With a new global threat emerging seemingly every month, the average Tech student questions the future of Earth. 

Each new virus, war or climate emergency brings the planet closer to doom. 

This, however, is not a new problem. 50 years ago, while no one had yet heard of COVID-19 or President Vladimir Putin, English singer-songwriter David Robert Jones, better known as David Bowie, brought this issue to light with startling relevance. 

Bowie’s fifth studio album, released in June of 1972, depicts a frightened Earth nearing apocalyptic disaster. 

Enter “The Rise and Fall of Ziggy Stardust and the Spiders from Mars.” 

Ziggy Stardust, in all of their bisexual and androgynous glory, is the fictional savior sent to save the planet from impending catastrophe. 

The record was neither intended nor conceived to be a concept album, a collection of individual tracks tied together to tell a larger story, but the tale of Ziggy Stardust developed following the recording process. 

The album could also be described as a rock opera.

The haunting feeling of the opening track “Five Years” is amplified through a modern lens. 

In the song, a news network releases the information that Earth’s inhabitants have only five years left before their planet is destroyed by an oncoming vague disaster. The numbing emotions described both musically and lyrically are familiar to younger generations who have grown up hearing the words “climate change” regularly. 

Ziggy introduces themselves in “Moonage Daydream,” as a rock’n’rolling space invaders who  spreads their spirit of optimism to Earth’s youth in “Starman.” 

Throughout the album, Ziggy and their band, the Spiders From Mars, personify sex and rock music while defying the boundaries of binary gender.

Eventually, however, Ziggy’s flamboyant rock star potential gives way to narcissism. 

Their fall is characterized by their ego dissociating them from their fans, their bandmates and even themselves. 

In a vague death, Ziggy reaches out to the audience in “Rock ‘n’ Roll Suicide,” telling them that they are “not alone.”

The exact plotlines of the album are vague. Bowie does not give audiences a definite answer as to whether or not the planet is saved. 

The undetermined fate may ring familiar to modern audiences.

But this is not the only aspect of the album with which Tech students can identify.

Despite their extraterrestrial origins, Ziggy’s chronology is given a humanistic approach. 

Behind the glitter and sequins of their glam rock persona, Ziggy Stardust is deeply relatable.

While they reached an untimely demise, the lessons they pass along in the album can save the next generation of youths.

Tech is most notably home to engineers, programmers and other scientists, but within the halls known for mathematics and technology lies a historically significant and culturally rich system of independent music-makers. 

The Musician’s Network has operated at the Institute for over three decades and continues to grow, despite challenges with COVID-19, declining notoriety through the years and an uncertain future for the home of the organization, known as Under the Couch.

However, leading members of Musician’s Network have risen to the occasion, planning a constant stream of successful music events to bring to the student body and other community members. 

“We are no strangers to holding music festivals,” Kian Kermani, second-year NEUR, said. “Since 2014, we have hosted Couchella each Fall semester, which is a similar scale all-day music festival. 1000 Couches originated because we canceled Couchella in the Fall of 2020 due to COVID-19 and wanted to hold a festival later in the spring.”

The second annual 1000 Couches will take place on Saturday, April 2 from 2:00-11:00 p.m. at Peters Parking Deck. The music festival will feature 11 bands, including seven from within the Tech community. 

“There’s going to be a lot of different types of music ranging from punk and metal to indie and pop and even some electronic acts,” Josh Rubin, fourth-year EE, said.

“Our goal was to get a wide variety of bands and musicians around Tech to showcase, and I think we managed to get a pretty diverse lineup of bands from Tech with a couple from around the Atlanta area.”

The intention of the event is to allow students a chance to enjoy on-campus performances during the stressful weeks leading up to final exams.

“We pride ourselves on being a student-run club that is able to provide live music to students on campus as well as Atlanta as a whole,” Kermani said. 

“Having an all-day music festival at the end of the semester provides a unique opportunity for students to destress and enjoy free live music just a few minutes from their dorms.”

