Throughout history, sports have often been a means of distraction from the hardships and difficulties of life that many people face. While sports are ultimately a form of entertainment, they also have a unique ability to galvanize large and diverse groups of people in support of a specific team. There are numerous examples of how sports have been able to rally communities of people after a tragedy or during a difficult time. Some of the most recent ones include Mike Piazza’s walk-off home run for the New York Mets in their first baseball game after 9/11 and the New Orleans Saints’ unexpected run to the playoffs in their first season back in the city after Hurricane Katrina.

Unfortunately, the current COVID-19 crisis has shut down virtually every major sporting event for the foreseeable future. The NBA has suspended its season indefinitely and while there is hope that it will eventually make a return, nothing is guaranteed. MLB has also delayed the start of its season, and the NHL and MLS are both on hiatus. Meanwhile, the NCAA canceled all spring sports, including the annual men’s basketball tournament famously known as March Madness, which was scheduled to conclude in Atlanta. 

However, everyone is trying to make the best of this situation, and different leagues are doing their best to fill the current void by providing resources for people who are stuck at home with no live sports to pass the time. The NBA has launched a #NBATogether campaign focused on building community while practicing social distancing. NBA League Pass, which gives replay access to every regular season game this year as well as a library of classic games, is now free. The league is also airing a classic game every night on YouTube during normal “primetime” games on major networks. This is a cool opportunity to relive some of the most famous games and moments in NBA history. MLB is also giving away access to their subscription service, which includes every game from the past two years. 

The NBA is also collaborating with ESPN to put on an NBA 2K20 tournament featuring NBA stars such as Kevin Durant and Atlanta’s own Trae Young through the video game platform. The tournament began this past Friday and will continue until this coming Saturday. The league and sports network are also collaborating on the possibility of airing a virtual H-O-R-S-E tournament featuring different players competing remotely on live television. Such an event promises to be very well-received during such a time as this. 

ESPN has also moved up the premiere of “The Last Dance” documentary, which retells the story of Michael Jordan and the Chicago Bulls of the 1990s from the perspective of their final championship run in the 1997–98 season. The first episode will air on April 19 and continue until May 17.

It remains to be seen how long sporting events will be put on hold. It seems likely that when sports do return, it will be without fans for some period of time. President Trump has expressed optimism that fans will be able to return to stadiums and arenas by August or September, but nothing can be stated with any real certainty these days. Obviously, nothing can replace the thrill of watching live sports as we see history unfold before our eyes, but all we can do is do our part by following public health guidelines and hope that real sports will be able to make a return before long.

Our Take: 2.5/5 Stars

Thundercat’s long-awaited fourth album “It Is What It Is” dropped this past week and finds a way to seamlessly meld somber notes with psychedelic funk. As an artist, Thundercat is known for his classic funk and jazz fusion; he has a talent for magnifying the music above his vocals and putting emphasis on how the moving parts of each song come together. Thundercat also achieves the perfect combination of new school and old school R&B. Although past albums have utilized music sampling from hit songs, Thundercat shows in this album that he is also a talented musician in his own right. As a bassist and vocalist, he is able to thoroughly blend and mix the components of each of his songs, in turn creating an immersive experience for listeners. 

The intro track to “It Is What It Is” is titled “Lost in Space / Great Scott / 22-26” and does a superb job of buckling up listeners and preparing them for a ride across the galaxy. This tune features calm and airy vocals that perfectly introduce listeners to who Thundercat is. 

The following song “Innerstellar Love” is a quintessential Thundercat song and brings horns and percussive instruments to the forefront while placing less attention on his vocals. Thundercat proves to be a real artist’s artist and makes it obvious that he cares less about radio plays and more about creating passionate art. 

If new listeners feel daunted by the length of the album and do not know where to start, the song “Black Qualls” is the place to jump right in. It has it all. This song interweaves R&B and funk from the past and today. A tight rhythm section and the combined vocals of Steve Lacy, Steve Arrington and Childish Gambino are blended to create a song that will make listeners want to go for a drive with the windows down on the hottest day of summer. 

