With a 7-0 sweep of Portland and a 6-1 win over Oregon this past weekend, the Jackets have showed some early returns to validate their standing in NCAA Women’s Tennis. A strong finish to last season and consistent play in the fall season set up for a spring that is full of anticipation.

The Intercollegiate Tennis Association took notice of Tech’s strong play, ranking the Jackets No. 11 in the nation just a few weeks ago. For reference, the Jacket’s ended NCAA tournament play last season with a Sweet 16 appearance. At the end of last season, the ITA ranked Tech No. 16 out of all teams.

The Jackets will face stiff competition all season, particularly close to home here in the ACC. Five ACC teams appeared in the ITA’s top 25 rankings: UNC is No. 2, Duke is No. 10, Miami is No. 12, and Virginia is No. 23. In a particularly strong conference, Tech has gotten off to a fast start, proving to other schools that they are ready for another successful season of tennis.

Leading the charge are senior Rasheeda McAdoo and freshman Nami Otsuka. McAdoo ranked 42nd in the ITA’s individual player rankings and Otsuka was appeared 82nd on the same rankings. In the Southeast region, McAdoo ranks No. 10, Otsuka No. 16 and freshman Kenya Jones ranks No. 17.

Strong showings in the ITA Southeast Regional Championships in Gainesville, Florida no doubt played a role in these rankings. McAdoo, a Florida native herself, advanced all the way to the quarterfinal round. Junior Paige Hourigan also picked up two wins to play in the round of 16. Freshman Nadia Gizdova also won a match at the ITA Regionals. On the doubles side of the draw, the pair of Otsuka and Gizdova as well as the pair of Senior Alexa Anton-Ohlmeyer and Jones earned wins.

Meanwhile, Hourigan and McAdoo earned a berth in the round of 16 in the same doubles draw. Moving forward, Junior Johnnise Renaud and McAdoo will be doubles partners, and they are the No. 7 ranked tandem in the Southeast per ITA.

Against Portland, success began on the doubles courts. Winning a majority of the three doubles matches is worth one point out of a possible seven up for grabs. These doubles matches require each team to play one set each. The teams of McAdoo/Renaud, Hourigan/Jones, and Otsuka/Gizdova all won, securing this point for the Jackets. In singles, McAdoo, Renaud, Jones, Otsuka, and Gizdova won in straight sets.

Hourigan lost the first set 6-7, but she rallied back with a 6-1 victory in the second set. In an extended and dramatic third set, Hourigan won the set by a narrow 12-10 and secured the victory. Freshman Luca Fabian did not get the opportunity to play in a match this weekend, a testament to the Jackets’ strength.

Against Oregon, Tech fans may have noticed Alison Silverio serving as the head coach of the Ducks. She served as an assistant coach at Tech during the National Championship run in 2007, and played four years with the Jackets.

Silverio was no stranger to success at her time at Tech. An All-ACC pick her senior year and the NCAA Tournament MVP when she guided the Jackets to their first ever NCAA national title, she established herself as an all-time great Jacket. Whether she would defeat her former team was now in the hands of her players.

In doubles, McAdoo/Renaud and Hourigan/Jones won again, but Otsuka/Gizdova dropped a very close set 5-7. Nonetheless, by winning two of the three doubles matches on Sunday, Tech was able to once again secure the doubles point. In singles, Hourigan had to extend her match to a long third set before finally winning 6-0, 6-7, 10-6. Renaud started strong, but ultimately lost to the Ducks’ Tobita 2-6, 6-1, 1-6.

Other winners on the day included McAdoo, Jones, Otsuka, and Gizdova, who each won in straight sets. Head Coach Rodney Harmon gave Oregon and Portland credit for matches closer than the final score lines would
end up indicating.

The Jackets’ focus will now shift to January 28th -29th as they host ITA Kickoff Weekend. Beginning 10 AM at the Ken Byers Tennis Complex, Tech will take on Penn. The two other teams invited to the ITA Kickoff Weekend at Tech are Kentucky and UCLA.

From the Ivy League to the SEC to the Pac-12, these teams will provide the Jackets a variety of play styles to experience.  Lessons learned could be valuable in the conference tournament and well beyond.

With nine total seniors and graduate students, including eight who run distance, the Tech men’s track team has plenty of experience. Serving as role models at competition and in practice alike, these veterans can carry the load for the team.

