The “Jurassic Park” franchise has been recreated many times over the past decade from movies, books and even games. As the seventh film installment in the series, “Jurassic World: Rebirth” welcomes a star-studded cast of Scarlett Johansson, Jonathan Bailey, Mahershala Ali and Rupert Friend into its high-stakes environment. Johansson plays Zora Bennett, a covert operations specialist, who is tasked with the mission of extracting genetic material from dinosaurs that contains life-changing medical ingredients. Along with the rest of the cast, Zora sets off to a tropical island where these creatures reside.

Gareth Edwards takes on the helm of directing “Jurassic World: Rebirth.” Although Edwards is no Steven Spielberg, his resume includes movies such as “Godzilla” or “Rogue One,” which are both blockbusters within a larger franchise. In addition, these movies have generally favorable reviews. It’s safe to say that it’s not Edwards’s first time handling a beloved series with a big IP.

In addition to Johansson’s Zora Bennett, Jonathan Bailey plays Henry Loomis, a paleontologist. Ali plays Duncan Kincaid, Zora’s old friend and team member, and Friend plays Martin Krebs, a pharmaceutical company representative that initiates the entire mission. While each individual actor in the cast is certainly talented and experienced, their chemistry in the movie is mild at best. The characters and their backstories are the weakest part of the film. The audiences get to know their background through spoken exposition and are given little reason to get emotionally attached to these new faces. 

Of course, the movie wouldn’t be Jurassic if it didn’t include dinosaurs. Sadly, the new movie does not carry on the spirit of using practical effects. Instead, Edwards’s Jurassic world is inhabited with CGI dinosaurs. The graphics look believable, but they aren’t the main focus of this film. Compared to the original “Jurassic Park,” which made everyone afraid of the infamous T-Rex, or even the first movie of the reboot, “Jurassic World,” the dinosaurs are far and few between in this newer film. Their presence does not take on the same command that they were once given, and as a result, both the human cast and the dinosaurs fail to deliver the palpable tension that is expected from the franchise. 

An unexpected delight of “Jurassic World: Rebirth” was the inclusion of the Delgado family. After their sailboat gets attacked by one of the sea-dwelling dinosaurs, the Delgados discover that the boat that rescued them is actually on a dangerous mission to go right into the home of these archaic animals. Despite the revelation, the family sticks together through life-threatening situations and provides a heartfelt dynamic to the film. For some fans, these characters might remind them of the kids from the original.

Overall, the movie is not bad by any means. Edwards makes sure that the audience can feel the legacy and grandeur of the original series. However, the repeated reboots and sequels do take away the magical wonder of the first “Jurassic Park.” The familiar faces in the cast give away who and who isn’t quite famous enough to survive. For example, audiences can anticipate that Johansson will not meet her end in the mouth of a T-Rex. Still, the movie provides action-packed moments even with the absence of heavy suspense. 

The “Jurassic Park” franchise has come a long way since its first installment in 1993. With many changes in its crew, cast and settings, it has gone through the same fate as the dinosaurs: constantly being modified, with their core DNA being played with for a newer, more sensational narrative. “Jurassic World: Rebirth” is not a failed experiment, but it might have been best to let the dinosaurs rest. No matter how much the movies deliver this lesson, “Jurassic World: Rebirth” leaves its ending open even without a confirmed sequel. For now, the franchise won’t go extinct.

The post ‘Jurassic World: Rebirth’ claws its way into the box office appeared first on Technique.

The “Jurassic Park” franchise has been recreated many times over the past decade from movies, books and even games. As the seventh film installment in the series, “Jurassic World: Rebirth” welcomes a star-studded cast of Scarlett Johansson, Jonathan Bailey, Mahershala Ali and Rupert Friend into its high-stakes environment. Johansson plays Zora Bennett, a covert operations specialist, who is tasked with the mission of extracting genetic material from dinosaurs that contains life-changing medical ingredients. Along with the rest of the cast, Zora sets off to a tropical island where these creatures reside.

