u/urbanstrata

Let’s F’ing GOOOOOOOOOOOOOO!! GO DAWGS!!

Subject basically says it. What’s our differentiator with development that can’t be offered by Texas, Miami, Ohio State, Oregon, or Alabama?

Because this would be an atrocious thing to do and I would certainly never do it, but be honest, do you?

Per the article, in 2024-2025 we ranked #8 in the SEC with $52.1 million in donations to the athletic department and $44 million specifically for the football program. Could we be ranked higher? Sure. But we also beat Texas A&M, Florida, and Ole Miss — all of which have made much splashier, big-budget acquisitions in the portal and during the recruiting cycle.

We need to end the narrative that Georgia sucks at NIL funding. The main issue, I believe, is we expect players to take a Georgia discount in order to be developed by Kirby Smart and his staff. Only time will tell if that’s a National Championship-winning strategy or if it’s another few decades before we once again reach the promise land.

We rank #22 according to 247. I know there’s a ton of time left, but aren’t we usually massively higher than this by the end of the school year? Is there any precedent for this in the Kirby Smart era?

Dumb question: all the press about Jaxon Dollar committing to the Dawgs has him rated as a 5-star, and I see he’s a 5-star “composite” or “industry rating,” but every individual service appears to rate him as 4 stars.

How do all the 4 stars add up to 5 stars? I told you it was dumb.

This question stems from SF Opera’s marketing of “Barber of Seville” as laugh-out-loud funny. I can see the case, but I’m curious: for more experienced opera goers, are you still laughing out loud? Or does your familiarity take something away from the humor over time?

What’s your perspective, long-time opera fans? Still LOLing after all these years?

Country music isn’t my thing, but what I really want to know is: will this new initiative to bring concerts into Sanford Stadium directly add to our NIL funds?

I’ve seen “Turandot” a couple times before — both times the big, famous Zeffirelli production at the Met — and it never felt as fresh and alive as Atlanta Opera’s production that opened last night.

In particular, the decision to move Turandot’s aria “In questa reggia” to Act 3 after Liù’s death helps to explain her mental state as a response to past trauma that is transmuted by experiencing Liù’s tragic devotion. Put plainly: “If Liù can love like that, maybe I, too, can set aside my old ideas and love, too.”

This was also our 12-year-old son’s very first opera, and he loved it! Severed heads, boldly colored scenes, breakdancers on stage — he had no idea opera could be this cool!

Atlantans, go see it!