As just a freshman, though,  Buford, Ga. native Sam Costa has burst onto the scene at the beginning of the 2017 track slate, earning conference-wide recognition for his performance at a meet hosted by Clemson University. Sam met with the Technique to discuss his path to Tech and the highlights so far.

Technique: What was it like to be named ACC Men’s Track Performer of the Week?

Costa: I was  kind of shocked. I wasn’t really prepared for that. But it was pretty cool hearing that, I guess.

Technique: What inspired you to get into running?

Costa: My dad  convinced me in ninth grade, or more, forced me to. And I just kinda stuck with it and started liking it.

Technique: What’s your favorite thing about running?

Costa: It’s probably the time and dedication, and the team atmosphere of running.

Technique: Why did you decide to come to Tech?

Clark: It was definitely the coaching staff, and also the upperclassmen. They convinced me and I really liked them.

Technique: Speaking of upperclassmen, which members of the team are the strongest influences on you?

Costa: I would definitely say Alex Grady and Nahom Solomon, just because of their dedication to the sport, and also Nahom was a prior Gwinnett County guy, so I  got to know him before.

Technique: I know it’s still early, but what has been your proudest moment as a member of the Jackets track and field team so far this season?

Costa: The best moment is probably just putting on a uniform and running with some teammates in the [Clemson Orange & Purple Classic] 5K, because that was my first time wearing the singlet for the team.

Technique: How do you balance your commitments as a student-athlete?

Costa: Definitely a lot of organization, and I’ve just got to take time and focus on school. That’s what we’re here for first. Then comes the athletics.

At the beginning of the men’s college basketball season, I was given a few words of caution by a friend who has watched Tech sports longer than I have.

“Don’t get your hopes up this season,” he told me. “Don’t be optimistic in your predictions. This is a rebuilding year.”

I heeded his advice. I made the mistake of thinking that the Jackets were bona fide conference contenders after their stunning win over Virginia last season. From there, all I got was disappointment. Coach Brian Gregory did his best to keep morale high, but it was clear amidst the promises to get better and to correct errors that the team had hit a ceiling.

Entering the 2016-17 season, many of the players who made that team what it was, from
dynamo scorer Marcus Georges-Hunt to powerful inside presence Charles Mitchell, were no longer with the team. The Jackets were one of the nation’s youngest and least experienced squads.

Freshmen like Josh Okogie and Justin Moore, players greeted by recruiters at top programs by little more than a collective shrug, would have to play meaningful minutes. As for returning players? The standout was Quinton Stephens, who was a quiet if reasonably effective piece on the teams of years past. My friend was right. There was no reason to expect more than some learning moments and perhaps a lucky conference win or two.

Perhaps as a make-up for last year’s disappointing season, though, the men’s basketball team has very pleasantly subverted my low expectations. Somehow, the team stands at 3-3 in conference play after a narrow loss to the significantly favored Virginia Tech Hokies.

Okogie has established himself as one of the conference’s most impressive newcomers, Moore has proven to be an effective distributor and Stephens has shown an ability to provide spurts of quality offensive play.

In addition, new head coach Josh Pastner, who was cautioned by his athletic director and ACC colleagues alike that this season would be an uphill battle, has won games against mainstays Roy Williams and Mark Gottfried.

If you’re wondering how this Tech basketball team is doing that, you’re not alone. However, there appears to be a quiet confidence about this team, one that has made every game so far a contest, save for a pummeling against an angry Duke team. (That team was welcoming star guard Grayson Allen back from an ‘indefinite’ one-game suspension, one triggered when Allen decided to make a habit out of tripping opponents.)

I haven’t even mentioned the stellar play of Ben ‘The Laminator” Lammers, the gangly, soft-spoken big man who has captured the hearts and minds of every commentator with the fortune of calling a Tech game this season. Where players like Okogie and the enigmatic Tadric Jackson give the Jackets hope from the outside, Lammers offers strength in the paint, something not many other Jackets players can claim on a night-in, night-out basis.

Maybe I’m doing exactly what my friend told me not to do. Maybe Tech basketball has just decided to prolong my blithe disregard before I am reminded that Tech athletics aren’t allowed to have (consistently) good things.Though somehow I think things will be different. I think this team will give a lot of good ones a run for their money (like they already have.) I think teams that find themselves losing to Tech
will stop questioning whether they’ve just hit rock bottom and start tipping their cap to their opponent. I think Josh Pastner’s new era might be what it takes to fill seats at McCamish again.

