilco front-man has never been one to pick up an aesthetic for an album and drop it by the time the next one rolls around — rather, Tweedy has been content to roll with ideas and see where the road takes him, evolving and coalescing until it sounds just right. Wilco’s latest effort, “Ode to Joy,” represents tracks well along with Tweedy’s journey down atmospheric alt-country, realizing further Tweedy’s own solo efforts from the previous year while building enough off of them to sound like a true Wilco piece in its own right.

Despite Wilco’s relative quietness since their previous album, 2016’s “Schmilco,” Tweedy has kept busy, releasing three heavily-acoustic albums that represented a mix of covers of older Wilco songs and original material. Bluesy, melancholy and nostalgic, tracks like “Having Been is No Way to Be” and “Landscaped” were gorgeous, echoing reflections — the sounds of an artist looking back on his career with longing. The material dropped around the same time as Tweedy’s memoir, “Let’s Go (So We Can Get Back),” where Tweedy detailed his own struggles with creativity and fame, meditating on his memories as an artist and performer, and it’s not hard to hear Tweedy meditating in those tracks, tracing the contours of his life.

If Tweedy decided to press pause with his albums to look back on his career, then “Ode to Joy” represents Tweedy pressing play — carrying forward the same tones and themes with renewed vigor. Beginning quietly with “Bright Leaves,” a track that would be at home at any of Tweedy’s most recent solo efforts, the album truly begins in earnest with “Before Us,” a pounding, pulsating track that gushes forth with energy. “One and a Half Stars” and “Quiet Amplifier” paint pretty pictures of loneliness, isolation and of “shy little flower[s] on the vine.”

Tweedy’s introspective style especially comes into play with the punchy “Everyone Hides” and the meditative “White Wooden Crosses.” With soft acoustic strumming and the “wah-wah” of an electric guitar backing, on the latter track Tweedy ponders the strangeness of contemplating what it might be like to lose someone close: “My blood ran cold/as these sad ideas passed through … What would I do / if a white, wooden cross meant that I’d lost you?” “Ode to Joy” moves further and further down-beat with “Citizens” and “We Were Lucky,” before springing back in a new, hopeful direction with “Love is Everywhere (Beware),” as the electric guitar finally supplants
the acoustic. 

On the track, Tweedy warns listeners not to be seduced by love, but to instead be energized by it. It’s here that the “Ode to Joy” moniker is earned, as Wilco seem to seize upon their own anxieties and declare a willingness to triumph over them, to reach out. “Hold me Anyways” punctuates this message: “Are we all in love, just because? / No, I think it’s poetry and magic / something too big to have a name” — Tweedy argues against the passivity of affection, and instead proclaims “carpe diem” for his own happiness.

Despite the happy tones of the piece, Tweedy ends the album on a melancholic, ambiguous note, reaching out and encouraging someone to have the same epiphany in “Empty Corner” — “Come back, lonely / how sad, if only / I don’t believe you don’t care / you’ve got family out there.” 

Tweedy’s lyricism is at its finest here as he places the bow on this absolute present of an album, writing “Where the power lines are down / whipping sparks around / like angels touching down / I see you there.” It is a powerful break from the otherwise introspective nature of the piece, and it is executed flawlessly by the talented Tweedy.

Blood Orange takes listeners on a psychedelic ride with mixtape “Angel’s Pulse” through its gentle vocals and bouncy synth sounds. This mixtape is not intended for someone that is listening to Blood Orange for the first time, but rather for those that are already fans and are looking for more deep cuts from this artist. 

Although “Angel’s Pulse” released on streaming services in July, the physical release of the mixtape did not come until this past week. The record sounds like the perfect mixtape for a hipster crush in high school. It drips in nostalgia and flawlessly blends and folds each track into each other, creating the illusion of one seamless track. The only issue with this is the lack of differentiation between tracks. It is perfect for a night drive with the windows down. It feels like a slow-moving summer night and an album that is easy to play cover-to-cover. 

“Angel’s Pulse” is loaded with featured artists, with one track standing out in particular. “Dark & Handsome” features Toro y Moi and is a simple, yet magnetic song. Its background is composed of party chatter and soft-spoken vocals. Another standout song with a guest feature is “Tuesday Feeling” featuring Tinashe. This tune is slightly more up-tempo than the other tracks but still bears the experimental sound heard throughout “Angel’s Pulse.” 

