This past Saturday, Jan. 20, McCamish Pavilion saw lots of exciting moments during the men’s hoops match-up against UVA. While the game itself ended with a 58-63 loss, fans got to see the 1990 NCAA Final Four and Atlantic Coast Conference championship team reunited on the court to celebrate the 30th anniversary of their incredible season. 

Back in the glory days the team was coached by Bobby Cremins, winner of the Naismith Coach of the Year Award trophy. This trophy is presented from the Atlanta Tipoff Club to recognize the best collegiate men’s and women’s coaches each year. 

During his 19 year tenure at Tech, Cremins had a .599 win – loss ratio. He also has three conference tournament championships under his belt and two regular season championships. Not to mention, to this day all three of Tech’s ACC Championship victories fall under the the umbrella of Cremin’s leadership coaching the Jackets. Cremins’ 1989 – 1990 season was a defining year with a .800 win – loss ratio and 28 wins. As Cremins said this Saturday, “It was just a great, great run. We had an advantage against UNLV (in the Final Four), but they played a great second half. But I just can’t say enough about these guys. It seems like it was 15 years ago, but it’s great to be back.” 

Looking at the 1990 Final Four Tech team itself, there are some notable accolades to reflect on. Most memorable was the coined “Lethal Weapon Three” players including junior forward Dennis Scott, senior guard Kenny Anderson and freshman point guard Brian Oliver. 

The legendary group of three was monumental in earning the Jackets the claim to being one of the nation’s highest scoring teams at the time. 

Each player averaged over 20 points per game. Scott was also recognized as one of the best basketball players of the season when he was named Naismith National Player of the Year. Not only that, but also made first team All American. 

Anderson was named second team All American. The three  additionally made the All-ACC team during the infamous 1990 season. 

The rest of the roster includes even more honorable mentions such as freshman forward Malcolm Mackey who became the Jackets all-time leading rebounder during his tenure with the squad in 1993. 

When Mackey got the microphone at last week’s reunion he shared, “Our relationships and what you see was just all of us just being one big family …. I don’t know how many more times we’re going to be celebrated like this, but I’m going to soak all this up … I’m so grateful to be a part of this program and part of this tradition.” 

Mackey went on to play in the NBA along with Scott, Anderson and Oliver. As Anderson noted, “I played in the NBA for 14 years, but I always give credit to my high school, Archbishop Molloy and Georgia Tech. That’s where I was created — to play basketball and to have the type of dedication that I have and the friendships and things of that nature.” 

Coincidently, as fans recognized Final Four mentions of Tech’s past, Jackets have another reason to celebrate the Final Four looking forward. This spring, Atlanta is proud to be the home of the 2020 NCAA Final Four. The semifinals and finals will be hosted in Mercedes-Benz Stadium April 4 and 6, respectively. 

There will be plenty of March Madness events taking place in and around the Benz such as a Fan Fest in the Georgia World Congress Center and the Captial One JamFest music festival, featuring Taylor Swift.

While Tech is still handling basketball allegations from last season, they did formally appeal the postseason ban and recruiting limits in hopes of participating in some of the excitement. 

To be truthful, it is hard to remain impartial about “Just Mercy.” Although the film often teeters too far into melodrama, the deep well of empathy on display simply proves too much to resist.

Writer-director Destin Daniel Cretton is no stranger to injustice or to compassionate filmmaking. His acclaimed indie movie “Short Term 12” oozes with care, gazing lovingly at a rehabilitative treatment facility for abused and addicted youths. In this regard, he proves the perfect fit for “Just Mercy.”

Adapted from defense attorney Bryan Stevenson’s memoir of the same title, the new criminal justice drama, co-written by Andrew Lanham (“The Glass Castle”), details the real case of Walter McMillian — an African American man who was wrongfully convicted of murder and sentenced to death. Opposite McMillian is a young, Harvard-educated attorney, Bryan Stevenson (Michael B. Jordan, “Black Panther”). The lawyer, who is now known publicly as the founder of the Equal Justice Initiative, moved to Alabama to defend inmates on death row. Here, he meets McMillian (Jamie Foxx, “Django Unchained”).