Granted, there’s a lot of time left in the season. It is one thing to beat a North Carolina team still finding its legs and gelling together in December, and another to beat them in the conference tournament with the stakes raised. Make no mistake, there are obvious shortcomings on the current team. The shooting is streaky, the rim protection can suffer at times in Pastner’s zone defense and there is a lack of big-game experience.

While this may well be another rebuilding year for Tech basketball, at least it seems as though we’re building towards something. A something top recruits can’t simply write off, a something that makes McCamish Pavilion the ‘Thrillerdome’ again and cements the Jackets as something more than an also-ran on the national stage.

Although the cynical side of me tells me that this journey won’t end with that result particularly quickly, I am on board and ready for the ride.

“Patriots Day” is Peter Berg’s (“Hancock”) third collaboration with Mark Wahlberg (“Ted”) and his second film to revolve around a recent tragedy. The film follows the events of the 2013 Boston Marathon bombing and the subsequent manhunt conducted in search of the perpetrators.

Wahlberg plays Tommy Saunders, a police sergeant who is assigned to the finish line at the Boston Marathon by Commissioner Ed Davis (John Goodman, “Argo”). Saunders’ wife, Carol (Michelle Monaghan, “Kiss Kiss Bang Bang”) is also present at the finish line when the explosions occur.

Both characters survive the blasts, and Saunders immediately springs into action. The details of the rescue efforts are shown mainly through the perspective of police personnel, which is a refreshing change from the usual gratuitous aerial shots of explosions and destruction that moviegoers have come to expect.

“Patriots Day” also follows the alternate storyline of the Tsarnaev brothers, Dzhokhar (Alex Wolff, “Coming Through The Rye”) and Tamerlan (Themo Melikidze, “Beautiful Something”). After executing the attack, they escape in hopes of conducting a similar strike in Times Square.

The two, especially Dzhokhar, seem to be well-integrated, run-of-the-mill citizens — a far cry from the traditional image of terrorists in the American psyche.

This characterization, as in most of the film, mirrors the real-life events of April 15, 2013, in gritty detail. In fact, this aspect of “Patriots Day” may be its greatest strength. The uncompromising, on-the-ground feel of the movie arises mainly from its faithfulness to reality.

Peter Berg has a knack for creating an immersive atmosphere that pushes the audience into the characters’ worlds. Berg achieves this feat by incorporating actual security footage into the film. While this method has been used on multiple occasions and in many films, it has never been executed quite as successfully as it is in “Patriots Day.”

The physical similarity between the cast members and the real life people made this integration even more believable. However, the film does not overreach in this pursuit, which makes this move respectful, rather than exploitative.

Wahlberg’s performance is impressive, not for its subtlety but for its forcefulness. While almost every one of his roles is a variation on the same hot-tempered action hero, it would be hard to find a movie where he plays this character better. His performance is probably Wahlberg’s Oscar bid for this year, and it would not be surprising if he manages to secure
a nomination.

Before “Patriots Day” was released, there were many concerns  of how the film would
address Muslim culture and its relation to the terrorists in the film.

The film’s unrelenting faithfulness to reality puts these fears to rest without any artifice. The movie does not associate with any political agenda — its sole purpose is to chronicle real-life events without scrutinizing any particular culture.

The film stirs empathy for the victims of the attack instead of bombarding the audience with statistics. This effect is achieved mainly by portraying the day-to-day life of specific people involved in one way or another in the Boston Marathon bombing. Once again, the technique is not an innovation in filmmaking, but it is executed extremely well through Berg’s
creative direction.

Viewers that go to this movie hoping for intense action sequences will get their money’s worth, but this film offers much more  than shoot-outs and car chases. The dramatic strength of the “Patriots Day” comes from the authenticity of its plot and acting.

While this film could have been a two hour long rendition of “The Star Spangled Banner,”
“Patriots Day” avoids the pitfalls of glorified patriotism and creates a unique experience that will evoke loyalty and admiration in the hearts of any audience — American or otherwise.

Ushering in the beginning of 2017, FX has produced a new show, “Taboo.” The series stars Tom Hardy, an actor familiar to the big screen for roles, such as Bane in “The Dark Knight Rises,” “Mad Max” and more.