More comparable to the sounds of his previous albums is “Funny Thing.” The tune falls near the middle of the album creating a brilliant interlude to the latter half of the album. The main critique for this song is that it would have a bigger impact on the album as a whole if it were a bit longer. “Funny Thing” is a fantastic mid-tempo track to put on a party playlist.

Unfortunately, all of the notable songs on “It Is What It Is” fall in the first half of the album. There are few tracks that are extremely solid, but the album overall has many filler tracks. Thundercat relies less on sampling music from the past on this album and it could be the reason why it pales in comparison to his other bodies of work. If the album was judged based on its few standout tracks, then it would rank fairly high compared to his other albums. As a whole, “It Is What It Is” falls flat.

With a nod to the special number pi, Georgia Tech Admissions released regular admission decisions on March 14 at 1:59 p.m. These admissions brought the grand total of admitted students to 7,984 for the Class of 2024.

According to Rick Clark, director of undergraduate admissions, this year saw some marked increases in a few areas, including more in-state, female and first-generation admits than before.

“There’s been a lot of conversation around serving our state and ensuring that we are continuing to enroll more students from Georgia,” said Clark. “As a public university that’s certainly a goal, and that’s our role as well. We’re pleased with that.”

Admissions isn’t exempt from the chaos caused by COVID-19. Clark predicts Tech might enroll more in-state students than it would have otherwise, and fewer international students. 

“Things may look really different in two weeks,” Clark said. “But because we’re in this little time frame leading up to May 1 when students are depositing, we just have a lot of questions.”

The Institute grows and changes every year, so admissions priorities must change accordingly. Among one of the goals every year is a greater balance both in gender and in students admitted to Tech’s different colleges. President Ángel Cabrera also has some ideas for what he wants the Tech of the future to look like.

Increasing access to the resources and education that Tech can provide is one of Cabrera’s biggest goals. Some of this comes down to simply adding seats. The admissions department is aiming to have the incoming undergraduate class land somewhere around 3,250. In addition, adding online degree programs might be a possibility in the future.

Clark says that one way Tech could improve would be to offer a more competitive financial aid package to potential applicants, and he indicates that efforts to improve this are in the works.

Even for students who weren’t admitted, a denial is not the end of the road, says Clark. There are several transfer pathways that students can pursue if they don’t get in the first time around. Eight percent of applicants were offered a transfer pathway. 

Such pathways include the Georgia First Pathway Program, which offers transfer admission to in-state students who are the first in their family to go to college. The Talent Initiative Pathway Program is part of the larger American Talent Initiative, which offers transfer opportunities to students who are from low or moderate income families. Both of these pathways are relatively new to Tech.

The admissions department has other programs in place as well in order to ensure Tech gets the top students from the state. This was the third year of the Georgia Tech Scholars Program, which automatically admits the valedictorian and salutatorian from every high school in the state. Clark said with the help of this program, Tech enrolls more of these students than any other school in the state.

When asked what he would say to freshly admitted applicants struggling to decide between good options, Clark said that high school seniors should be trying to get as many opinions as possible. 

“I would tell them, ‘You should be looking at the school newspapers online. You should be looking at the alumni magazine,’” Clark said. “I always tell students to check the social media accounts of some organizations. They’re not trying to recruit you, they’re just telling you what life is like.”

Students and energy professionals met in the Klaus Research Wing for two action-packed days before spring break to participate in the Southeastern Energy Conference. Organized by Tech’s Energy Club, the conference saw keynote speakers, panel discussions and poster presentations geared toward solving some of the most pressing energy problems in the world.

Jason Hirschey, one of the event coordinators and third-year Ph.D. ME, shared his perspective on this unique event. 

 “This is the seventh year the club has hosted the Southeastern Energy Conference,” said Hirschey. “It’s a really cool way for the Energy Club to showcase some of the projects outside of Georgia Tech in the greater metro Atlanta area to Tech students passionate about energy.”

“Today we have Andrew Ingram from Southern Company, who worked on the microgrid project in Tech Square, the first of its kind in the state of Georgia. It’s a cutting-edge technology,” Hirschey continued. “Having Andrew come and speak today is really good because it shows that Georgia Tech really is premiere when it comes to the energy field.”