 “Baby Florence (Figure),” the mixtape’s seventh track, is the perfect soundtrack to a chill night out. Its steady beat lasts the entirety of the song, creating the feeling of time passing. This song features a chill vibe and stellar mixing. It wonderfully finds the balance between the music and lyrics while the vocals slowly morph into the other instruments present in the track. 

Another standout track, “Benzo,” is the closest to any of the tracks off of Blood Orange’s previous releases, especially his last album “Negro Swan.” This track compiles soft horns and the vocalist’s smooth crooning. For those that have never listened to Blood Orange, this is mixtape’s best song in order to get a real feel for this artist.  

Blood Orange’s “Angel’s Pulse” creates a mixtape that compiles and fuses different genres and sounds together. It overlays laughter, conversation and street noises with phenomenal mixing. Although this transcendent mixtape is excellent in its own right, it is not meant for easy listening. This is not album to just throw on and enjoy on the first listen. Instead, it relies on a listener with an acquired taste. 

When another horde of zombies arrive on their doorstep, Woody Harrelson repeats his iconic line: “It’s time to nut up or shut up.” Quickly, a couple other characters criticize the line for being crude and very 2009. This comical exchange in the new film “Zombieland Double Tap” winkingly acknowledges how much time has passed since the first installment in the zombie comedy series was released.

In fact, digging a little deeper into the ten-year gap between installations reveals a stark contrast between career statuses for nearly all involved. Although Jesse Eisenberg and Emma Stone were established, working actors at the time, they have since ascended into stardom. Eisenberg appeared as villains in “The Social Network” and “Batman v Superman”; Stone’s turns in “La La Land,” “Easy A” and “The Favourite” distinguished her as a rare talent of both dramatic performance and celebrity adoration. Meanwhile, writers Rhett Reese and Paul Wernick struck gold with the “Deadpool” movies, and director Ruben Fleischer became more firmly established in the industry after “Gangster Squad” and “Venom.”

Reflecting on all of this in a recent interview with the Technique, Fleischer thought the break between “Zombieland” films instilled fondness for the cast and crew. “I think we all just had an appreciation for how special the experience of making the first movie was,” said the 44-year-old director. For him, the new project was as much about recapturing the magic of the first film as it was about recreating the terrific work environment that conceived it. “This cast was just truly wonderful human beings and so collaborative and so fun.”

Fleischer admitted concerns about tarnishing the legacy of 2009’s instant cult classic, noting that some of the production delays stemmed from a desire to ensure that “the script was really great, and that we all felt confident entering into the sequel knowing that we had a great starting place.” To his credit and the credit of everyone involved, “Zombieland: Double Tap” certainly reflects the passion and joy that the
director described.

Despite being so well-adjusted to life in a post-apocalyptic world and adopting the White House as their home, the family of happenstance experiences frustration with the new status quo. Little Rock (Abigail Breslin of “Little Miss Sunshine”) feels suffocated under the overwhelming nature of Tallahassee (Woody Harrelson of “True Detective” and “White Men Can’t Jump), who has taken it upon himself to be her surrogate father. Likewise, Wichita (Stone) freaks when Columbus (Eisenberg) asks to settle-down. The women bail, opening the door for some new blood.

On the road, Little Rock and Wichita stumble upon Berkeley — a stoner, pacifist musician played by Avan Jogia (“Shaft”). After he and Little Rock become romantically involved, they abandon Wichita. Returning to the White House upset and dismayed, Wichita finds Columbus rebounding with a ditzy blonde named Madison, performed terrifically by Zoey Deutch (“Why Him?” and “Everybody
Wants Some!!”). 

Romantic entanglements aside, the group embarks after Little Rock out of concern for her safety amidst evolving zombies. The subsequent journeys yield appearances from Rosario Dawson as a strong, capable loner and from Thomas Middleditch and Luke Wilson as uncanny lookalikes for Columbus and Tallahassee.

While the zombie genre certainly invites action, the lasting power of “Double Tap” comes from the comedy. Reflective of Reese and Wernick’s work with “Deadpool,” almost every scene and line incites enthusiastic laughter. Fleischer highlighted the importance of improvisation on the set, saying, “I think it’s really important to have a loose
set environment.”