Tom Hardy is the main appeal that has brought this show its immediate success. After the release of just two episodes, “Taboo” has been confirmed for a second season on the now highly distinguished television network FX.

The show opens with ten minutes completely devoid of dialogue. This entrance is commonplace for an actor like Tom Hardy.

He easily fits the role of a quiet, intimidating man with hunkering stature. Hardy is a grave digger and is characterized as a type of antihero.

For those who have scoured Netflix end to end for darker, high-quality TV shows, “Taboo” fits the bill. Set in 1814 London, the show utilizes a setting uncommon to avid viewers of FX.

However, the plot and execution of direction can be compared to Netflix’s “Peaky Blinders” or AMC’s “Breaking Bad.” The setting is painfully accurate, and as episode one progresses, “Taboo” creates a sort of mysterious feel for the viewer.

The first episode is hard to follow, however, as the season continues, the pieces of the puzzle seem to fall into place. The complication of the script’s moving parts leads to an eventual payoff, so viewers will likely become hooked on the new show.

In terms of performance, the show has movie-level quality that can be attributed to Hardy’s presence on screen. His deep voice and frightening demeanor are reason enough to view the performance.

The story begins with James Delaney (Hardy) hurriedly stashing something in the ground of heavy-fog London.

Assumed to be dead by most of the population, people in the city are taken aback by his dramatic re-entry into the town. He attends his father’s funeral and meets his sister with whom he has had quite a tabooed relationship. While this detail is mentioned only in passing, it is the most likely reason behind the show’s title. As the season progresses, the title may
gain further significance, especially if the siblings’ story is further developed.

Rumors begin to float around about Delaney, and words about his insanity and acts of horror help the viewer develop an understanding of exactly what he is: clinically insane.

After returning, Delaney wastes no time in getting his late father’s business in order, after finding that he is the sole heir to the fortune that his father left behind. While the will is written by Delaney’s father’s lawyer to bequeath “a small strip of land” in the New World, it is later correctly identified as a large plot of land in the sights of the British East
India company.

After refusing to sell the land to his father’s lawyer, Delaney soon makes it apparent to the people of London that he is here to play no games– his threatening gait itself shows the public that he is a man to be reckoned with.

The complete production of the show is breathtaking: the attention to detail, costumes and dialogue are accurate for the time period.

“Taboo” differentiates itself with a fresh take on the antihero. Tom Hardy’s spooky nature adds dimension to his character.

The pilot presents more than a couple loose ends that will most likely be later resolved as the nail-biting, contemplative series continues on Tuesdays at 10 p.m.

The fourth season of Steven Moffat and Mark Gatiss’ show “Sherlock” aired in three installments on Jan. 1, 8 and 15 on BBC One in the U.K. and PBS in the U.S.

Benedict Cumberbatch (“The Imitation Game”) and Martin Freeman (“The Hobbit”) reprise their roles as Sherlock Holmes and John Watson. Mark Gatiss plays an increasingly significant Mycroft Holmes, and Amanda Abbington (“Mr. Selfridge”) plays Mary Morstan.

Toby Jones (“Captain America: The First Avenger”) and Sian Brooke (“Under the Greenwood Tree”) round out the primary cast as the newly introduced villains Culverton Smith and Eurus.

Fans of the show have waited three full years for the new season of “Sherlock,” and after watching season four, they are bound to be disappointed.

The season is not necessarily bad: as a work of art, the show emerges as a shining, unrivaled example of the cinematic beauty and elegance that television as a medium is capable of.

Moffat and Gatiss experiment with striking, surreal, even psychedelic imagery and cinematography, introducing fantastic sequences that make the viewer feel as though they are watching a high-budget blockbuster movie, not a British drama show on PBS or BBC. In this sense, the season is a natural progression of Moffat and Gatiss’ Christmas special, “The Abominable Bride,” which premiered in early 2016.

The earlier special drags the viewer into the depths of Sherlock’s mental torment and human weakness. The new season simply expands the scope of this exploration, confronting the viewer with the weakness and fallibility of every character.

The main creative goal of the new season is demonstrating that cleverness of any magnitude is no guarantee of emotional strength or moral discipline. If Sherlock and Moriarty are the prototypical sociopaths of different ethical persuasions, Eurus is the ultimate deranged genius.

While the season begins a bit slowly, it reaches new artistic heights by the third episode, in which Cumberbatch and Louise Brealey (“Casualty”) turn in emotionally convincing performances.