Researchers, students and professionals at Tech continue to ensure that Tech stays premiere in the energy field as the community works to stay informed of the latest developments. With nominal fees for entry and two full days of engaging activities, The Southeastern Energy Conference offered a valuable opportunity for Tech students to do just that.

Strolling around the Klaus research wing, one could see dozens of poster presentations set up along the perimeter of the hall. One of these posters belonged to Bryan Hare, second-year Ph.D. CHE, who explained his cutting-edge research.

“I’m studying the catalysis fundamentals and kinetics of aqueous phase reforming,” Hare explained. “It’s pretty much to produce hydrogen from biomass. We can use that hydrogen for energy on-site; for example, for reusable plastics and for reactions in pharmaceuticals,” said Hare.  

Hare also explained why he finds events like the Southeastern Energy Conference to be of value to the Tech community. 

“I love Energy Club,” said Hare. “And presenting is always fun to do, especially on the poster. I like presenting.”

Indeed, for many students with poster presentations, the conference provided an opportunity to practice the skills and activities scientists are frequently involved in, namely presenting research and answering specific, impromptu questions about their work.

Another event coordinator, Azell Francis, fourth-year Ph.D. IAST, provided further insight into the importance of practicing research fundamentals, especially in a city as global as Atlanta. 

 “Atlanta is the hub for energy and innovation, and Tech is one of the top public institutions for energy,” said Francis. “The conference is an awesome opportunity for students to experience a scientific conference almost for free.” Francis shared her dream of continuing to grow the conference in the future. 

“We rebranded it from the Southeastern Expo now to the Southeastern Energy Conference,” Francis explained.  “It’s the hope that with a new marketing strategy and reaching out deliberately to have a lot more cross-campus collaborations, that we’ll have even more students attend in the future.”

Our Take: 3.5/5 Stars

“Candyman” is the first installment in the Technique’s new “Movie Weekly” segment. As such, what follows will be a more detailed, spoiler-filled analysis than is usual. Readers are encouraged to watch the film, engage on social media and follow along in the subsequent reviews.

In modern cinema, making an allegorical horror film has almost become cliché. An ominous supernatural presence not only frightens the protagonist and audiences, but also represents some symbolic purpose. Jennifer Kent’s “The Babadook” portrays grief, David Robert Mitchell frames the antagonist as sexually transmitted infections in “It Follows” and Jordan Peele’s iconic “Get Out” explores racial oppression.

Some 15 to 20 years earlier, Bernard Rose (“Ivans Xtc”) used the genre to examine racial inequality in Chicago, specifically focusing on the woes facing the African-American community. His 1992 “Candyman” makes for a thought-provoking, intriguing movie; it has prompted Peele to produce a follow-up with director Nia DaCosta (“Little Woods”), which is set to be released in the summer of 2020. 

The movie’s plot follows a grad student named Helen (Virginia Madsen, “Sideways”) as she conducts research on an urban myth surrounding marginalized people in Chicago. A mysterious figure that has a hook for a hand and jumps through walls is said to attack those who repeat his name five times. Helen and her cohort interview subjects for background information. 

They quickly learn from the university’s cleaning staff that Candyman lives “over in the projects” at a building called Cabrini Green. A discussion with a staff member provides Helen with exposition. Approximately a century ago, the son of a slave became an artist who was commissioned to paint a white woman. The two fell in love, prompting the woman’s father and his peers to commit a hate crime in which they sawed off the painter’s hand.

One interesting component of this is that writer-director Rose, who adapted it to the screen from a British author, is a caucasian male. Thus, he frames that story through the eyes of a white academic. Although none of his explorations seem to be of poor taste, it is telling that more attention to detail appears in the life of Helen than the other victims at Cabrini Green. All the same, Rose’s depictions display clear parallels and dichotomies between those pairings.