Unsurprisingly, Stevenson’s investigation uncovers glaring holes, inconsistencies and racism in the case. An African American, himself, his efforts are met with racism, threats and intimidation from Alabama’s law enforcement. With the assistance and guidance of local ally Eva Ansley (Brie Larson, “Captain Marvel”) and McMillian’s family, the team begins to strengthen their defense. 

But the film’s world is fuller than simply the details of McMillian’s case. Inmates labor and toil in fields, evoking the region’s history of slavery and exploitation. References to “To Kill A Mockingbird” call to mind the injustice of the novel’s similar case. 

While law enforcement officials spout half-truisms about protecting the public, Stevenson quickly highlights how often that excludes the African American community, who are made to feel quite unsafe by these same efforts. Past and present are tied together; literature blends into reality. The depth bolsters “Just Mercy’s” illustration of pervasive, institutional racism.

Unlike other movies, though, Cretton’s drama does not throw its hands up in surrender. It lays the groundwork to portray an unjust world and then provides a solution: empathy.

Stevenson sits with several inmates, making efforts to connect with each. He not only asks them about their cases but also about their childhoods and their experiences. Beyond that — he connects — he smiles and he laughs. They ask him to join in prayer and even to sit beside them as they await the electric chair, and
Stevenson obliges.

The film presents compelling arguments against the death penalty and in favor of a more just, equitable legal system. Some of the convicts portrayed admit their guilt and repent while others, like McMillian, were falsely accused and pressured into a no-win situation. Either way, the reality is that it is difficult to look these men in the eyes and feel anything less than sympathy.

As a social justice movie, however, the movie is deeply imperfect. The courtroom scenes are heavily dramatized, making yet another movie that fails to accurately represent legal proceedings. Characters often talk directly to the camera. The resultant feeling is that the movie unnecessarily preaches when the literal reality of the case should speak for itself.

In spite of this, it is hard to be unmoved by “Just Mercy,” especially when so much of the film reflects such a stark reality. Stevenson and McMillian’s true story occurs time and again in today’s criminal justice system. The question the movie raises is not about whether this happens in the real world — it does. “Just Mercy” is more concerned with pushing viewers and civil servants to consider what their place is in relation to this injustice.

Bryan Stevenson undoubtedly had a life-altering impact on the clients and communities he served. Most Americans may never meet or be aware of the work done by the Bryan Stevensons among them — and boy, there are plenty — but they should see “Just Mercy” and change how they view race, criminal justice and the death penalty.

This past fall, BBC Two aired “Vienna Blood,” a British-Austrian crime drama set in Vienna during the early 1900s. The series enjoyed moderate popular and critical success in Britain, and PBS is now airing the
series in the U.S.

The Robert Dornhelm (“The Break”) and Umut Dag (“Kuma”) directed miniseries stars Matthew Beard (“The Imitation Game”) as Max Liebermann, a young British physician as he assists Detective Rheinhardt (Jurgen Maurer, “Vorstadtweiber”) with the investigation of a series of
unusual murders.

The series is set against the backdrop of Vienna’s pre-war café society. Liebermann, who comes from a prominent Jewish family, balances his obligations to his family and their reputation against his dedication to his work as a physician and a proponent of Sigmund Freud’s work on
psychoanalysis.

Liebermann applies Freud’s techniques to practical problems, constructing psychological profiles of victims and suspects and offering insights to Detective Rheinhardt to guide his investigative efforts. Throughout the first episode, the viewer sees Detective Rheinhardt warm up to Liebermann’s contributions. Initially, he is skeptical and acts annoyed at Liebermann’s presence, but as the psychological insights prove fruitful, he begins to respect the doctor’s abilities.

The narrative of the first episode is interesting, and the characters are deep enough to rope the viewer in, but about a quarter of the way through the first episode the viewer makes a realization that changes things — “Vienna Blood” is just a slight variation on the “Sherlock Holmes” concept.

The series follows an unconventional investigator as he uses a seemingly mystical ability to deduce broad facts from minute details. There is a central pairing of a detective and a doctor — even if that pairing is reversed from the usual format — and Detective Rheinhardt’s character arc even has similarities to the character of Dr. Watson. Once the viewer spots them, the similarities between “Vienna Blood’’ and the “Sherlock Holmes” premise become impossible to ignore.