In a show with dialogue normally characterized by detached, witty banter, these portrayals were remarkable deviations from the norm.

Though this development marks season four of “Sherlock” as undeniably superior to previous seasons as a television drama, fans of the show do not necessarily want drama, art, or experimental cinematography: they want “Sherlock.”

As impressive as it may be, the latest season is a significant departure from the character of the show in previous seasons. Herein lies the problem with Moffat and Gatiss’ new work: it is simply
too new.

While “The Abominable Bride” departed stylistically from earlier installments of the show in the same way season four does, its content continued in the direction of former seasons, unlike
season four.

The special gave viewers pure, classic “Sherlock,” returning to the “crime-solving duo” format. Season three had departed from this scheme, and the return to the era that gave birth to the beloved character
was successful.

Because the new filming style was not entirely well-received, “The Abominable Bride” shook viewers’ confidence in Moffat and Gatiss, but season four is bound to destroy previous criticsm.

The first episode of the season seems to be taken straight from a spy show, and the third and final episode feels like a rehashed “Saw” movie.

While the second episode offers a temporary reprieve, giving viewers another chance to see Holmes and Watson working together to defeat a nemesis, the broader story-arc of the season
becomes problematic.

No longer does the show follow a detective and his doctor-sidekick battling London’s greatest criminals for their own entertainment. Rather, the show is about personal conflict and emotional development, great themes for a television drama, but not for  “Sherlock” fans.

Though the omnipresent spectre of Moriarty, practically taunting viewers with the prospect of a showdown, haunts the season, no classic endgame ever comes.

“Sherlock,” no matter how thrilling and dramatic it may now be, is no longer the series the fans have grown to love.

If hardcore fans are to find any bright spot in the new season, it will come at the end of the third episode. The conclusion of the season suggests that the show will return to its roots, but any hope for the future is dampened by a sense that the conclusion serves as a farewell.

Given Cumberbatch and Freeman’s hectic filming schedules, it is not certain if a fifth season is feasible. Fans cannot be assured that Holmes and Watson will return to their former glory on the small screen.

The experimental rock group the Flaming Lips released their new album “Oczy Mlody” on Jan. 13, their first solo release since 2013.

When asked how the group decided on the name of the album, Wayne Coyne, the lead vocalist and songwriter for the band, explained that the phrase was chosen solely for its sound. Though “Oczy Mlody” is Polish for “eyes of the young,” Coyne insisted that the group did not even know the translation of the words at first. Whether chosen incidentally or intentionally, the name is a perfect fit for the new album.

In contrast to Flaming Lips’ previous albums, which are largely dark space operas dealing with complex and serious themes of love and loss, “Oczy Mlody” is a full thematic and stylistic embrace of youth culture. A further departure from their earlier work, the new album is not a rejection of the mainstream; instead, it fuses the mainstream with the alternative. In fact, the album feels more like the work of an emerging indie-pop group, not a band formed in 1983.

The titular opening track sets the tone of the album as a whole. The complex electronic instrumental reminds one of the simple, ultra-modern house tracks played in malls, but a level of complexity elevates it. While the songs may sound similar to background music, they contain many overlapping layers and such musical complexity that they refuse to fade into the background. This album is background music for the foreground.

Many of the songs feel like dance music, but they would be impossible to actually dance to. The songs themselves would simply be too distracting, and this duality is key to the style of “Oczy Mlody.” On the album, the Flaming Lips are unpretentious, unassuming and understated, yet each and every track strikes the listener with intense depth and complexity.

The third track, “There Should Be Unicorns,” offers an image of a magical and fantastic future, a nihilistic world full of unicorns, “motorcycle stunts that always crash” and in which no one needs to answer for their actions. The song is, perhaps, a child’s idea of adulthood: a beautiful world of freedom and lawlessness.

At the same time, however, the song is infused with adult references to sex and drugs and is permeated by expletives. If the song were written as a hypothetical, it would be a child’s grievances about growing up and finding a world that differs greatly from the one he expected. Coyne does not, however, write the song as a hypothetical. Therefore, he seems to continue to cling to childish hope for an ideal world.

Much of the album wrestles with this theme: Coyne seems to be trying to find a way to accommodate youthful naïveté and enthusiasm with an adult reality.