Gareth Edwards takes on the helm of directing “Jurassic World: Rebirth.” Although Edwards is no Steven Spielberg, his resume includes movies such as “Godzilla” or “Rogue One,” which are both blockbusters within a larger franchise. In addition, these movies have generally favorable reviews. It’s safe to say that it’s not Edwards’s first time handling a beloved series with a big IP.

In addition to Johansson’s Zora Bennett, Jonathan Bailey plays Henry Loomis, a paleontologist. Ali plays Duncan Kincaid, Zora’s old friend and team member, and Friend plays Martin Krebs, a pharmaceutical company representative that initiates the entire mission. While each individual actor in the cast is certainly talented and experienced, their chemistry in the movie is mild at best. The characters and their backstories are the weakest part of the film. The audiences get to know their background through spoken exposition and are given little reason to get emotionally attached to these new faces. 

Of course, the movie wouldn’t be Jurassic if it didn’t include dinosaurs. Sadly, the new movie does not carry on the spirit of using practical effects. Instead, Edwards’s Jurassic world is inhabited with CGI dinosaurs. The graphics look believable, but they aren’t the main focus of this film. Compared to the original “Jurassic Park,” which made everyone afraid of the infamous T-Rex, or even the first movie of the reboot, “Jurassic World,” the dinosaurs are far and few between in this newer film. Their presence does not take on the same command that they were once given, and as a result, both the human cast and the dinosaurs fail to deliver the palpable tension that is expected from the franchise. 

An unexpected delight of “Jurassic World: Rebirth” was the inclusion of the Delgado family. After their sailboat gets attacked by one of the sea-dwelling dinosaurs, the Delgados discover that the boat that rescued them is actually on a dangerous mission to go right into the home of these archaic animals. Despite the revelation, the family sticks together through life-threatening situations and provides a heartfelt dynamic to the film. For some fans, these characters might remind them of the kids from the original.

Overall, the movie is not bad by any means. Edwards makes sure that the audience can feel the legacy and grandeur of the original series. However, the repeated reboots and sequels do take away the magical wonder of the first “Jurassic Park.” The familiar faces in the cast give away who and who isn’t quite famous enough to survive. For example, audiences can anticipate that Johansson will not meet her end in the mouth of a T-Rex. Still, the movie provides action-packed moments even with the absence of heavy suspense. 

The “Jurassic Park” franchise has come a long way since its first installment in 1993. With many changes in its crew, cast and settings, it has gone through the same fate as the dinosaurs: constantly being modified, with their core DNA being played with for a newer, more sensational narrative. “Jurassic World: Rebirth” is not a failed experiment, but it might have been best to let the dinosaurs rest. No matter how much the movies deliver this lesson, “Jurassic World: Rebirth” leaves its ending open even without a confirmed sequel. For now, the franchise won’t go extinct.

The post ‘Jurassic World: Rebirth’ claws its way into the box office appeared first on Technique.

The “Jurassic Park” franchise has been recreated many times over the past decade from movies, books and even games. As the seventh film installment in the series, “Jurassic World: Rebirth” welcomes a star-studded cast of Scarlett Johansson, Jonathan Bailey, Mahershala Ali and Rupert Friend into its high-stakes environment. Johansson plays Zora Bennett, a covert operations specialist, who is tasked with the mission of extracting genetic material from dinosaurs that contains life-changing medical ingredients. Along with the rest of the cast, Zora sets off to a tropical island where these creatures reside.

Gareth Edwards takes on the helm of directing “Jurassic World: Rebirth.” Although Edwards is no Steven Spielberg, his resume includes movies such as “Godzilla” or “Rogue One,” which are both blockbusters within a larger franchise. In addition, these movies have generally favorable reviews. It’s safe to say that it’s not Edwards’s first time handling a beloved series with a big IP.