If any revelation is present in the sequel, that is Zoey Deutch. Fleischer spoke fondly of her and her improvised contributions. Not only does Deutch outshine the trappings of her archetype — a ditzy, sexualized blonde woman — but she completely steals the show, winning each of the scenes in which she appears.

Perhaps the most superordinate quality of “Double Tap, however, is consistent maintenance of the tone and vibe of the original. Fleischer explains that he was careful to keep the balance between comedy and gravity just right from script-writing in pre-production and actual filming to editing in post-production. “We always kept the performances grounded and real, and that the chemistry between performers is the most important thing,” Fleischer said, adding that “making sure that it felt like it had a consistent tone.”

It feels rare for a sequel to live up to a beloved original, but the finished product of “Zombieland: Double Tap” almost surpasses its predecessor. Recreating a profoundly special experience for all involved, the long-awaited reunion between cast and crew captures the magic of Fleischer’s debut feature, only now bolstered by new additions and ten years of experience.

Tucked away in the basement of the Ford Building is the Glass Shop. In this tucked-away shop, Elayne Ashley turns glass into various scientific instruments, ready to be used in experiments conducted all through campus. 

Ashley described the start of her career in this uncommon job: a fine arts major in her undergraduate years, she decided to explore the scientific glassblowing realm because she wanted to “strive for precision and skill.”

 “At the end of the day my customers are furthering science and the endeavors of mankind,” she explained. “Something I make is going directly into an experiment that is helping a [researcher] prove a theory.”

As she rifles through her drawers of glass, Ashley’s passion for glass is clear. She produces different samples of glass and explains their different uses in the scientific world. There is a glass that she has designed to be able to bend, and a glass that is almost entirely free of imperfections, which is essential for experiments where there needs to be very little light distortion. 

Her various creations, specifically tailored to the experiments they are going to be used for, are so unique that they cannot be found in a catalog. 

Yet, her background in art includes a scientific knowledge of glass. As a scientific glassblower, Ashley’s work is not just creative but also technically grounded. 

Ashley must be knowledgeable of the various chemical compositions of the types of glass she uses and how the chemical composition directly impacts the utility of the apparatus in research, as various departments on campus require different aspects of glass in the apparatuses they use. Ashley discussed the importance of these varying compositions in her work. 

“Aerospace has me doing a lot of quartz work as it’s a material that gets to a higher temperature and it has a higher optical clarity,” Ashley explained. “[This is because] quartz is pure
silicon dioxide.”

Despite her knowledge in the technical realm of science, Ashley still stressed the importance of art in her work. The intricately made glass apparatuses in her shop serve as evidence for the importance of combining the uniqueness of art with knowledge of science.

“Training as a scientific glassblower mostly trains you in the techniques of fabrication, not really in the background of the material. As an artist, I had to learn a lot of the chemical background of the material in order to understand how to work with it, which has helped inform my experience here,” said Ashley.  

For those interested in learning more, the Glass Shop hosts open houses throughout the year where anyone on campus can come see what Ashley does on a day to day basis, including her glass blowing demonstrations. 

Ashley also encourages researchers on campus to consult with her on various issues they may be having to discover how her work and knowledge in the chemistry of glass can help solve those problems.

While midterms are taking place and stress levels are on the rise, many may be wondering where to go to escape from the hectic buzz of class and homework. Tech’s “Paper and Clay,” located on the third floor of the Student Center, might just be the escape students have been looking for, as they can explore their more creative and artistic sides during these times of mental strain. 

In order to learn more about this space, the Technique sat down with one of the student managers at Paper and Clay. 

“It’s the one place on campus where I am not stressed out,” said fourth-year AE Jessica Grimmett. “It has a different vibe than everywhere else. It is very calming and fun even despite all of the print orders.”

Second-year BME Bailey Moore visited Paper and Clay for the first time last week and agreed with Grimmett about Paper and Clay being a safe space to relax. 

“I really enjoyed my visit to Paper and Clay,” said Moore. “The atmosphere was so calming and it was such a great stress relief for me to go and paint ceramics with some of my friends after a really long week. 

“They had a really great playlist playing throughout the space too. I would definitely like to go back sometime.”

Paper and Clay provides a wide array of services and activities to students including poster printing, the “Inspiration Area”, ceramic painting, workshops and classes, as well as sewing machines and pottery wheels available for use in the facility. 