This does not make the show any less interesting or any less entertaining to watch. The story is riveting, and at the end of the first episode the viewer is left in eager anticipation of what is to come next. The problem is that the viewer begins to feel like “Vienna Blood” is a bit lazy. Rather than developing a truly original show, the BBC has simply taken a premise that has brought it tremendous critical and popular success with Stephen Moffat and Mark Gatiss’s “Sherlock,” moved it to Vienna in the early 1900s and tweaked the characters slightly.

Because of these similarities, the viewer begins to judge “Vienna Blood” against the standard set by “Sherlock” — seeing the miniseries almost as a special one-off season of the show. As a run-of-the-mill crime drama, “Vienna Blood” is well above average. Judged against the standard set by “Sherlock,” however, “Vienna Blood” feels like an absolute failure. The dialogue writing, cinematography and acting are simply not comparable to “Sherlock,” and as a result, the miniseries feels less like an excellent crime-drama and more like the worst season of “Sherlock” to date.

In spite of this glaring issue, “Vienna Blood” is an undeniably thrilling and entertaining
miniseries. 

The first episode leaves the viewer craving more, and to condemn it for its similarities to the “Sherlock Holmes” stories is unfair. Although the BBC might deserve some criticism for taking the safe route, the new drama series is still definitely worth a watch.

Country powerhouse Little Big Town packs a punch on their recently released studio album “Nightfall.” The soulful quartet offers hymnal-like vocals and instrumentation on their ninth studio album. Formed over 20 years ago, Little Big Town has fine-tuned their sound and zeroed in on what sets them apart from other country bands. For many, this band is the perfect introduction to modern country and is palatable to outsiders. Each member of the quartet brings their own unique tone and talents to the table. Every single song on the album follows a formula similar to that of Fleetwood Mac, wherein one member will sing lead vocals on a song, giving each song its own sound and vibe.

The album opens with “Next To You” and is the perfect way to start an album titled “Nightfall.” The song is peaceful, steady and evocative of the silence that comes with night time. The following song is titled “Nightfall,” after the album, and is similar to the mid-tempo songs that previously garnered the band’s success, such as “Better Man.” This tune also features a chorus that is catchy and unmistakably well-written.

“Forever and a Night” is a phenomenal example of the vocal range of Little Big Town. It features haunting vocals that reverberate and echo. The vocalist has a tone full of grit and sounds similar to country heavyweight Chris Stapleton. “Forever and a Night”  is very raw, extremely personal and reminiscent of unsent text messages or a desperate voicemail. 

Standout track “Over Drinking” is cleverly written and offers excellent vocal tone. This song is playful and confident in its delivery. This is one of the most uptempo tracks off the album and could be put on playlist meant for getting ready for a night out. 

Another standout track, “The Daughters,” speaks about the rigid gender roles that are placed on girls and women, especially in regards to those who grow up in  staunchly religious households. This powerful song sounds more like a letter of advice or a journal entry. 

Final standout track “Sugar Coat” provides great depth in its lyrics and is anything but sweet. It relies on anecdotal accounts to show how it can be easier to hide behind a mask or “sugar coat” than be vulnerable. 

“Nightfall” is all fans could have hoped for and more. Although there were no mega-hits on this album, this album does not disappoint lyrically. It features the authentic anecdotes that many long-time fans prioritize first when listening to a new album by the band. Little Big Town are masterclass storytellers and are in no way past their prime. Each album is a new chapter, and there is no sign of Little Big Town closing the book anytime soon.

The time is nigh for me to bid a sentimental farewell to my favorite show, “BoJack Horseman.” Netflix’s hit animated series about a depressed, alcoholic horse will conclude at the end of the month. For many, the show is crude, bizarre and off-putting, and I am an adult male weirdo stanning for a cartoon. 

While I certainly have argued about the greatness of the animated comedy, most of my discussions have always tiptoed around the core of my relationship to it.

During my undergraduate years, I grappled with depression and anxiety. Choosing my major and career felt impossible. Romantic interests never yielded relationships. 

The world felt like a horrible place, and I somehow felt even worse. Panic attacks prompted me to leave classes. Nights spent drinking — as collegiates do — usually sent me reeling.

At one of my lowest moments, I started binge-watching “BoJack Horseman,” a show that my friend Philip said was hilarious and that my favorite critic Emily VanDerWerff compared to “Mad Men.” I finished the first two seasons in about two days.

When you first look at the show, it is really weird. Anthropomorphic animals date, sleep with and marry human beings. 