Kermani, who is currently serving as president of the organization, has a strong admiration for the unique, do-it-yourself spirit of Musician’s Network. 

This appreciation began in high school when Kermani would travel an hour to Atlanta to see shows at Under the Couch, the former home of Musician’s Network that was most recently located in the now-demolished student center.

“During the day, people were at Under the Couch studying, chatting with friends and practicing music,” he said. 

“There really wasn’t another place on campus with the same feeling. During the night,

Under the Couch became the music venue known throughout Atlanta as being a hub for DIY and up-and-coming music. Under the Couch wasn’t just an important part of campus culture, it was also an Atlanta musical landmark.” 

Under the Couch will not be housed in the new student center, leaving an uncertain future for the organization. 

Hanna Goldfarb, fourth-year ME, has served as president of the club from 2020 to 2022 and has witnessed first-hand the direct effects of the removal of the Musician’s Network space.

“The biggest issue we have faced is aside from lack of practice space, people don’t just ‘happen upon’ us anymore,” Goldfarb said. 

“Without Under the Couch being right in the student center, people don’t realize that we have this amazing space and musical community on campus. So, we host festivals like 1000 Couches to try to spread our music and show people that there is a creative musical space on campus.” 

Despite these circumstances, Musician’s Network has continued to host events through WREK 91.1 FM, Tech’s student-run radio station. 

WREK has been sharing their space with Musician’s Network since the removal of Under the Couch, and even with limited space, the community has made the most out of the resources available, including successful weekly concerts and open mic nights.

“Our open mics this past year have gotten more traction than ever, and for many weeks, the whole room will be packed full of students,” Kermani said. 

“I think it really speaks to the DIY spirit that is ingrained into the club, for even in an office building with no elevated platform, we have created our own stage, lights and sound, and people still care.”

With a homegrown essence and unwavering persistence, the group is determined to continue to bring live and local music to the Tech community.

“We have our widely-acclaimed open mics every week, general meetings, advertising meetings, sound meetings and our indoor shows almost every week,” Mir Jeffres, third-year MUST major, said. 

“One of my favorite shows we put on every semester is our New Artists Showcase. It’s a combination competition, concert and party. We have bands and solo artists who have not yet played a big show sign up to perform, and winners get to headline a Musician’s Network show. Many historic Tech-based bands have started as a result of these shows, and many are actually playing at 1000 Couches.”

For more information on how to get involved with Musician’s Network or details regarding upcoming events, visit their Instagram at @gtmusiciansnetwork.

Following a disappointing weekend for Tech softball against Florida State University, the Jackets made a bold return Tuesday evening against their rival team, the University of Georgia, in Athens.

FSU swept Tech in a doubleheader on Friday and a third loss on Sunday. Going into the matchup, FSU ranked third nationally with a 22-1 record versus Tech’s 15-7 mark. Following their three consecutive wins at Shirley Clements Mewborn Field, the Seminoles now rank second in the nation.

Despite the grim outlook for the weekend, the Jackets gave their all, scoring a combined five runs against FSU’s 13. Due to predicted inclement weather on Saturday, Tech announced on Thursday that the second game of the series would take place on Friday following the series opener. 

During game one, FSU scored all four of their runs in the top of the third inning against junior Tech pitcher Chandler Dennis. The Jackets fought back in the bottom of the fifth with a run scored by freshman Ella Edgmon on an RBI by senior Tricia Awald. The efforts still resulted in a win for the Seminoles and a final score of 4-1.

The later game that afternoon offered more excitement, with twelve total innings played, with extra innings nearly doubling the game’s length. The first nine innings were scoreless, leaving the teams tied with zero runs until the tenth inning when the teams scored two runs each. 

Junior pitcher Blake Neleman conceded both runs to FSU’s Kalei Harding and Devyn Flaherty from home runs. On Jacket offense, Tech seniors Kennedy Cowden and Bailee Zeitler both scored unearned runs in the bottom of the inning off an Awald at bat.

