Lil Uzi Vert released long-awaited “Pink Tape” last Friday, their first album since “Eternal Atake” released three years prior. The project sticks to their typical cloud trap approach to hip-hop, however they frequently venture into metal and rock territory across the tracklist.

“Pink Tape” is a colorful and diverse collection of songs encapsulating Uzi’s blend of infectious melodies, hard-hitting beats and braggadocious lyricism. The album begins with a woman speaking the line, “Haha, Uzi, not again. You’re never gonna change.”

The rest of the album backs up this statement as Uzi sticks true to their unique tastes, mixing them together into a culture-bending project.

Like many 13-year-olds in 2007, Lil Uzi had an “emo phase.” They even toured with Fall Out Boy in 2015 as part of the “Boys of Zummer” tour. This early 2000s rock influence is heavy on the new album. One song is a cover of System of a Down’s “Chop Suey!” and other songs during the latter half of the album feature collaborations with bands like Bring Me The Horizon and Japanese kawaii metal band BABYMETAL.

Japanese and kawaii culture is also a staple of Uzi’s style. One song entitled “Nakamura” references the Japanese WWE wrestler of the same name. On “Suicide Doors” they name drop Goku, comparing the spikes on his head to theirs. They also claim that they “dress Asian” on the song “Died And Came Back”.

Appearance is important to Uzi, with many lyrics from the project being about their style. Littered throughout the tracklist are mentions of the watches they wear, the jewelry they own and the cars they drive. In “Pluto To Mars” they gloat their “Yellow diamond look[s] like Marge,” comparing the appearance of their diamond to that of the famous wife Marge Simpson from the cartoon television show “The Simpsons.” 

On “Endless Fashion”, Uzi and Nicki Minaj name-drop brands that they frequently wear including Dolce, Gabbana, Burberry and Carhartt, over an interpolation of Eiffel 65’s “I’m Blue,” — a song also sampled on David Guetta’s “I’m Good (Blue)” which reached the Billboard Top 10 earlier this year. 

The album also offers features from artists such as Travis Scott and Don Toliver, increasing its appeal towards a more mainstream audience. The most popular song on the album, “Just Wanna Rock”, recently went viral on TikTok. The song is a switch from Uzi’s typical cloud rap style and features a more four-on-the-floor, electronic sound.

However, compared to other rappers Uzi joined on the 2016 XXL Freshman Cypher, they have not branched out much from their old sound. Denzel Curry and Lil Yachty are venturing away from their trap roots towards more funk and psychedelic rock influences. Many songs on “Pink Tape” feel repetitive and phoned in, failing to stand out in the album’s hour-and-a-half-long tracklist. 

“Pink Tape” shows Lil Uzi’s strength in their ability to craft a catchy melody and blend together genres. However, other than the few ventures and collaborations into the world of rock, the album was lacking in aspects to make it stand out from previous songs Uzi has released. This album will likely not reach the heights that their past work has, as their failure to evolve as an artist and unnecessarily long tracklist makes it a slog to listen to all the way through.

In response to the release of a new Wes Anderson film, the Minneapolis Film Society held a short film competition sparked by the visual storytelling of Anderson, held from June 7 to 16 at the Main Cinema.

Three winners were chosen after filmmakers submitted 90-second videos in Anderson’s directorial style. The winners will have their films screened at the Main before Anderson’s much-anticipated film, “Asteroid City.”

The competition drew from a flood of entries from all around the Twin Cities. Participants accepted the challenge of recreating Anderson’s distinct style which is distinguished by meticulously framed shots, vibrant colors and symmetrical compositions. 

“All of the videos submitted had an incredible amount of thought and detail put into them,” said Kendall Murphy, the Community Engagement Coordinator at the Minneapolis Film Society.

Tristan Crawford, director of “The Spare Companion” (one of the winning shorts) has written and directed his own short films for years now. He made “The Spare Companion” with cinematographer Eric Reimer who he met during their studies at Minneapolis College of Art and Design. 

“With Wes Anderson films there are ‘rules’ to try to follow, like certain close ups, certain wide shots and of course symmetry,” Crawford said. “I think the story was another thing I wanted to keep in mind while writing this. Keeping the narrator dry but the story almost wholesome and whimsical.”

“Asteroid City” is a film set in a post-WWII New Mexico town, with a population of 87. It features a star-studded cast playing the inhabitants of the town including Jason Schwartzman, Scarlett Johansson, Tom Hanks, Tilda Swinton, Bryan Cranston and many more. 

Anderson uses a televised production of a play (also titled “Asteroid City”) to tell a story within the story. 

On one hand, there is the drama behind the scenes between the cast and crew of the television show. These events are shot in black and white, and a 4:3 ratio frame typically found when shooting with 35 millimeter film. 

On the other hand, there is the story within the story, following the characters of “Asteroid City.” These are depicted in widescreen with the rich color palette found in many Anderson films. 

With symmetrical shots and meticulously placed sets, each frame is carefully composed. The level of attention to detail is astounding, with even the smallest items and background details serving to enhance the plot and draw viewers into the movie’s world.

“Asteroid City” is full of Anderson’s deadpan, dry humor which left the audience laughing throughout the entire film. It is a lovely fusion of artistic brilliance, moving storytelling and quirky wit. 

The film features themes of romance, death, family and aliens. It shows how people come together during confusing times and how a community can build off one another. Anderson does not reinvent the wheel of his directing style, but as a fan of his work, he did not need to.

If you enjoy his distinctive cinematic approach, this film is a must-watch. And, if you catch it at the Main Cinema, you can also see the winning submissions of their contest before the showing of the film.