The show is grotesque and full of humor about self-pity, narcissism and alcoholism. But if you surrender your inhibitions, the show reveals itself as something that is much more complex, personal and sincere than its Adult Swim counterparts.

For many, feelings of home and comfort are provided by cheery sitcoms like “The Office” or “Friends.” 

While I admire those shows, their generally positive demeanor often failed to reflect how I felt and saw the world. Thus, I turned to “BoJack Horseman,” a cynical show about depression and unhappiness.

Through a heavily meta statement, a character captures the core essence of the show during season one’s “Downer Ending” episode. “BoJack, when people find out that someone like you who seems larger than life is actually just as wounded and vulnerable as they are,” she says. “It makes them feel less lonely.” 

This episode, which happens to be my favorite, provided much needed solace to know that I am not alone in these struggles for validation and happiness.

However, “BoJack Horseman” offers more than just melancholy blues. It also charts a way forward for people navigating mental illness. 

“It takes a long time to realize how truly miserable you are,” a character tells him during the third season. “And even longer to see that it doesn’t have to be that way.” 

BoJack receives this sage advice after attempting to white-knuckle his problems for two seasons, implying that one can overcome their ailments if he or she actually confronts them and seeks help.Several seasons and crimes later, BoJack may have finally found peace and happiness through sobriety and therapy. 

Likewise, a combination of medicine, therapy and improved health habits have afforded me the ability to find that of my own.

To say that I see myself in BoJack, the character, would be misleading, though. BoJack is an awful person, who has done countless, terrible things. 

Truthfully, he deserves punitive accountability, and he might actually receive that in the series’ upcoming final episodes. 

And it is clear to me that the show has no interest in condoning any such behavior or enabling any viewers to do the same.

Yet, I have found myself in “BoJack Horseman,” the show. No show has made me laugh more. No piece of media has helped me unlock and make sense of the world as much. 

And through the absurdity and weirdness of an animated, alcoholic horse and his anthropomorphic friends, no other content of popular culture has helped me work through my own mental health issues more than this has. 

“BoJack, there are millions of people who are better off for having known you,” he is told in another meta commentary. I am certainly one of them. 

So while I feel tearfully sentimental as I say goodbye to my favorite show, I can rest easy knowing that it served its function: it made me feel less alone.

I sit in the theater between my mother and my grandmother, all three of us with tears in our eyes and pride in our hearts as we cheer for women who remind us so much of ourselves and of people we love. 

“Little Women” follows the story of four sisters: Meg, Jo, Amy and Beth March. These four women are similar only in their love for one another and their fiery determination to chase after their dreams; their dreams and desires all look quite different. But, I think that’s the magic of the story. 

“Little Women” celebrates the beauty of choice. Women having choices, people having choices. It celebrates and (at the time of it’s publishing) paves a path for all people to have liberties to pursue their individual choices and dreams, especially people who are denied one.  

The novel, written in the 19th century by Louisa May Alcott is widely known and loved, though it is not always highly regarded. I’m struck by how, even in the 21st century, we still do not seem to fully value a woman’s work. Glimpses of that can be seen in Greta Gerwig’s lack of a nomination for Best Director at this year’s Academy Awards, though “Little Women” has arguably made her deserving of one. Yet, there is so much power and excitement in the characters Alcott created, that I would argue it deserves recognition as an American classic. 

There are parallels between the time depicted in the film and the time we live in now. “Little Women” is a story that has bypassed many generations and holds something for each. 

Though set in the 1860s, the story echoes sentiments and causes that people still advocate for today. Whether that be the right for women to own their own works (a very public debate happening in the music industry) or the space to explore their dreams and be seen as equally capable of achieving them, much of it seems all-too-familiar. 

I realize that this is why films like Greta Gerwig’s “Little Women” are important. Though there are 60 years and three generations between my grandmother and I, we feel connected as we watch the story of the March sisters unfold. We both have experienced the frustration of Jo ­­— frustration that we are not seen as important or thoughtful or ambitious. 

When I first read “Little Women” in middle school, Jo March made me realize I wanted to be a writer. When my mom read it in her teen years, she felt encouraged to pursue her love for teaching. People from different backgrounds and experiences and lives can find familiarity in the desire to create something that lasts and is respected. 