The eleventh inning was again scoreless, leaving the teams still tied with two runs each. As the game time approached four hours, fans and players alike grew antsy to see the game reach a favorable conclusion. 

In the top of the twelfth, the Seminoles pulled through, scoring four runs on Dennis. Tech did not earn any runs in the bottom of the inning, a disappointing ending to follow a long and tight game. 

The additional five innings resulted in a final score of 6-2. After six hours and nine minutes on the field, the Jackets left the Flats on Friday with two disheartening losses.

Sunday’s game also looked hopeful for Tech, who scored two runs in the bottom of the second inning. Tech’s offense was dominated by the team’s freshmen. Following a run conceded by Neleman in the top of the first, freshmen Grace Connelly and Auburn Dupree scored on an Edgmon single. 

The 2-1 lead did not last, however, with two runs conceded by Neleman in the top of the third inning. Neither team scored for the remainder of the game, leaving a final score of 3-2 for a third and final Seminoles win. 

Tech bounced back against Georgia two days later, traveling to Athens for the yearly rivalry game. Following a scoreless first inning, the Jackets came through in the top of the second with eight runs. Connelly was the first to score, reaching home on a double by sophomore Jin Sileo. Edgmon walked, driving in a second run, this time scored by freshman Emma Minghini. The next two runs were earned by Dupree and Sileo, driven in by a double from sophomore Mallorie Black. 

With the bases loaded, junior Caroline Davis hit a grand slam, driving in Awald, Black and Edgmon. The Bulldogs did not earn any runs in the bottom of the second, setting the score going into the third inning at 8-0. 

Freshman Emma Kauf hit another home run for the Jackets, driving in three more Jacket runs. In the circle for Tech, Neleman conceded two runs in the bottom of the inning, resulting in a score of 11-2 following the third. 

In an uneventful fourth inning, Neleman conceded another run to the Bulldogs, and the score moved to 11-3 with Tech still holding a strong lead.

In the top of the fifth, Kauf drove in the final run, sending Dupree home on an RBI single. UGA stayed at three runs. The game concluded following this inning with a final score of 12-3, renewing the Clean Old Fashioned Hate rivalry in softball.

Tech’s team shows strong offense with an array of dynamic freshmen to carry the team through the coming years. The Jackets have a long line of games and opponents ahead of them going into the ACC Tournament, but their last four games have showcased their talent.

Advertising themselves as a “dirtbag boyband,” South London indie group Bears in Trees has taken TikTok by storm in the past few months. Following two albums, “Just Five More Minutes” in 2017 and “Bits n’ Pieces” in 2018, the group released their debut studio LP, “and everybody else smiled back” in November of last year. 

With over 450 thousand followers on TikTok, the indie band saw immediate success with their latest release, which amassed half a million streams in less than three days. The album covers serious topics, including mental illness and sexual assault, from a positive angle of support and recovery. It is an album that makes listeners want to frolic in a field of flowers and hug their friends just a little tighter. 

This sense of positivity and community bled into their tour, which launched in the United Kingdom in February. The final performance of the UK tour took place at the Electric Ballroom in London. Before the end of the month, Bears in Trees left Europe to tour the United States with California funk-rock band Just Friends, among others.

Discovering the wonders of the States, including sunny March days and Waffle House, the group traveled from California to Arizona, Texas and Florida before finally arriving in Atlanta to perform at Purgatory at the Masquerade on March 13. 

Besides Bears in Trees and Just Friends, Graduating Life and Cry Baby took the stage for sets of their own. The four groups brought a diverse crowd, with ages ranging from mid teens to upper fifties.

Purgatory is an intimate venue, allowing fans to sneak looks at the bands as they prepared backstage for their sets and even meet their favorite members in the crowd. Before and after their performance, Bears in Trees ran their merchandise table, selling their own t-shirts and even offering to sign them as fans paid.

Following Graduating Life’s energetic set, Bears in Trees took the stage, setting up their own equipment alongside the crew members to hasten the transition process. 