In addition to Johansson’s Zora Bennett, Jonathan Bailey plays Henry Loomis, a paleontologist. Ali plays Duncan Kincaid, Zora’s old friend and team member, and Friend plays Martin Krebs, a pharmaceutical company representative that initiates the entire mission. While each individual actor in the cast is certainly talented and experienced, their chemistry in the movie is mild at best. The characters and their backstories are the weakest part of the film. The audiences get to know their background through spoken exposition and are given little reason to get emotionally attached to these new faces. 

Of course, the movie wouldn’t be Jurassic if it didn’t include dinosaurs. Sadly, the new movie does not carry on the spirit of using practical effects. Instead, Edwards’s Jurassic world is inhabited with CGI dinosaurs. The graphics look believable, but they aren’t the main focus of this film. Compared to the original “Jurassic Park,” which made everyone afraid of the infamous T-Rex, or even the first movie of the reboot, “Jurassic World,” the dinosaurs are far and few between in this newer film. Their presence does not take on the same command that they were once given, and as a result, both the human cast and the dinosaurs fail to deliver the palpable tension that is expected from the franchise. 

An unexpected delight of “Jurassic World: Rebirth” was the inclusion of the Delgado family. After their sailboat gets attacked by one of the sea-dwelling dinosaurs, the Delgados discover that the boat that rescued them is actually on a dangerous mission to go right into the home of these archaic animals. Despite the revelation, the family sticks together through life-threatening situations and provides a heartfelt dynamic to the film. For some fans, these characters might remind them of the kids from the original.

Overall, the movie is not bad by any means. Edwards makes sure that the audience can feel the legacy and grandeur of the original series. However, the repeated reboots and sequels do take away the magical wonder of the first “Jurassic Park.” The familiar faces in the cast give away who and who isn’t quite famous enough to survive. For example, audiences can anticipate that Johansson will not meet her end in the mouth of a T-Rex. Still, the movie provides action-packed moments even with the absence of heavy suspense. 

The “Jurassic Park” franchise has come a long way since its first installment in 1993. With many changes in its crew, cast and settings, it has gone through the same fate as the dinosaurs: constantly being modified, with their core DNA being played with for a newer, more sensational narrative. “Jurassic World: Rebirth” is not a failed experiment, but it might have been best to let the dinosaurs rest. No matter how much the movies deliver this lesson, “Jurassic World: Rebirth” leaves its ending open even without a confirmed sequel. For now, the franchise won’t go extinct.

The post ‘Jurassic World: Rebirth’ claws its way into the box office appeared first on Technique.

Almost 15 years ago, Dreamworks released the animated film “How to Train Your Dragon,” a fantasy adventure movie for families. After the success of major franchises like “Shrek” or “Kung Fu Panda,” Dreamworks was solidifying itself as a trustworthy studio for fun and quirky movies. Naturally, “How to Train Your Dragon” followed these steps, earning its way into fans’ hearts as well as achieving commercial and critical success. The story of Hiccup, a nerdy Viking who learns his place in his world, captured the attention of millions of young movie-goers. They got to grow up with him throughout the sequels, and now they get to see Hiccup come to life with the live-action movie now in theaters. 

The 2025 live-action “How to Train Your Dragon” rehashes the original in many aspects. Gerald Butler reprises his role as Stoick, the stoic father to Hiccup’s whimsical misadventures. In addition, Dean DeBlois returns as the director-writer of the franchise. More hardcore fans also are delighted that John Powell, the original composer of the animated movie, joined the live-action to include his poignant score. Many appreciated how the cast and crew were on board when making the new movie; they took it as a sign that there was passion and intention rather than a quick cash grab like many other live-action movies.

New additions include Mason Thames, who takes on the role of Hiccup with his iconic messy brown hair and awkward figure. Nico Parker plays Astrid, the spirited warrior and Hiccup’s eventual friend. Both Thames and Parker are Hollywood newcomers, but they can be seen in recent projects such as “The Black Phone” and “The Last of Us,” respectively.