Helen and almost all of her cohorts are white — a distinction against the cleaning ladies who are not. When the academics discuss Candyman, they treat it as myth; residents at Cabrini Green recognize the supernatural presence as a reality that plagues their lives. Through news research, Helen learns of a high volume of unsolved murders in Chicago’s African-American community, which is in sharp contrast to the swift justice when she herself becomes the victim of a crime.

Perhaps the clearest parallel, however, is Helen’s apartment. She learns that her complex was originally a housing project like Cabrini Green before being renovated and repurposed for demographics of higher socioeconomic statuses. Their layouts are similar — as Helen describes and shows via holes hidden behind mirrors — but differ in presentation. Her place is spacious, well-lit and in good condition as compared to the rundown, dim and cramped quarters faced at Cabrini Green. Moreover, viewers learn that gangs control the latter whereas Helen’s bubble seems filled with self-absorbed academics.

Helen’s research takes her to Cabrini Green, where she comes into contact with various members of their community. She meets Anne-Marie McCoy (Vanessa Wiliams, “New Jack City”), a single mother with knowledge about one of Candyman’s recent killings. Anne-Marie informs the graduate student that she called the cops to ask for help and no one came. The young mom also expresses concern about her son with the local gangs. This fear is further developed with Jake — a boy at Cabrini Green who is afraid of Candyman. These interactions climax when Helen has a run-in with some troublemakers, one of which holds a hook and quips that he is Candyman.

Clearly, Rose’s film equates the titular urban myth with several of the plights facing Cabrini Green’s living spaces. There is crime, murder, poverty, dicrepid quarters, slow police responses and a clear divide from Helen’s world.

In the midst of all of this, Helen begins having her encounters with Candyman (Tony Todd, “The Man from Earth”), himself. The occurrences start because she foolishly said his name five times into a mirror. These sequences might be some of the film’s weaker parts, but they are not without significance. First, Candyman appears to Helen in a parking garage, prompting her to faint. When she reawakens, she is covered in blood at Anne-Marie’s home, seemingly framed for the kidnapping of the single mother’s only child.

Helen gets out on bond and almost immediately attacked again by Candyman, this time leading to the death of her friend and peer, Bernadette (Kasi Lemmons, “The Silence of the Lambs”). From here, she briefly goes to a psychiatric ward prior to escaping and confronting Candyman one final time.

But how does Rose’s film frame the Candyman and what is the significance? The three most notable elements to understanding this villain come from verbal, musical and visually symbolic cues. Composer Philip Glass (“The Truman Show”) forms a remarkable score that resembles an orchestral, almost religious chorus, which crescendos every time the antagonist appears literally or symbolically. Additionally, Candyman’s voice is almost hypnotic. He constantly urges Helen to believe in him. Visually, swarms of bees represent or accompany the figure frequently.

The hordes of flying bugs reflect how parasites flock towards his presence, paralleling the aforementioned plights of Cabrini Green. His iconic music signifies his omnipresence and god-like reach. And his dialogue indicates how his myth’s power stems from the fear of society. When combined, the character of Candyman is not only an ominous figure, but also a representation of the wide-reaching plights that face African-American communities, such as the one in the film.

The production’s beginning and ending developments prove similarly intriguing. It opens with a speech from Candyman, in which he says, “I came for you,” as the film cuts to the eyes of Helen. Near the end, he tells the graduate student, “It was always you, Helen,” juxtaposing her with the white woman from Candyman’s origin story. The implication to be drawn here is that Candyman, this mythic figure who plagues marginalized minority communities, only came to power through racial oppression.

“Candyman” is not the best movie ever made nor is it a spectacularly frightening one. The scenes in which the villain appears feel a little too clumsy and weird, and the final acts are a little corny and vague. Despite this, Rose’s horror film is certainly interesting and symbolically rich, making it the perfect movie to discuss with friends.

Next on the Technique’s “Movie Weekly” segment will be “She’s Gotta Have It,” the acclaimed debut from prolific filmmaker Spike Lee that is currently streaming on Netflix.

The NCAA has always declared that student-athletes are students first and athletes second. This is one of the big reasons why student-athletes have been forced to sit out one year when transferring to other schools. If they want to transfer because of academic reasons they have no waiting time to start schools. But if switching schools for athletic reasons is the answer, they are punished and must wait a year to get on the field. 