The presence of the group was heightened yet casual. 

One member, Iain Gillespie, wore a pink t-shirt over a simple dress, but streaked their face with brightly colored makeup. 

Alongside Gillespie, Callum Litchfield opted to go shoeless, with polka-dotted socks on his feet and a Stitch-printed ukulele strap slung over his shoulder.

When all was ready, the performance kicked off with “Great Heights,” a cheerful song about the ups and downs of mental health.

A lyric from the chorus, “We’d reach great heights / If we could just make our beds in the morning,” describes the little things, such as not making one’s bed, as a sign of an oncoming breakdown. 

As the song drew to a close, an audience member shouted, “I made my bed this morning,” and the crowd erupted into cheers.

This offered a theme of community that led into the next two songs, “Ibuprofen” and “Heaven Sent is a Coffee Cup,” which are about learning to love oneself through the support of friends.

Throughout the songs, Gillespie especially engaged with fans, looking them in the eyes and smiling as they sang and danced along. Guitarist George Berry often would twirl from one end of the stage to the other, rocking along with both sides of the crowd.

Following the conclusion of “Heaven Sent is a Coffee Cup,” 

Bears in Trees then launched into “I’m Doing Push-Ups,” a well-known song that pairs with a vertical push-up motion. In an emotional chorus, the crowd screamed the lyrics with tears running down several fans’ cheeks.

As their set drew to a close, Bears in Trees dove into the mellow, touching song “Reverberate” which is about struggles, friendship and recovery. The concluding song, “Good Rhymes for Bad Times,” a song about turning emotional hardships into music and community, might as well be Bears in Trees’s theme song with lyrics directly referencing mental illness and detachment from humanity. 

The group bid the audience farewell by throwing drumsticks into the crowd and handing set lists to individual fans, taking time to acknowledge the most engaged attendees before retreating backstage to recover from their energetic set.

Several minutes later, the band reemerged to talk to more of their supporters and to enjoy the Cry Baby’s and Just Friend’s sets among the crowd. Above their groovy melodies and inspiring lyrics, what stands out most about Bears in Trees is their direct engagement with their community. 

Within Purgatory, this meant conversing and posing for photos with members of the audience, taking the time to engage on a personal level. Outside of Purgatory, the band responds to comments and direct messages, follows their fans back on TikTok and even hosts a Discord group called “the sandbox.”

This camaraderie-driven aspect has accounted for a lot of the success of the band and is something other groups, successful or otherwise, can look to for inspiration. Bears in Trees, unlike many other groups right now, finds relevance by bringing humanity into their music, and the humans on the other side can only hope that they bring their talents to Atlanta again soon.

With a paper cup of tea in one hand and a microphone in the other, 22-year-old singer-songwriter Holly Humberstone greeted a sold-out venue on Monday, March 7 in Reynoldstown. 

Humberstone, the opening act for Girl in Red on her world tour, made her first stop out of 55 at the Eastern in Atlanta this week. 

Humberstone, a singer-songwriter from Grantham, England, first started releasing music in 2020, but in her two years in the industry, she has set a niche for herself in sad, catchy indie pop.

During her performance, Humberstone was the sole musician on the stage, using multiple guitars, keyboards and an electronic drum pad at her disposal. She looped beats for her songs live in front of the audience with a trained precision. 

Although her small frame did not physically occupy much of the space, her focus and passion radiated into the audience. Within the first song, even those hearing Humberstone’s name for the first time were jamming along.

Especially early on in the set, Humberstone’s nervous energy was apparent but charming. She stated that she had never been to Atlanta before. In fact, this tour marks her debut in many cities across the globe.

However, as the audience cheered her on, signaling hearts with their hands, Humberstone quickly warmed up to the stage. Gentle, swaying dance moves paired with graceful strums of her guitar to shape her visual performance. 

The highlight of the set was Humberstone playing her favorite song that she has written, “Deep End,” which is about her sister. In an emotionally vulnerable and touching moment, Humberstone shared her pain with watching someone she loves suffer without the power to help. 