All the March girls want is to have opportunity. That is all my mother and I wanted, too. That is all most people want, though it is something that is still denied to so many. 

My grandma, on the other hand, was experiencing Alcott’s story for the first time in the theater. At the end, she looked over and said to me, “I wish I had seen that 70 years ago. I needed that.” 

That is why films like “Little Women” are important, in my opinion. Though progress has been made since my grandmother’s youth, she and I still have a similar sentiment. 

We want to have the freedom to pursue the things that we love, fervently. The same thing Jo March wanted. 

Amy, the aspiring painter, says, “I want to be great or nothing,” and I feel my mom tap my arm. These are words that I have said to her. 

Ultimately, what Alcott was arguing for in her novel and what Gerwig is reiterating today is that women’s stories are just as worthy of being told as those of men are. “Little Women” has always advocated for the lives and the words of women to be heard. But, it isn’t just the story of women that need to be told. My wish is that this film sparks conversations and motivates us to highlight the stories of all people, not just the few.

I hope we never stop making movies like “Little Women,” ones that allow people to feel seen. I hope we never stop telling the stories and amplifying the voices of people who have been silenced. I hope this is a step we are taking to learn to value the experiences of people who have always been told they are less valuable. 

55 years. Only 55 years ago, Martin Luther King took a leap of courage and invited people from across the country to join him in his march through the South to Selma, Alabama in an attempt to give a voice to the minorities who were silenced due to discrimination. In the 55 years since those famous Alabama marches, the United States has continued to make strides in gaining rights for many minority groups, from African Americans to members of the LGBTQIA community and more. 

In many ways, however, King’s march for equality is still left unfinished. Racial slurs and police brutality continue to threaten democracy, while organized protests and social movements keep working to fight for the equal rights of all. 

The Campuswide Student Celebration held on Jan. 16th not only commemorated the legacy of King, but also played tribute to the ongoing fight for equality. The celebration’s theme of Activism and the Fierce Urgency of Now was carried out through each event of the night.  

Junior executive officer of the African American Student Association Samuel Brown, fifth-year MGT, began the night by commemorating the vital role that King played for his organization. Brown  challenged the audience “to enjoy [the event] with intention,” emphasizing how Tech’s motto of creating the next serves a call to create an inclusive and diverse environment. 

“We have been trusted to never be complacent and always do more,” said Brown.

Brown’s speech was followed with a dance performance given by the African American fraternity Alpha Phi Alpha. Throughout the performance, members recited King’s words and remembered his achievements. They also explained how their own missions intertwined with the message of King.

 “Alpha Phi Alpha continued to supply a voice to African Americans,” said one of the brothers, ending their performance with a reminder of King’s legacy.  “MLK day is not a day off, but a day of service.”

Another dance performance was given by fourth-year CM Delauryn Brown. When asked about the importance of MLK Day, Brown tied this celebration to the celebration of Black History as a whole. 

“February is Black History Month, so for me MLK day is like the preview to black history month,” said Brown. “It starts off the celebration of the work and effort that a lot of marginalized groups, specifically black people, put into creating their place in America.”

In agreement with the other speakers of the night, Brown also spoke of the importance of continuing King’s work as she weighed in on diversity and inclusion on Tech’s campus. 

 “I think [Tech] can improve its diversity, not just by acknowledging all the marginalized groups because it does a pretty good job of that, but by bridging the gap between marginalized groups,” said Brown. 

Second-year ISyE Jonathan Caldwell not only focused on King’s impact for the African American community, but also commemorated King’s fight as one for the equal rights of all minorities. 

“MLK spoke margins to Latinos and other minorities,” said Caldwell. 

Caldwell also spoke of his belief in the next generation’s ability to inspire further change, as he spoke of the importance of passion and movements. 

“We can transform this decade with activism as we truly believe that peace is power.”

CM alumna Jhilika Kumar also addressed King’s impact as global in reach, emphasizing the array of issues found today, including those of decisive politics, environmental concerns and more. 

“Planet Earth is alive, but it’s not well,” said Kumar. “We, as a generation, are an ambitious army of truth seekers … We must strike down apathy.”