This past month, the ACC, following the Big Ten’s lead, voted unanimously to allow a one time transfer with immediate eligibility in all of the sports that currently don’t have it. For Tech, those sports include football, men’s basketball, women’s basketball and baseball. Coincidently this list coincides with the sports that bring in that biggest revenue out of all of the athletic programs at the Institute. This has brought up a lot of questions for the NCAA as to what their actual merits are. If student-athletes start to make moves like trades to make super teams or garner more playing time than they currently have, they become more like professional athletes and not students first, especially in the big revenue garnering sports. This is a message that the NCAA has fought tooth and nail with to preserve: that academics comes first, before athletics.

Steam has begun to pick up as objectively it feels like an unfair rule in the eyes of some. If players aren’t being paid and locked into contracts, they should at least have the ability to play for whichever school of their choosing. This also raises a red flag with college coaches being allowed to leave on a whim. Many fans are asking, why is it fair for coaches like football Coach Mel Tucker (Colorado to Michigan State), and even our Tech Football Head Coach Geoff Collins (Temple to Tech), to leave whenever they feel there is a better option available for them. This leaves the players in the dust with a new face and new coaching style and ultimately on a different playing field, which forces them to stay where they signed a letter of intent when they were only 17 or 18.

For the Jackets, transfers have played a large role in our athletic program growth and success. This dates back to current football running back coach Tashard Choice, who played two years at the University of Oklahoma before coming home to Atlanta and becoming a “Legend of the Flats.” Today, the men’s basketball team has University of Southern California transfer Jordan Usher, who had not meshed well with the Trojan coaching staff and has found a much better fit in Atlanta. They also added Bubba Parham, a VMI grad-transfer who dominated a mid-major conference and wanted to test his talents against a power conference like the ACC. This is a common reason for transferring for mid-major talents.

The Jackets football team is littered with signees for two main draws to the Institute. The first reason is the academic prestige of the campus, for athletes who are playing well but may or may not have decided to not make football a profession. That realization causes them to want to upgrade the schools’ academics. This includes the additions of Ryan Johnson and Devin Cochran to beef up the Tech offensive line. Both of these players are all-SEC caliber players who have interests in the more technology-centered majors that Tech has to offer. 

The second reason is former four-star or five-star players from major schools sometimes don’t garner a lot of playing time and get lost in the shuffle, thus wanting to move to other Power Five schools to reap playing time and become the star they hoped to be. These players for Tech include former Notre Dame safety Derrik Allen and former Florida defensive tackle Antonneous Clayton.

  These reasons feel very merited in switching schools and it is a positive sign that the conferences are banding together to encourage the NCAA into moving in a more accommodating direction with regard to transfers. This also proves to be a nice advantage for the Jackets as the Institute is a great landing spot for transfers both academically and with its presence in a great football basketball and volleyball conference, among other sports and all in the bustling city of Atlanta.

Our Take: 2/5 Stars

On March 13, the film adaptation of young adult novel “Stargirl” by Jerry Spinelli debuted on the Disney+ streaming service. The New York Times Bestseller published in 2000 is known for its charming title character, Stargirl, and her immensely positive impact on the small town of Mica, Arizona. Her story is told through the protagonist, Leo, who is a boring sixteen year old boy completely entranced by Stargirl’s weird ways. Leo inevitably falls head over heels for the quirky girl. Disney+ attempts to capture this heartwarming, inspiring tale in film form for its subscribers. 

The film follows the basic outline of the novel, starting with Leo’s (Graham Verchere, “Fargo”) tragic backstory. After the untimely death of his father, Leo begins to wear his father’s tacky porcupine necktie everywhere he goes. It immediately makes him stand out and makes him a target for harassment in the small town, teaching him that “If [he] was going to survive, [he] was going to have to be like everyone else. … [he] was going to disappear.” 