The “Inspiration Area” includes unlimited access to paint brushes, paint, beads, yarn, fabric, markers, crayons and many other art supplies for only ten dollars for every hour of use. Upcoming workshops include ones on candle making and tie-dye, among
other projects. 

Grimmet stressed that these opportunities, especially the classes, are open to students of all artistic levels and backgrounds. 

“The classes are for both beginners and more experienced artists. Most classes are geared more towards beginners but we just started advanced pottery classes this semester for people who are more experienced and have taken classes before. We have classes of all levels but most are definitely geared towards beginners,” said Grimmett. 

“Free Fridays” marks another initiative launched by Paper and Clay in which students can come in and do a specific craft like Halloween decor, newspaper lanterns or mask making for free. Other festive celebrations include a “Winter Market” craft fair that will be hosted in December. 

Alongside all of the exciting activities going on this semester, groups can rent out the “Inspiration Area” or tables in the back of the space to work on ceramics any time of the school year. Students and groups can also reserve the pottery wheels if they are interested in creating ceramics of their own. Walk-ins are also welcome, but it is recommended to reserve the space for larger groups.

“I think it is really important that we have a space like Paper and Clay on campus, especially at a STEM school like Georgia Tech,” said Grimmett. 

“There is not really a place like this anywhere else on campus. Of course we have Ferst Theater and DramaTech but there aren’t really art classes you can take on campus other than the ones offered here. It’s important to have a place like Paper and Clay for people who are looking to make art and who enjoy doing stuff like this.”

In order to keep up with all of the upcoming events, students can follow Paper and Clay on Facebook or at studentcenter.gatech.edu/paper-clay. 

The world of dance, once constrained by specific moves, music and costumes, has been revolutionized by younger generations incorporating pop culture and impromptu playfulness into their routines. 

At Tech, this revolutionized form of dance includes new dance groups pushing the boundaries of their traditional dance form. The DramaTech Tap Troupe (DT3)  serves as one of these outlets for revolutionized dance. 

Founded in 2016, DT3 has around a dozen members who regularly rehearse choreographed routines and work to improve their dance skills. The troupe emphasizes its atmosphere as a space where any skill level can find opportunities for growth.

No previous experience with dance is required for troupe membership. In fact, tap dance varies greatly from other types
of dance. 

“It’s definitely more of a learning troupe than a ‘We’re really good at tap, if you’re not then get out,’” said troupe leader and third-year CS Davis Williams.  

Williams, as well as several other troupe members, became involved with DT3 through mutual friends. DT3 secretary and third-year MSE Austin Hughes discovered the group through Williams and is now participating in his second year as a troupe tap dancer. 

“I just went and tried and I was like ‘Oh this is fun’ and so I stuck with it,” said Hughes. 

Hughes explained how the supportive and welcoming environment has impacted his involvement. 

“I think that’s kind of why we all stuck around,” said Hughes. “It felt like a place where like, you don’t have to be great, you don’t have to be some stellar dancer.” 

Troupe leader Williams explained the techniques that the new dancers pick up as they start their career in tap dancing, noting the differences between this type of dance when compared to others. 

“I don’t really do a lot of dance outside of tap dancing, but I’d say tap dancing is a lot more about getting a consistent sound than other dances,” said Williams. 

“Other dances don’t really make sound that much and for  tap dancing, it’s very important that the sounds are in sync.”

At a typical rehearsal, DT3 will break their activities into separate portions once they have properly warmed up.  

“The way a typical class will go is that we’ll all get there, and we will warm up together to a song and just like loosening up the ankles and feet to do the taps later.

“And then whoever is teaching for the day … will teach first the techniques that will be in the combo, if there’s anything specific and stuff that’s not heavily practiced, and then afterwards, we’ll do the combo, which is just a song that they choose to make a dance to,” said Hughes. 

 The tap dancers of DT3 further pride themselves for the creativity they strive to bring to each performance.

These performances are held throughout the year, whether as a part of DramaTech’sLet’s Try This! (LTT) stand-alones or as an open house. Musical choices for the routines have ranged everything from Lizzo and Cardi B to Broadway numbers.  Dancers reflected on some of their more memorable performances and musical scores. 

“Last year we did a fun one … the music was from a Broadway musical from like the 60s,” said Williams, “but we did the number Scooby-Doo at the end because it sounded vaguely Scooby-Doo-ish.