The last speech of the night was delivered by Henderson Johnson II, a fourth-year AE Ph.D. candidate. Johnson weighed in on feelings of not belonging, especially at a school like Tech. He recalled the importance of college students asking themselves throughout their education questions like “who am I” and “what do I stand for” in order to give themselves a sense of purpose. He noted how these conversations are especillay important for groups such as minorities, women and non-binary students as they are often still judged as only “fulfilling a diversity quota.

“[Activism] is simply existing … in spaces that were not meant for you,” said Johnson.

The celebration concluded with a candle lighting ceremony, which featured representatives from many different groups on campus. The students not only lit a candle in King’s memory, but also spoke of their desire to continue his legacy.

On Thursday, Jan. 16, artist Abhishek Singh drew the attention of students passing through the Clough atrium. Starting at around 11 a.m., Singh stood in front of three large canvases. With his humble brush and black paint, he began to construct a family of elephants on the left bottommost corner of the first canvas. Singh then invited students to engage with him and his art, encouraging them to ask questions and take a closer look.  

Singh, who has been an artist all his life, spoke of his inspiration stemming from the various stories art could tell.

 “I was always enchanted by the stories so the stories kind of became the fuel for me to keep doing the art,” he explained. 

The narrative behind art can often be overlooked by the chaos and pace of life, and as students it can be especially difficult to pause to pay attention to that narrative. In light of that, Singh hoped to share the celebration of story and art through the elephant and symbol of Ganesh, an elephant-headed god of obstacles and difficulties. 

“I feel that these stories were created so you can find this bond with nature.You can understand its different phenomenons. You can understand how the systems there work through these personifications of the stories.” 

As the elephants began to multiply across the canvases, Singh explained the significant symbolism of these noble creatures. 

“An elephant can hear a raindrop drumming inside a cloud miles away; they have this beautiful hearing,” Singh explained. 

“We’re celebrating the elephant — we’re celebrating their lives.” 

Singh celebrated with the support of the many students who watched and engaged with his work.  Second-year BCHM Sommer Vanden Huevel shared his thoughts on this unique experience. 

“The artist’s talent was incredible, watching him draw so delicately yet confidently. The drawings were fantastic — like remembering a dream,” Huevel said. 

Third-year CHBE Josh Thrift also weighed in on his interaction: “This is a lot more interactive. You can actually speak with the artist and learn his motivations … here you can see all his different artwork and get to know the artist as well as his art,” said Thrift.

Singh explained the ability of each observer to give as well as to take from the whole experience, as the constant flow of students, faculty and visitors surrounding the spectacle created an energy that seemed to make its way into the art itself.

“When you bring it out for me, the most important intent is to create a shared experience where everyone is sharing in the story.” 

Thrift likewise reflected on the power of art, especially ones that allow for personal perceptions to influence the work.  

“It’s really drawing a lot more attention to itself,” said Thrift. “Rather than just placing something on a wall for people to casually observe, it feels like there’s a real focus here on the artwork.” 

Melanie Moenning, a third-year ISyE, also shared her thoughts on the experience. 

“I felt a lot of peace getting to watch someone paint … It brought whimsy and spirituality to my day.” 

As the day progressed, the painting became more elaborate and more intricate, reminding viewers to look for stories and to connect with nature and one another. 

After outgrowing the Klaus Advanced Computing Building’s fire code last year, the College of Computing decided to take the annual college-specific career fair to a bigger venue. This spring’s CoC Career Fair took place from 12 p.m. to 6 p.m. in Atlanta’s own Mercedes-Benz Stadium on Friday, Jan. 17. The venue was selected to better accommodate the  demand from the ever-growing degree program.

 Over 180 companies attended, but the student response was underwhelming. Despite free transportation being provided in the form of shuttles shuttling students to and from campus, some students found the accessibility of the event discouraging. 

Third-year CE Maya Flores felt the “shuttling back and forth situation made it more difficult to make it to the career fair in between classes.” Flores said, “I feel like the accessibility of the career fair is the whole purpose
of the event.” 

Second year CS Jillian LaTour enjoyed the change of venue, stating that “it had much more room to walk around and meet recruiters.”  

According to LaTour, recruiters were also excited by the venue change. 

“A lot of them pulled out their phones to take pictures, and they were overall happy with their experience,” LaTour said.

This semester, CoC Career Services launched a “Skip the Line” initiative through the Career Fair Plus app where students could reserve a spot in line to speak to popular employers. Through the app, students could also review the employers they spoke to or look at virtual maps of the fair’s layout. 