Many members of the audience could relate, as apparent by the tears streaming down their faces. Those who came to the venue with their loved ones held them tightly as they focused on Humberstone’s performance.

In contrast, the groovy, danceable beats of “Please Don’t Leave Just Yet” and “Falling Asleep at the Wheel” kept the venue bouncing with a steady rhythm of drums and keyboard. 

With songs like “London is Lonely,” Humberstone expertly navigated her unique variation of alternative pop using somber vocals and catchy instrumentals. 

Despite her shy stage presence, audiences adored her, shouting encouragement at the stage and commenting amongst themselves admiration of her talent.

Although her set was short — about thirty minutes —  the lights brightened following Humberstone’s performance on over 2,000 people who experienced a rollercoaster of emotions as one collective whole. 

The effect on the audience was palpable, with many pulling their phones out to add her on Spotify, despite the limited cell service in the venue. It is clear that Humberstone is well on her way to becoming a well-known name among pop audiences.

Although Humbestone’s career is just beginning, Atlanta cannot wait to invite her back again and again with each new phase of her career. As she continues to release new music and engage with audiences, Humberstone will surely be headlining a show of her own, and the city can only hope that she will soon return to its music venues.

Of the many retro hobbies making a comeback in recent times, collecting vinyl may be one of the least accessible, especially for college students. New vinyl can cost anywhere from $20 to well over $50, and that does not even cover the record player to play it on, which can be a costly investment as well.

While a high quality record player can cost several hundred dollars, it is best to start simple, especially before you are completely sure that you want to continue to pursue vinyl collecting. 

Starter record players can be found at mass retailers, such as Amazon and Target, costing anywhere between $30 and $50. As for the setup, find a shelf or caddy tall enough to hold vinyl records, at least 15 inches, and place your new record player on top of or near the shelf. 

It is also helpful to purchase a small cleaning kit, including a brush and cleaner. These sets are usually inexpensive and can go a long way in preserving both your vinyl and your player.

Once your setup is complete, it is time to find a few records for your collection. Start small. You do not need to own all of your favorite albums right away; that is what makes collecting so fun. It is often a treasure hunt, and when you find a good price for your favorite record, the feeling is unmatched.

Popular record shops around Atlanta, such as Criminal Records, have a lot of new, exclusive offerings, but are on the expensive side with their prices. Wax ‘N’ Facts in Little Five Points and Ella Guru in Decatur are excellent places to start with their vast offerings of used vinyl with excellent prices to match.

Whenever possible, buy secondhand for better deals, but do be sure to briefly check the record for any scratches or other damages before buying. There might be a reason the price is below $5, and unless you are buying the record for display purposes only, there is no use in owning something that does not play correctly. 

Records are known to be fragile, cracking or scratching easily. When handling vinyl, avoid touching the surface of the record whenever possible. It is typically best to handle the record gingerly using the edges of the record. Regardless, smudging is still likely to occur. 

To clean a record before use, spray your record brush with cleaner and place the brush onto the record. Move the needle slightly so that the turntable begins to spin, moving the brush across the record. Do not spray directly onto the record or rotate the brush across the record manually, as doing so may cause damage. When the record is finished playing, carefully move it back into the sleeve to avoid dust settling onto the vinyl.

Once you settle into basic vinyl care, you can move into expanding your collection and personalizing your setup. There is a vast collection of accessories to be found, including “now playing” displays to place the record sleeve while the vinyl plays. Despite the amount of work required to start and maintain a record collection, it can pay off in big ways. While an entire world of music is accessible via the Internet and streaming sites, it can be a mesmerizing experience to hear your favorite songs through a record player. With the gentle hum of the machine, and the crackle of the needle, some comfort songs were just made to be played on vinyl. Trips to antique stores and record shops, while sometimes expensive, can become a weekly scavenger hunt to destress after a busy week. 

Between projects and exams, sliding a disc onto a turntable and gently applying the needle can be a reminder to Tech students to take a break and enjoy the little things in life, even just for a few moments. Happy hunting.