“So we had like five people were the Scooby-Doo people and a lot of us were monsters so we just got to creep round the back tapping.”

The troupe’s performance of Moana also stuck out to its members. 

“We kind of like pantomimed through what was actually happening in the song [Moana’s “Your Welcome’] but then also everyone came out and did a dance with it as well,” said Hughes. 

Ma Sofia Sosa, third-year ChemE and tap dancer, discussed the highlight of her career not in terms of a single performance, but from what she has gained from the continued act of performing. 

“As with anything that’s artsy or performative, it kind of like desensitizes you to anything that’s potentially nerve-wracking,” said Sosa. “So you do, as time goes on, get more confidence and that kind of confidence bleeds into other aspects of your life.” 

In addition to sharing the excitement of each performance, troupe members also discussed the hardships of budgeting. 

“We have a very small budget, so trying to assemble costumes, that’s why it’s usually that creative because we’re just like ‘What does everyone have,’” said Hughes, who points to the usage of Hawaiian shirts as a frugal solution. 

Looking to the future, Williams wants the troupe mainly to focus on recruiting and teaching new members. 

“We just want to keep it alive, because it’s still a fairly new troupe,” said Williams. “So we want to make sure that it continues to go past us and so the big thing is just making sure we’re constantly teaching new people.”

In fact, new members are welcome to reach out to the troupe with any questions about joining. The troupe is active on social media and welcomes newcomers to their weekly rehearsals which meet on Saturdays in the Peachtree Room of the Student Center.

Ultimately, the troupe stresses their non-stress approach to dance.

“We’re super friendly and supportive of each other,” said Sosa, who encourages everyone to come try tap. 

The final result of the rehearsals is not just the improved skills, but something more tangible as well. 

“In the end we all do it together and we film it and it’s a good time,” said Hughes.

Members of DT3 will be participating in DramaTech’s upcoming performance of Yellow Face, as well as LTT’s After Show. “Yellow Face,” which recounts an Asian-American’s experience with his identity, will be showing from Nov. 8-23. The Theatre also invites members of the community to audition for their Culture Jam on Nov. 11.

For the past two years, I have spent many of my breaks off from Tech in the same way — on service trips. A group of nearly 40 Tech students pack up in vans and travel to a community struggling with the aftermath of a natural disaster. Last year we went to Houston, Texas to work with victims of Hurricane Harvey that hit in 2016. This year, we packed up and hit the road for Whiteville, North Carolina, a town about 500 miles from Georgia Tech.

Whiteville is a relatively small town in Columbus County, North Carolina. Many of its residents have lived there for generations, and the population of Columbus County is spread out over miles and miles of open land. The thing about this community, though, is that they have been hit by two major, devastating hurricanes in just two years.

The first storm was Hurricane Matthew in 2016, which caused severe flooding and extensive damage. Many residents chose to stay, rebuilding and putting their lives together piece by piece, little by little, over the last few years. That is, until Hurricane Florence hit in September of 2018 — another devastating storm that rattled the community that had barely, if at all, picked itself back up.

I had never wanted to help more than I wanted to help on this trip. I hurt for the people who had lost so much to these awful storms. I wanted to, in some way, make it better for them.

Usually, these service trips are fulfilling. They are restful, though they often do not include much rest. I leave at the end and I feel accomplished, like we, as a group, made a tangible difference and we can see the results and how they will help someone. If we are lucky, how they will help an entire community.

I remember that feeling so vividly, of seeing an entire slab emptied out and being grateful for our ability to work to restore a bit of hope and progress to a community that has been struggling in the aftermath of a disaster. To use our break from school to work on making a home livable again is one of the greatest privileges.

When we stepped away from our job unfinished this past weekend, I felt this feeling of restlessness.

I felt guilty for not doing more physically; I doubted whether our presence was of much value to this family when we could not complete the job we had been given for them. If we could not finish the job in their home, what good was it?

Yet, I remember conversations shared on one homeowner’s couch in the midst of the work on Sunday, and I feel good about what we were able to accomplish.

The people of Columbus County have been hurting for nearly three years now. Many residents who cannot physically, emotionally or financially (sometimes a combination of all three) restore their homes have been waiting for assistance for this entire time. But, one thing I was told this weekend is that they have also been waiting for someone to come help — in any way. To not feel abandoned or forgotten in the midst of this chaotic storm that has left their life disheveled.