The plot remains the same without major changes, which was good news for many fans. Especially since DeBlois returns as the director, the overarching narrative and the important moments are still present in the film. The first time that Hiccup rides his dragon, Toothless, is a moment many will remember from the 2010 version. The same sentiment carries on in the 2025 film, and both old and new moviegoers alike can feel the excitement and rush of getting to fly on the back of a dragon. These emotional scenes are what makes “How to Train Your Dragon” a classic to revisit, and the live-action clearly incorporates them in order to portray the journey that Hiccup takes to become a leader and an explorer.

One major concern that audiences had was the portrayal of Toothless. With his big eyes and mythical stature, Toothless worked as a cartoon. As he accompanies the protagonist Hiccup and develops as a character himself, Toothless needed to be spot-on for the live-action to work. Fortunately, the crew behind the graphics did a splendid job in creating the creature. Toothless manages to appear as cute and fiery as the animated version while not looking uncanny compared to the humans next to him. Thames’s Hiccup and the new Toothless are perhaps the best part of this film.

However, while this live-action fares much better than other recent remakes such as “Snow White,” there is still something missing from it when compared to the animated film. Although DeBlois tries his best to reimagine the original movie, the new “How to Train Your Dragon” is still a replica. The emotional notes hit the same, but they may be a bit too similar. The audience can expect every single scene if they have seen the original, which eliminates elements of surprise or revelations. The classic live-action dilemma unveils: will it add backstories and changes to the plot, or will it remain faithful? The 2025 “How to Train Your Dragon” is certainly the latter, but faithfulness may not be enough for the film to capture the audience’s hearts. 

In many aspects, the animated movie bears originality, sensation and effort. The new movie plays it safe and rides on the success of its precedent. Going into the theater and watching the film certainly elicits a feeling of nostalgia. However, some may wonder: Why watch the live-action when the original is right there? The shot-for-shot remake is a good movie — it just has existed before. Still, there is room for improvements in its sequels, in which DeBlois will also take on the lead. “How to Train Your Dragon” is a beloved franchise, and while the new movie isn’t exactly new, it serves its purpose to welcome back its fans into the fantastical world.

The post ‘How to Train Your Dragon’ comes alive in newest live-action appeared first on Technique.

On April 24, indie rock singer Sharon Van Etten performed at the Variety Playhouse alongside her band, the Attachment Theory. Atlanta was the first stop on this leg of her North American tour, and the setting of the venue allowed for an intimate crowd on her opening night. 

Van Etten has been in the music industry since the late 2000’s, releasing six studio albums before the self-titled “Sharon Van Etten & the Attachment Theory” that came out earlier this year. Over the years, her songs have been featured in TV shows such as “The Walking Dead” and “The Man in the High Castle” and movies such as “Past Lives.” Her long-lasting career was reflected by the crowd gathered inside Variety Playhouse — both younger and older audiences came together for the first night of Van Etten’s performance. 

The concert began with an opening set by indie/alternative band Love Spells. Frontman Sir Taegen C’aion Harris’s mesmerizing vocals held the crowd’s attention for the entirety of his show. Love Spells’s dreamy, psychedelic sounds gave an effective introduction to Van Etten’s equally unique music.

Van Etten kicked off her set with “Live Forever,” the first song on the new album. Her and the band  proceeded to play consecutive songs from the album with passion and a clear harmony between the band members. Even when playing some of Van Etten’s solo songs, she shared the spotlight with her bassist Devra Hoff, guitarist/keyboardist Teeny Liberson and drummer Jorge Balbi.

The singer took the time to acknowledge how this tour was the first time she had worked alongside a band. Van Etten noted how it was much different from her solo work, where she mostly wrote her own songs and performed by herself. According to Van Etten, the process was very different, and it led to a fresh perspective and a deeper understanding of her craft. 