O’Neil Delapenha is hustling. The writer, actor and director is currently performing in two shows while rehearsing for a third and producing a fourth. 

Adding Google Calendar to the list of skills on his resume, Delapenha runs constantly between venues, carefully balancing each project he has taken on.

Following the pause in theatre caused by COVID-19, Delapenha is determined to make up for
lost time and not let any big project pass him by. The opening of his production of “Comedy
of Errors” at the Shakespeare Tavern Playhouse last month marked the first live mainstage show at the Tavern directed by a Black artist. 

“It was fresh and new and creative,” Delapenha said. “You got to be willing to take the risk of doing something different and something new. … If you’re true to who you are as an artist, and you have a clear concept, go for it.”

When “Comedy of Errors,” closed, “Romeo and Juliet” closely followed, featuring Delapenha as Lord Capulet. Simultaneously, he is one of three rotating actors starring in Horizon Theatre Company’s “Every Brilliant Thing.”

At the same time, Delapenha is rehearsing for the role of Dogberry in the Tavern’s “Much Ado About Nothing,” opening March 12. He is also producing the Tavern’s “MacBeth: 60,” a shortened production of the original Shakespeare play touring for middle and high school audiences beginning March 28.

A major change the theatre community implemented when live venues filled again following March 2020 is the recognition and inclusion of Black, Indigenous and People of Color (BIPOC) in every aspect of the field — acting, writing, directing and everything in between.

“I was skeptical. Honestly, I’m still skeptical. I’m worried that it’s a trend right now,” Delapenha said. 

“In the microcosm of Atlanta theater, I hope that as we move more towards the positive light, we don’t backtrack into the subpar standards that were plaguing us before the effects of George Floyd and the racial reckoning that occurred here. I just hope people hold on to what it is that we’re trying to do and continue that work forward and don’t backpedal.”

While he has actively seen more open doors for himself and for his colleagues of color, Delapenha emphasizes that change should not stop there.

“The strides that are being made are great, but they can always go further and I hope it does,” he said. “As we go on, strive to build a more cohesive community and represent all cultures and stories.” 

While there is a spotlight on the Black community in Atlanta right now, Delapenha wants to see that spotlight extended to Latine and Indigenous artists. He would also like to see an increase in shows outside of the English language.

For theatre artists, this means not only casting these artists, but including them in the conversation. 

In addition to presenting roles to BIPOC artists in both cast and creative departments, Delapenha encourages troupes and companies to truly listen to BIPOC voices.

However, those working directly in the industry are not the only individuals who should be working to foster equity and diversity.

“For the average theater goer, support the work that is new and challenging and doing the things you want to see,” he said. 

“[Theatre executives] look at their budget sheet, and that’s what they base their decisions off of. Put your money where your mouth is, and keep supporting the art that you want to see.”

Theatergoers can reinforce this effort by buying tickets to “Every Brilliant Thing,” playing through Feb. 27 and “Romeo and Juliet,” playing through March 6. 

The community is a major influence on what is next for local theatre, and support for Delapenha’s work will allow him and other BIPOC artists to continue to bring their talents and voices to stages around Atlanta.

By the end of their first semester, many Tech students come to realize that their location on campus matters. In the weeks leading up to housing selection, students carefully choose the dorm building closest to their major’s academic building, their favorite dining locations or the homes of their extracurricular activities. 

But in addition to these considerations, other things to keep in mind are what occupies students’ time when they aren’t working hard on their schoolwork or eating dinner. 

While the activities around campus and beyond might not be counted for a grade, they still have some sway over where a student chooses to live. 

In this inclusive guide, we’ve highlighted major spots around Tech and Midtown that should be considered when picking a place to live.

North Avenue Apartments

On the Southeast corner of campus, the North Avenue Apartments mark the border between Tech’s campus and the surrounding city of Atlanta. This location is a highway bridge away from Tech Square and the Midtown restaurants beyond. Students can study with a latte Land of a Thousand Hills, see a play at the Fox Theater or drink boba from Sweet Hut or Tea Corner. 