Despite mixed reviews on the off-campus venue, many students still found this year’s career fair a success. 

“Who can say that their career fair is [held] on the field of Mercedes Benz?” LaTour asked. 

“I talked to a lot of companies,” Flores said, who will be applying to two internship programs she learned about at this event. 

Masses of students snaked across campus, camping out in lawn chairs and eagerly awaiting the door opening on Wednesday, Jan. 8th for the match up against No. 2 Duke. Before player warmups even concluded, the colosseum was packed with a solid mix of Blue Devil blue and Yellow Jacket white and gold, making it the 20th sellout in the seven year history of Tech’s very own McCamish Pavilion. 

The game tipped off with a lot of energy from the Jackets, putting the men at a 14-6 lead within the first four minutes. Unfortunately, the momentum shifted as Duke capitalized on the Jackets’ loose defense to pull the Blue Devils ahead to an 11-point lead at halftime, with a score of 29-40. 

McCamish erupted with excitement as the teams returned for another half. Fans saw notable attendees at the ACC game including seven-time NBA star Grant Hill, Atlanta rapper Playboi Carti, former Falcons wide receiver Roddy White and current Atlanta Braves shortstop Dansby Swanson. Players, alumni, students and fans were ready to battle for the win. 

While the Blue Devils came out cold to start, the Jackets happened upon a hot streak while gaining momentum from behind by scoring nine out of the first eleven points of the second half. According to Duke’s Head Coach, Mike Krzyzewski, “In the second half, [Tech] came out and we gave them nine quick points and it looked like the whole thing was going to turn.” Sure enough, a transition three pointer by sophomore guard Michael Devoe brought Tech to a triumphant 51-50 lead. 

This half saw four score ties and four lead changes as both teams strived to pull ahead. A foul by Devoe let Duke even the score to a 53-53 tie. Craving any headway, senior forward/center James Banks III dunked to score a 55-53 lead, but Duke responded with another alley-oop by freshman guard Cassius Stanley for a second 55-55 tie. Solid free throws by junior guard Jose Alvarado brought the Jackets to their third tie, and then another lead, 59-58, against the Blue Devils. The lead wavered back and forth for a final tie of 61-61 with a swisher from Devoe. 

The sweat, the enthusiasm and the excitement was exploding from the court and the stands as the unranked Jackets continued to surprise the crowd with an originally unprecedented assumption of such an unlevel playing field against the No. 2 nationally ranked team. 

In the final four minutes, Duke seemed to sustain a constant margin above the Jackets as, “They missed a lot of short shots right at the rim,” said Tech head coach Josh Pastner. A three pointer miss by Devoe with 2:47 left in the game sealed the deal for the Blue Devils. This was the turning point as the Jackets struggled to get back on their feet during another cold streak of missed buckets. After a long hard battle, Georgia Tech came up short with a final score of 64-73.

Even though the final score might not be the outcome Tech wanted, the team still has several key player and team moments from the game. 

For one, Banks scored his fourth double-double this season with 14 points and a career high of 15 rebounds. Banks also blocked seven Duke shots, establishing a record number of blocks for any player against Duke since 2016 to keep him as No. 2 in the ACC. Additionally, Tech’s buckets were led by another one of the four members of the double-double club during the game — Jose Alvarado — with 18 points and five assists. The Jackets snagged 17 turnovers to best Duke’s 14 in total. Coach Krzyzewski had some solid final words about the overall match up saying, “We beat a really good team in a very tough environment and both teams played really hard tonight. It’s a heck of a win for our kids.”  

This season, the men’s squad has coined themselves as the team that is #BuiltDifferent. Despite the final score of the 64-73 loss against Duke, the Jackets have definitely built themselves to battle hard and show up this season. As Coach Pastner said, “All you can ask for is a change to win the game, we had some chances …  our guys have always fought and competed.” 

With their third ACC road win in the bag against NC State (82-21), Chapel Hill (96-83) and most recently Boston College (71-52), Tech has a lot to offer in the weeks to come against the currently unranked Notre Dame, No. 18 Virginia and at No. 14 Louisville. 

But, with two out of three of the games at home, the Jackets are hoping to pack McCamish with the same exploding energy they had against Duke for some W’s to hopefully carry them through a challenging, on the road match up against Louisville.