The message of the movie is clear: it is dangerous to stand out from the crowd. Be it because of your porcupine necktie or your ukulele, being noticed as an adolescent is abhorrent. Being noticed puts a target on your back for discrimination and bullying, so, like everyone else in Mica, Leo tries to blend in. The depiction of the small town high school is accurate to life — the marching band only has a handful of members and the football stadium is empty save for the players’ parents. The color palette of the school and even the little desert town is monotone sepia.

Enter Stargirl Caraway (Grace Vanderwaal, “America’s Got Talent”), the new quirky girl in town. She is unapologetically unique. She wears brightly colored outfits and wields a ukulele, ready to sing her heart out at a moment’s notice. She is the definition of “manic pixie dream girl,” born before the trope even existed. Stargirl is like a beam of light in a dark night, like technicolor to an old, outdated film. Director Julia Hart (“Fast Colour”) puts Stargirl at the center of attention, right where she wants to be, and the audience watches as the rest of the town begins to follow Stargirl’s lead. 

Verchere’s performance is amazing; he acutely depicts the gripping feeling of first love and the melancholy of being outshined by a friend. Vanderwaal’s performance, on the other hand, seems to rely too much on the melancholy, whereas her character’s charm lies in her kinship to other whimsical, naive characters like Luna Lovegood. Without this naiveté, Stargirl does not grow. She is already knowledgeable and understanding of the cruel, judgemental world around her, and her fleeting presence is an intentional challenge to the status quo instead of a magical entrance and exit by an ephemeral being. 

At her core, Stargirl is magic. “Since she got here, things have been different,” comments Leo at one point. Stargirl summons rain, summons success, summons joy to this dark place.

Looking back on the story now after the rise and fall of the “manic pixie dream girl” trope, audiences cannot help but cringe at Stagirl’s outlandish outfits and confident outbursts. At times, her exuberant personality is painful to watch. The audience fears the inevitable ending to her story: Stargirl finally faces the repercussions of being “different” and becomes a pariah. As any person who has attended high school knows, navigating social circles as a teen is extremely difficult. Leo is right — people change their minds and can turn on you quickly. One minute Stargirl is the lucky charm of the football team, the next she is being interrogated on the student-run television program “Hot Seat,” accused of being carefless, selfish and ignorant. 

Leo asks her “Why can’t you just be more like everybody else?” He wants to protect her, but he also wants to protect himself. Stargirl has paved her own path, and at the end is the possibility of being an outsider for the rest of her life. Our protagonist Leo does not dare follow the same road; he seeks normalcy, and Stargirl loses her magic touch. The most disappointing part of the narrative, though there is a lesson to be learned from it, is her action of changing herself to fit societal standards. She gets an iPhone, she dresses in all neutral colors, she parts her hair down the middle, and she takes selfies, sacrificing what’s most important to her: her identity. 

If you examine the narrative, Stargirl herself does not seem to have much agency. She is a plot device for a male character’s growth. She changes from flamboyant to boring and back to flamboyant only to prove to the small-minded small town of Mica that it is okay to be different. But where this movie misses the mark is who Stargirl truly is. Because viewers are following Leo, they do not get to really dive into Stargirl’s incredibly interesting character. The same problems are present in the novel version of this story. 

Despite the weak female lead, why does this story resonate with young women? Perhaps because women are conditioned to be perceived only to some ends, and when they break out of that, it feels as though they have more independence. Women’s choices allow them to be perceived how they want to be, instead of being defined by others expectations. Stargirl is not “not like those other girls,” she is just like other girls. She is every girl: she is special, loving, beautiful, interesting and unique. Stargirl learns from her mistakes, grows and changes, tries to be a better person. Stargirl is a metaphor for all young women, a lesson that it’s okay to be unique no matter the consequences, that her fire should never go out no matter who tries to toss water on her. 

Is it possible for a film to hit home too much? The embarrassment of teenagedom coupled with the heavy-handed message about identity was too much to handle. Though the story still makes an important statement, the film was unable to meet audiences’ expectations. “Stargirl” was a missed opportunity to refocus the narrative on this wondrous and inspiring character, and without a team with proper acting chops, narrative changes and the emotional elements to some of the more “cringe-worthy” elements, “Stargirl” falls slightly short from being as good as the award-winning book. 