Fourth Street Apartments

When looking at apartment-style housing, many students fail to consider locations in the center of campus. The Stein, Hayes, Gray, and Goldin Houses have limited space and subpar amenities, but are less than a five minute walk from Tech Green and many of the surrounding academic buildings. Students who enjoy frat-hopping on a Friday night or tailgating before a big home football game will enjoy living in the center of all of the action. 

Maulding and Zbar

While some students spend their weekends partying vigorously, others will work their bodies in different ways. 

Maulding and Zbar are located right next to the Campus Recreation Center and the accompanying Stamps Field. Whether they are being used for marching band practice or laps around the track, the amenities offered by the CRC are unparalleled by any other gym on campus. 

West Campus

While the West side of campus is often frowned upon for its quiet atmosphere away from Greek Row, Crecine, Center Street and Eighth Street Apartments are all conveniently located for several vibrant party spots right off of campus.

Of the iconic restaurants surrounding Tech, Rocky Mountain Pizza stands out as a favorite. With biweekly trivia nights, televisions playing fan-favorite sports and a menu featuring everything from wings to pizza, Rocky Mountain is a lively location for competitive spirits.

Across the street, Tech Plaza offers Sublime Donuts, Lucky Buddha and Firehouse Subs as options to grab a quick bite on the way to a party in Home Park. 

Woodruff and Nelson Shell

Woodruff and Nelson Shell, seemingly far off from everything convenient, lie close to West Midtown, a Portlandian oasis of coffee and restaurants. Westside Provisions alone contains so many Atlanta food gems, from Jeni’s Ice Creams to Taqueria Del Sol, as well as a plethora of shopping locations. Other highlights include Chattahoochee Coffee Company and Goat Farm Arts Center.

Tenth Street

On the North side of campus, the Graduate Living Center and Tenth and Home apartments are located conveniently close to Atlantic Station, where there is a Regal IMAX movie theater, Bodies: The Exhibition, and plenty of shopping to choose from.

In a time when one’s skin color so heavily defines their existence, D. Randolf Hooker believes that it is essential to support spaces where Black students are valued for their individuality.

In 1978, Hooker graduated from Tech with a B.S. in Mechanical Engineering. Seven years later, he matriculated once again with his M.S. in Public Policy. On Sunday, his symphony “Without Regard to Sex, Race or Color” premiered globally at the Ferst Center for the Arts.

This location was not a coincidence; this year marks the 60th anniversary since Tech’s first Black graduate, Ronald L. Yancey, enrolled at the Institute. Six decades later and nearly 50 years since he himself became a Tech student, Hooker is looking back in order to move forward.

Before Tech was desegregated, Historically Black Colleges and Universities (HBCUs) played a defining role in promoting access to education among Black communities. 

For students below a college-age, Julius Rosenwald partnered with Booker T. Washington to establish the Rosenwald Schools, state-of-the-art institutions of elementary learning for Black children across the South. 

However, since segregation in schools was ruled unconstitutional in 1954, the percentage of degrees conferred to Black students by HBCUs has decreased and the Rosenwald Schools have become all but obsolete.

In the 21st century, while HBCUs are no longer essential for Black students to obtain an education, they are still sanctuaries for these individuals to celebrate their Blackness rather than to conform to their peers.

The history of the Rosenwald Schools, HBCUs and particularly Morris Brown College, the first institution in Georgia to be entirely owned and operated by Black educators, inspired photographer Andrew Feiler to compile two photo-essays, “Without Regard to Sex, Race or Color,” for which to symphony was named, and “A Better Life for Their Children.”The title comes from a phrase inscribed in the Morris Brown College school bell, which now, along with the rest of the campus, has been abandoned following the college declaring bankruptcy in 2012.

In 2017, Feiler asked Hooker to write a musical piece inspired by the stories told within the photo essays.