Coyne and his band cement this orientation of the album around youth and its integration with or replacement by adulthood in “How??,” a track which treats the classic rock ’n’ roll notion of everlasting youth with both reverence and irony.

In his version of Pete Townshend’s iconic line — “I hope I die before I get old” — Coyne asks, “Are you with us, or are you burnin’ out?” In the next line, however, Coyne juxtaposes this idea with a call to “kill your rock ’n’ roll … sound,” shifting to the role of the aging older generation.

“How??” is not a statement about the direction that Coyne and his group are taking but rather an expression of the frustration and confusion of the aging Peter Pan. Coyne sums this struggle up in his desperate cry, “I tried to tell you, but I don’t know how.” He repeats this line throughout the song, and the sentiment reverberates through the entire album.

Viewed through the lens of the conflict between an adult reality and a desire to embrace youth, “Oczy Mlody” appears to be influenced by the Flaming Lips’ recent collaboration with Miley Cyrus on her experimental album “Miley Cyrus and Her Dead Petz.” On that album, Cyrus abandons her teen pop image and attempts to find a balance between her beloved youth culture and the musical maturity of the progressive rock movements of the past.

To accomplish this balance, Cyrus used the influence of the Flaming Lips to become more serious and experimental. In a reciprocal twist, the collaboration had the opposite effect on Wayne Coyne and his band. The group has discovered its youth again and, in the process, taken a new artistic approach.

Listening to the Flaming Lips’ album is not merely taking in a series of songs but rather experiencing the reinvigoration of an aging band in real time.

This constant musical innovation is what has made the Flaming Lips so well-respected, and “Oczy Mlody” is no exception to the group’s long tradition of excellence. The Flaming Lips have reinvented themselves again, and the album with which they have done it may well be the best of their career.

Toes planted like roots against the stage floor, arms flexed and flowing around, weaving magic with each motion. Alonzo King has created a captivating piece in “Biophony,” which was performed at the Ferst Center for the
Arts on Jan. 14.

The Lines Ballet Company performed another contemporary ballet piece choreographed by King, “Sand.” Set to the sounds of jazz, the pairing of music and choreography was a
novel combination.

“Biophony” was a revelation because King chose to use noises from nature, such as the rumblings of birds or the whispers of humpback whales. The sounds were arranged by Bernie Krause, noted musician and ecologist.

The costuming was an ode to the music. Feathered pants and an ostrich skirt made a striking appearance. The dancers acted like the animals in the natural symphony.

In one sequence, the dancers gathered on stage to the sound of buzzing while their bodies gracefully emulated a hive of bees.

Sometimes, hands followed feet on the ground as they echoed orangutans and other quadrupedal animals. The naturalist feel of the sounds and motion of the jungle contrasted with elegant pas de duex (dance duets) set to the haunting calls ofhumpback whales.

The second half of the show, “Sand,” was more conformist, using jazz rather than the sounds of a jungle. The program gave an in-depth explanation of the connection of sand to the show.

“Its particular nothingness and its potential for unimaginable power has caused minds to liken sand to human beings for eons,” King said.

However, this connection between the choreography and the theme was difficult to perceive in the actual performance. The piece used a curtain of strings that were occasionally disturbed, probably to give the illusion of sand falling. A few times, dancing took place behind the curtain upon a raised stage. This staging was fairly gimmicky and did not seem to fit with the rest of the piece.

However, what did work wonderfully and what was an interesting dichotomy was the combination of the Jazz music accompanying the dancers.

Jazz is a poignant genre whose greats were known for their improvisational skills with the building blocks of the music. The choreography, on the other hand, is planned down to the precise movement of the tips of each finger.

Both of the pieces by the company showcased immense physical talent. The dancers supported their body weights against the floor in unbelievable positions. The impressive intensity of their dance was heightened by the absence of struggle on their faces. Even as the second hour came to an end, the only indication of physical exertion were their coatings of sweat and the rhythmic beating of their diaphragms.

Under the exotic choreography, the foundation of skillful ballet technique was apparent. The most awe-inspiring moments of the show were when ballet skills were leveraged to showcase the raw sounds of nature and the classic sounds of saxophone.

A quick look around the audience revealed that the attendees wore quite a range of attire, from t-shirts to gowns. This highlighted the diverse appeal of the company — it attracted both dancers and art enthusiasts from many different backgrounds.