The band’s addition was evident in their reenactment of “Every Time the Sun Comes Up,” a song written by Van Etten in 2014. The original features languid vocals and regretful lyrics. However, the version that Van Etten and the Attachment Theory performed was rearranged into an upbeat and lively tune. This new arrangement changed the song’s interpretation, making the lyrics feel freeing rather than melancholic.

In a memorable moment during the show, the singer paid tribute to David Lynch, a filmmaker who recently passed. Van Etten expressed how honored she was that her song “Tarifa” appeared in the 2017 revival of Lynch’s “Twin Peaks,” and she dedicated her performance of the song to him. With her thoughtful vocals, the genuine dedication connected with many of her fans. 

For her penultimate song, Van Etten performed “Seventeen,” one of her most popular tracks. Combined with its contemplative lyrics and an exciting melody, the song brought out the loudest cheers as the entire venue sang along. The song is a fan-favorite, and it emits a nostalgic mood that lets anyone relate to its lyrics. 

Van Etten noted the enthusiasm and thanked her audience for a stellar opening night. After leaving the stage, Van Etten and the Attachment Theory came back for a final encore of “Fading Beauty,” a fitting title for the performance’s closing. The softer song acted as a goodbye from Van Etten to the crowd standing before her.

Sharon Van Etten & the Attachment Theory continue their tour throughout the summer and will play at festivals such as BottleRock Napa Valley, End of the Road Festival and All Things Go. For fans of cinematic lyrics and the contemporary rock genre, Sharon Van Etten is an underrated gem in her craft.

The post Sharon Van Etten captivates Variety Playhouse appeared first on Technique.

On April 24, indie rock singer Sharon Van Etten performed at the Variety Playhouse alongside her band, the Attachment Theory. Atlanta was the first stop on this leg of her North American tour, and the setting of the venue allowed for an intimate crowd on her opening night. 

Van Etten has been in the music industry since the late 2000’s, releasing six studio albums before the self-titled “Sharon Van Etten & the Attachment Theory” that came out earlier this year. Over the years, her songs have been featured in TV shows such as “The Walking Dead” and “The Man in the High Castle” and movies such as “Past Lives.” Her long-lasting career was reflected by the crowd gathered inside Variety Playhouse — both younger and older audiences came together for the first night of Van Etten’s performance. 

The concert began with an opening set by indie/alternative band Love Spells. Frontman Sir Taegen C’aion Harris’s mesmerizing vocals held the crowd’s attention for the entirety of his show. Love Spells’s dreamy, psychedelic sounds gave an effective introduction to Van Etten’s equally unique music.

Van Etten kicked off her set with “Live Forever,” the first song on the new album. Her and the band  proceeded to play consecutive songs from the album with passion and a clear harmony between the band members. Even when playing some of Van Etten’s solo songs, she shared the spotlight with her bassist Devra Hoff, guitarist/keyboardist Teeny Liberson and drummer Jorge Balbi.

The singer took the time to acknowledge how this tour was the first time she had worked alongside a band. Van Etten noted how it was much different from her solo work, where she mostly wrote her own songs and performed by herself. According to Van Etten, the process was very different, and it led to a fresh perspective and a deeper understanding of her craft. 

The band’s addition was evident in their reenactment of “Every Time the Sun Comes Up,” a song written by Van Etten in 2014. The original features languid vocals and regretful lyrics. However, the version that Van Etten and the Attachment Theory performed was rearranged into an upbeat and lively tune. This new arrangement changed the song’s interpretation, making the lyrics feel freeing rather than melancholic.

In a memorable moment during the show, the singer paid tribute to David Lynch, a filmmaker who recently passed. Van Etten expressed how honored she was that her song “Tarifa” appeared in the 2017 revival of Lynch’s “Twin Peaks,” and she dedicated her performance of the song to him. With her thoughtful vocals, the genuine dedication connected with many of her fans. 

For her penultimate song, Van Etten performed “Seventeen,” one of her most popular tracks. Combined with its contemplative lyrics and an exciting melody, the song brought out the loudest cheers as the entire venue sang along. The song is a fan-favorite, and it emits a nostalgic mood that lets anyone relate to its lyrics. 