I realized this weekend that service is not always exclusively physical labor. Service is relational, too. Sometimes, it is sitting on a couch and having a conversation when you need to take a water break or when you do not have the proper equipment. Sometimes, it is running around the yard and laughing with the family you are working with.

So often, we come and go for a weekend and hope to leave physical reminders that we were there, that we served and worked and labored. But the conversations we share, the meals we eat together, and the compassion we show people who felt forgotten will never be covered over with a concrete slab or a new wood floor.

The physical markings of our trip may not have been exactly what I hoped for, but that does not mean it was in vain. Service is important in all forms, whether it is accomplished through hands and feet or through a listening ear and a shoulder to lean on. It is not exclusively one or the other but rather a combination of using our time and energy to make a new friend feel just a little bit better and hopeful in the midst of a tragedy.

In the pursuit of advocacy and education of the student body, YDSA hosted a teach-in on the undocumented student ban in place in the state of Georgia. Currently, the University System of Georgia Board of Regents Policy 4.1.6 currently prevents undocumented students from attended GT, UGA, and GCSU. This past week, YDSA members took the time to improve the student body’s understanding of not just the bill but also what it means to be undocumented in America.This past week, YDSA members took the time to expand the student body’s understanding of not just the bill but also what it means to be undocumented in America.

The teach-in consisted of a presentation led by four student speakers, Ruby Hembree, Radha Jagwani, Kate Wehrenberg and Davis Schultz, and periodic breakouts, where audience members were encouraged to speak with one another about provided on-topic questions.

The first student speaker Ruby Hembree began by speaking about important terminology when it comes to an understanding of undocumented immigrants and the current ban in place. She went on further to discuss the obstacles that undocumented people in this country face.

Following the discussion of terminology, Radha Jagwani and Kate Wehrenberg delved into the origins of USG BOR Policy 4.1.6 and Policy 4.3.4, which requires universities to “verify the lawful presence in the United States of every successfully admitted person applying for resident tuition status” and the effects they have on the state of Georgia. There was a discussion of the power structure of the State legislature and the demographics of the Board of Regents.

There was also a discussion of the social and economic contribution undocumented immigrants have in the country, along with a rebuttal of arguments in support of the policy. “We’re losing out on them just as much they’re losing out on us,” said Jagwani. “Additionally, the argument that undocumented immigrants will be taking away spots from people who deserve it more somehow by being born here. There were only 27 undocumented students enrolled in the top 5 schools at the time that the ban was instituted.”

After a discussion of the ban itself, the conversation switched to how Tech students could take steps to be active on the matter. YDSA member Nate Knauf had thoughts on the topic of student engagement in activism.

“If every single student on campus just woke up one day and was like, this is an outrage, I’m just going to not go to class and let’s have solved we probably get solved in like a week, because of just business shutting down,” Knauf said. “As usual, the struggle is going to be in sort of gradually building up that consciousness until it reaches some sort of breaking point of showing people that they do actually have the power to change.”

Davis Schultz also had insight into making a difference in the issue and the importance organization plays at Tech and at other Georgia schools. “There has been a lot of organization on this [issue] at UGA, and it’s definitely something to emulate in your attempt to get organized,” Schultz said, “It’s all about having organization among the different schools and capitalizing on the fact that we’re a city that has nine major universities with people that are interested in working on this issue”

The event concluded with Q&A, and an open invitation to attend future opportunities for activism, including the SGA Resolution in defense of Undocumented Students on October 22nd. Interviewed students claimed they left with a positive and more informed outlook on the issue. “I just think that undocumented students should have a right to attend Tech,” said Izzy Sadek, third year BME. “It’s messed up that we don’t allow them to. As a group of students, I think we have the power to change that.”

YDSA intends to use this teach-in as a stepping stone to more activism at Georgia Tech. YDSA Immigration Committee Co-Chair Ariella Ventura, who organized the event, had some parting words on YDSA’s next steps when it comes to the ban. “Tech [students] need to know that this ban exists before we can overturn it. So, by telling as many people about it as possible is the first step. Hopefully, by telling people about the ban, more will feel empowered to work towards overturning it. So, once we have that mass movement, not only at Georgia Tech but also at GCSU and UGA, we can work together as a University System of Georgia because we the students are the university system, they are nothing without us. We will work to overturn the ban, and we will win.”