In these uncertain times, many are looking for something to lift their mood. Whether someone has an optimistic or pessimistic outlook on being indefinitely stuck inside the house, making a quarantine playlist is a great way to pass the time. This is also a fantastic time to discover new artists and listen to different genres of music. The following playlist is composed of a wide range of genres and spans across different decades.  

“Laundry Room,” The Avett Brothers

This folk driven tune has everything but the kitchen sink; it intertwines western instrumentation such as banjo and violin, while also incorporating ballad-like vocals. “Laundry Room” has a feeling that mimics the monotony of every single day being like the last and appreciating the little things that may have been overlooked in the past. It is comforting and familial that feels like a hug from a family member. 

“Coffee,” Beabadoobee 

“Coffee” is a quiet song that almost sounds like a lullaby. It feels like waking up on a Saturday morning to the smell of a fresh pot of coffee. This song is extremely repetitive, but is hopeful and brings listeners back to simpler times. “Coffee” brings notes of feeling content and satisfied while still longing for a little more in life. 

“Trouble Sleeping,”  Corrine Bailey Rae 

Almost everyone has had trouble getting to sleep at night and this song perfectly sums up the feelings of the “what if’s” that tend to plague people right before bedtime. This song features vocals that are sweet like honey and impossible not to enjoy. Although “Trouble Sleeping” was the best fit song for this playlist, her entire eponymous titled album is a gem. 

“Helplessly Hoping,” Crosby, Stills & Nash 

The name of this song says it all. Sometimes a good sad song is all someone needs as a form of therapy. This trio’s voices beautifully melt into one another and create a heartbreaking tune about feeling hopeless and confused, making it a song that everyone could use right now.  

“Right Next to Me,” Dinner Time 

This lighthearted tune comes from Atlanta’s very own DIY band, Dinner Time. “Right Next to Me” features comical and loving lyrics. The band’s organic and authentic sound combines itself with a very catchy chorus making this song the perfect introduction to the group. 

“Bored in the USA,” Father John Misty 

This is another song that has a self-explanatory title. Many of those under a stay-at-home order or practicing social distancing, have found themselves bored within the first week of solitude. This song has lyrics that seem like they come from the vocalist’s stream of consciousness and are long-winded and random. “Bored in the USA” is not necessarily a catchy song, but it features relatable and humorous lyrics.   

“Two Weeks,” FKA twigs

As many people torturously countdown the days of their two-week social distancing order being lifted, they find themselves longing to do the simplest things they took for granted, like seeing loved ones from not behind a glass screen. This song is a dramatic account of being apart from someone for two weeks, which makes it the perfect addition to anyone’s quarantine playlist. 

“Come To My Window,” Melissa Etheridge

Although this song came out over two decades ago, its theme could not be more pertinent. “Come To My Window” is extremely catchy and has an uplifting tone. This is the perfect song for those that are longing to be with a loved one but are keeping their distance because it is the right thing to do.

Creating a quarantine playlist is a great way to keep connected with friends while not physically being with them. Although this is a weird and tough time for everyone, music can help with not feeling so alone. 

Playlist link: 

Just over four years ago, I sat in my childhood bedroom anxiously awaiting admissions decisions from Georgia Tech. This room saw me tug at my hair as I nervously typed my application to this school, and it saw me scream and cry with excitement when my acceptance finally appeared on Buzzport.

I never imagined that my time at Tech would draw to a close within the same four walls in which I filled out my Georgia Tech application as a senior in high school.

There is something magical about the full-circle nature of it all. The walls that are covered with high school memories and the Georgia Tech pennant my dad bought for me when I received my acceptance letter are now seeing me out of the place that I have called home for four years. My RAT cap hangs on the wall and a gold and white scarf with the words, ”To Hell with Georgia!” sits atop my dresser. Georgia Tech has left its mark on me in more ways than one, and it feels almost special that my time here is ending exactly where it began. 