Since the show was at the Ferst Center, students received a discounted $10 rate and unrestricted seat choice. Annoyingly enough, one theater tech employee wore a distracting bright red shirt backstage instead of the usual black.

Despite this issue, the Lines Ballet Company’s performance was phenomenal, and Alonzo King’s choreography was masterful. Every movement by the dancers was controlled yet fluid. Even the drops of sweat pouring down     their faces were gracefully flung to the ground with each strong turn.

Governor Nathan Deal delivered his annual “State of the State” address to the Georgia General Assembly on Jan. 11.

Deal focused on accentuating accomplishments over his tenure as governor while discussing his recommendations for the upcoming year, invoking Georgia songwriter Johnny Mercer’s 1944 single, “Ac-Cent-Tchu-Ate The Positive,” in his speech.

Deal noted that Georgia did not raise taxes to improve its financial situation from 2011’s, instead courting business, tourism and film production to increase the revenue of the government while simultaneously attempting to encourage the creation of private-sector jobs to reduce unemployment.

Georgia unemployment is currently at 5.3 percent; when Deal took office, the rate was 10.4 percent. Among the proposals Deal highlighted in his address was an increase in salary for the Division of Family and Children Services (DFCS) averaging 19 percent per employee, citing the necessity of providing competitive pay and comparing DFCS workers to state law enforcement officers, who received a 20 percent pay raise in September 2016.

Deal also encouraged state lawmakers to be patient and await decisions from Congress and the incoming presidential administration before making large decisions on
healthcare policy.

While the spotlight for Tech men’s basketball is mainly on coach Josh Pastner in his first season for the Jackets, some players are quietly having great seasons.

One such player is talented freshman guard Josh Okogie. Okogie, who attended Shiloh High School in Snellville, Ga., was rated a three-star prospect coming into college and is one of the top players in the state.

So far at Tech, he has kept performing at the level he displayed in high school. He is the second leading scorer on the team, averaging 14.1 points per game. Furthermore, when it rains for Josh, it pours. In Tech’s big wins, Okogie is usually the leading scorer; in the game against North Carolina, Okogie led the team with 26 points.

Additionally, Okogie has posted the most points in a game out of any Tech player this season with his 38 points against Tulane.

Technique: What has it been like adjusting to life at Tech?

Okogie: My first semester in the fall was really easy because I came here in the summer. But when I first got here it was kind of hard, you know, staying awake in class because classes were two hours in the summer. Then, dealing with practice, weight room — at first it was kind of difficult to manage everything, but as time went on I adjusted really quickly.

I had to grow up really fast, and I think that was the biggest adjustment for me, growing up really fast — taking it into my head that a lot of things are required from me. Nobody has time for me to be like, “Oh I’m just a freshman, so I can make mistakes.” I had to learn real quick.

Technique: You play in what is arguably the toughest conference in college basketball, so what do you think of ACC basketball so far?

Okogie: It’s exactly everything I thought it would be. It’s exciting and fun, this is why I came here. I’m just having fun with it and really enjoying this moment right now.

Technique: Since you’re just a freshman, what do you think you have to improve on for the future?

Okogie: As far as for the future, just decision making. When to attack, when not to attack. When to create plays for myself, when to create plays for others. I think that’s the biggest thing I need to work on.

Technique: There have been lots of ups and downs so far. As a team, what do you think you guys need to improve upon to be consistently competitive as the season wears on?

Okogie: As a team, just shooting. You know, every night isn’t going to be our night. Everybody can’t be hot every night, but I feel like there’s some nights where shooting can really help us and I feel like as a team we need to get better at shooting.

Technique: Where do you see yourself and the team at the end of the season?

Okogie: As far as this year, I see us in the tournament. I really feel like we still have a chance to shock some people and actually make a run and get
into the tournament.

Technique: Coach Pastner has really been dedicated to getting more fans for the team, so is there anything you want to say directly to students and fans of Tech
basketball?

Okogie: The only thing I want to say to the fans is that we need a lot more support at our home games. I know they’ve been great so far, but we need more packed houses like the one for Georgia.

They were great at other games like North Carolina, [and at] Louisville they were alright, but [we need] consistency because we feed off of their energy.

Note: Tech’s highest home attendance this year was UNC at 7,754 attendees. The average for home games this year has been 5,518, according to ramblinwreck.com. McCamish Pavilion seats 8,600.