“He said, ‘I want you to reflect what you feel. You know my journey with this book, you know the story, you know the things I’m trying to entail,’” Hooker said. “A couple of weeks later, I got back to him, and I said, ‘I’ve got this idea for a symphony.’”

“Without Regard” is split into three main movements: “A Heavy Lift,” narrating the beginnings of HBCUs; “J.R. and Booker T,” highlighting the partnership between Rosenwald and Washington in creating the Rosenwald Schools and “A Place Where I Can Be,” inviting audiences to imagine a future without the “straitjacket of race.”

As the music began, performed by the Trey Clegg Singers, the listeners packed into Ferst Center were struck with chills.

“It is really powerful the way they blend voices so effortlessly,” Belinda James, an audience member, told the Technique. “It’s a journey through the music of just what my people have been through, so the emotion and the reaction comes from remembering where we were and then just being so grateful for where we are now.”

More information on “Without Regard” can be found atwithoutregardsymphony.com.

For many, February is a month of joy, celebrating one of the most beautiful connections to exist among the human race: love. Whether romantic, platonic or familial, love is honored this month is the form of flowers, cards and chocolate. 

But for some, the bright pink hearts lining the aisles of grocery stores are a grim reminder of the love that has been shown to them in the past — love that is not consistent with societal expectations. 

With such a powerful emotion comes many emotional extremes, from utter elation to bitter resentment. There are many forms of the expression of love, ranging from physical to verbal. It is something that is supposed to be safe and warm, but this is not always the case. 

Often, love can be presented in the form of domestic abuse and sexual violence. In a study conducted by the U.S. Department of Justice from 2003 – 2012, 1 in 4 women and 1 in 9 men experience sexual violence from an intimate partner at some point in their lives.

This means that for roughly 15% of the population, Valentine’s Day is a reminder of the abuse from the person they trusted to be their partner. Love should not hurt, but it does, and pretending that it does not is invalidating to victims. Among the pastel pinks, adorable animals and groan-worthy puns lining the seasonal greeting card aisle, the common message linking every Valentine’s Day card together is the persistence of love. 

When it comes down to the survival of love versus the survival of self, the self should always outlast. We should be teaching children and adults alike that it is healthy to end a relationship, even one full of love, before the relationship becomes increasingly damaging to those in it.

As a society, there is not necessarily a need to eradicate Valentine’s Day altogether; rather, a need exists to present love more realistically. Love has its ups and downs, and for those experiencing a toxic or abusive relationship, those downs can be at rock bottom. For individuals who have previously been involved with manipulative partners, Valentine’s Day can be a reminder or even re-experience of rock bottom.

Rather than promoting love triumphing over all, the truth is that we as individuals should triumph. Just because someone loves you does not give them an excuse to hurt you, and it does not give you reason to forgive them. Some victims may be able to separate themselves from their abuser both mentally and physically, but there will always be certain days of the year that are a heavy reminder. Anniversaries, birthdays and, of course, Valentine’s Day. 

Often, we dismiss these victims. It is easy to label them as crabby and miserable while we are feeling the euphoria of our romances. Nobody wants to hear about their peers’ dejection while they are trying to enjoy a happy relationship.

However, the only common thread among love within humans is that we all feel it at some point. There is not one correct way to love. The problem with Valentine’s Day is that it pretends there is.

The solution to this is one that would solve many world issues beyond just Valentine’s Day: offering more kindness to our fellow neighbor.

When you are leaving to go on your Valentine’s date with your partner, it is crucial to provide more empathy to your friends around you. Maybe they are jealous that you are in a happy relationship, but it is also likely that they are saddened to see you joyously experiencing something that brought them down so intensely in the past.

Generally, we do not know the full picture of what is happening in someone’s head. Behind every crabby single person is a more complex picture of their relationship with love. They are hurting on Valentine’s Day and in the context of other love-related reminders. 

Be gentle. Be kind. Love freely and openly, but be aware of how this may be affecting those around you. Happy Valentine’s Day.