However, when that magic subsides — which it did about two days into this new routine of working from home — I am left with a sense of uneasiness. How am I, after four long, challenging, incredible years at Georgia Tech, finishing like this? Online classes and Facetime conversations are replacing walks on campus, lasts with my friends, laughter in the Technique office and lunch at the Campanile. The very things that enhanced my life at Tech are gone without a proper goodbye; it feels wrong to walk away without a conclusion to the place that has shaped me into the person I am. 

Four years ago, I sat in this same room and dreamed of this moment — the moment of walking out of my last final victoriously and turning my tassel with all of my classmates as the gold and white balloons fell and our families cheered. Yet, the reality of this moment is much, much different than my dreams. 

However, despite the sadness and the disappointment, I am okay with how it is all turning out. 

Here at Tech, we stand in solidarity and proudly call ourselves “helluva engineers” (even though some of us are not engineers in the traditional sense). What makes an engineer is not the coursework — it is the ability to adapt, to solve problems, to take a challenge and face it head on. If there is anything my time at Georgia Tech has taught me, it’s how to overcome adversity, even when it seems impossible. 

These are unprecedented times, though, and unfortunately call for unprecedented circumstances. Even if those circumstances are our last goodbye to the Institute that has become our home, Tech has enabled us to do this. Despite how big this situation feels, I know that it is not the first time I have faced a challenge that seems like an impossibly tall mountain during my time at Tech, and I am sure I will face even more once I leave this place for good in a few weeks. 

If there is anything I know, it’s that this Institute has prepared me to look those challenges in the face and know that I am capable of overcoming them, even if it seems impossible. 

Though I have always been proud to be a Georgia Tech student, I will forever be thankful to be a helluva engineer. 

Stars: 3 / 5

Pixar’s “Onward” starring Marvel’s very own Tom Holland (“Spider-Man: Homecoming”) and Chris Pratt (“Guardians of the Galaxy”) take viewers on a bittersweet-tinged quest to bring their late father back to life for just one day. This film unsurprisingly features breathtaking animation, but one thing that helped set “Onward” apart from other Pixar films is that the animation took a back seat to the storyline. The moving and empathetic on screen relationships were put front and center very early on in the film. Although “Onward” could be considered an adventure film, there were many elements that created an overall more dramatic tone. 

Directed by Dan Scanlon (“Monsters University”), the film takes place in a suburban fantasy world and is focused around a family of elves. The convenience of technology has replaced the need for magic in their world, and it is hardly ever used by anyone. Brothers Ian (Holland) and Barley Lightfoot (Pratt) are at odds at the beginning of the film and only share one thing in common: their desire to see their father again. The younger of the two, Ian, was born after his father’s death, while Barley only spent a few years with his father before his passing and barely remembers him. Ian is characterized as the shy and kind brother, whereas Barley is portrayed as the “screw-up” and most likely to put his foot in his mouth. 

The film takes place on Ian’s 16th birthday, which is seemingly a lackluster day until he is given a gift by his mom that is from his late father. Their father leaves them a magic fueled gift that potentially has the power to bring him back to life, but only for 24 hours. It is apparent right away that one of the brothers has a magic touch about him while the other does not. The spell hits a snag when the brothers find out they need to retrieve another gem to fully complete it. Because the spell was only partially completed, only their dad’s waist and below is brought back to life. This inventive and original twist would be great and less creepy if it had not lasted for almost the entirety of the movie. The brothers leash their dad’s waist and drag him along on the quest to find the remaining gem needed to complete the spell. Through many trials and tribulations, the brothers discover that their brotherhood is more important than the quest. Ian and Barley’s relationship evolves beautifully over the course of about 100 minutes. 

“Onward” is a definite tearjerker and another heartfelt Pixar production. One main critique of this film is that the targeted age group is somewhat unclear. The animated quest-like nature of the film lends itself to be geared towards young kids, while the subject matter is mature and would seemingly go over the heads of children. This film is “Zootopia” meets “Big Hero 6” with a twinge of “Weekend at Bernie’s.” “Onward” is a great representation of the notion that family is everything.

“Onward” is available for digital purchase now, and it will stream on Disney Plus on April 3.