As a student at the University of Richmond, I find myself grappling with a sense of disappointment and frustration over our school's decision to pursue funding for a fossil fuel-powered steam plant.
As far as by-the-books alternative albums go, “Friction, Baby” has to be one of the catchiest. Every aspect of the album just works; it does what it needs to do and knows what it is.
Why, as an established basketball program with a former player currently on an NBA roster and a recent Round of 64 win in the 2022 NCAA Tournament, is UR limited to playing smaller programs?
Five movies I think are worth a watch this holiday season.
Editor's note: The views and opinions expressed in this article do not reflect those of The Collegian. The United States can often feel like a bubble from the rest of the world. Being in North America, we are separated by an entire ocean from the issues overseas.
The constant allusions to the tributes as animals lacked subtlety, and much of Sejanus’ dialogue challenging the norms of the Capitol felt repetitive. In my opinion, the obvious fact that the games are wrong didn’t need to be repeated.
I am excited to apply the entrepreneurial mindset and skills from Design Thinking to real-world problems.
Since 2020, the Spiders have posted three consecutive seasons with a winning record.
To celebrate the spooky season, the WDCE 90.1 FM DJs curated a Halloween Mix! Each DJ had the opportunity to submit songs of their choice to help create a monthly themed playlist and diversify our listening. Here are five wicked song recommendations pulled from the collaborative mixtape!
“All Stories are Love Stories” by Elizabeth Percer is a beautifully woven story tied neatly with a bow.
Godfrey Reggio’s 2002 “Naqoyqatsi” uncovers the repercussions of (American) imperialism.
And, the adage says, “it’s the little things” that make life worth living, and what better way to make a day feel worthwhile than by doing the little task of gifting yourself the perfect autumn playlist!
“The Love Hypothesis” by Ali Hazelwood centers on Olive, a 26-year-old in her third year of Stanford’s Ph.D. program, whose dwindling free time is nothing compared to her lack of romantic prospects.
It is night. The girl is back on the bridge. She walks to where she last saw the old woman. She stands there, staring into the voided horizon.
Halfway through the show, however, Rosenstock’s veteran pedalboard malfunctions, abruptly cutting off his guitar.