Van Etten noted the enthusiasm and thanked her audience for a stellar opening night. After leaving the stage, Van Etten and the Attachment Theory came back for a final encore of “Fading Beauty,” a fitting title for the performance’s closing. The softer song acted as a goodbye from Van Etten to the crowd standing before her.

Sharon Van Etten & the Attachment Theory continue their tour throughout the summer and will play at festivals such as BottleRock Napa Valley, End of the Road Festival and All Things Go. For fans of cinematic lyrics and the contemporary rock genre, Sharon Van Etten is an underrated gem in her craft.

The post Sharon Van Etten captivates Variety Playhouse appeared first on Technique.

On April 24, indie rock singer Sharon Van Etten performed at the Variety Playhouse alongside her band, the Attachment Theory. Atlanta was the first stop on this leg of her North American tour, and the setting of the venue allowed for an intimate crowd on her opening night. 

Van Etten has been in the music industry since the late 2000’s, releasing six studio albums before the self-titled “Sharon Van Etten & the Attachment Theory” that came out earlier this year. Over the years, her songs have been featured in TV shows such as “The Walking Dead” and “The Man in the High Castle” and movies such as “Past Lives.” Her long-lasting career was reflected by the crowd gathered inside Variety Playhouse — both younger and older audiences came together for the first night of Van Etten’s performance. 

The concert began with an opening set by indie/alternative band Love Spells. Frontman Sir Taegen C’aion Harris’s mesmerizing vocals held the crowd’s attention for the entirety of his show. Love Spells’s dreamy, psychedelic sounds gave an effective introduction to Van Etten’s equally unique music.

Van Etten kicked off her set with “Live Forever,” the first song on the new album. Her and the band  proceeded to play consecutive songs from the album with passion and a clear harmony between the band members. Even when playing some of Van Etten’s solo songs, she shared the spotlight with her bassist Devra Hoff, guitarist/keyboardist Teeny Liberson and drummer Jorge Balbi.

The singer took the time to acknowledge how this tour was the first time she had worked alongside a band. Van Etten noted how it was much different from her solo work, where she mostly wrote her own songs and performed by herself. According to Van Etten, the process was very different, and it led to a fresh perspective and a deeper understanding of her craft. 

The band’s addition was evident in their reenactment of “Every Time the Sun Comes Up,” a song written by Van Etten in 2014. The original features languid vocals and regretful lyrics. However, the version that Van Etten and the Attachment Theory performed was rearranged into an upbeat and lively tune. This new arrangement changed the song’s interpretation, making the lyrics feel freeing rather than melancholic.

In a memorable moment during the show, the singer paid tribute to David Lynch, a filmmaker who recently passed. Van Etten expressed how honored she was that her song “Tarifa” appeared in the 2017 revival of Lynch’s “Twin Peaks,” and she dedicated her performance of the song to him. With her thoughtful vocals, the genuine dedication connected with many of her fans. 

For her penultimate song, Van Etten performed “Seventeen,” one of her most popular tracks. Combined with its contemplative lyrics and an exciting melody, the song brought out the loudest cheers as the entire venue sang along. The song is a fan-favorite, and it emits a nostalgic mood that lets anyone relate to its lyrics. 

Van Etten noted the enthusiasm and thanked her audience for a stellar opening night. After leaving the stage, Van Etten and the Attachment Theory came back for a final encore of “Fading Beauty,” a fitting title for the performance’s closing. The softer song acted as a goodbye from Van Etten to the crowd standing before her.

Sharon Van Etten & the Attachment Theory continue their tour throughout the summer and will play at festivals such as BottleRock Napa Valley, End of the Road Festival and All Things Go. For fans of cinematic lyrics and the contemporary rock genre, Sharon Van Etten is an underrated gem in her craft.

The post Sharon Van Etten captivates Variety Playhouse appeared first on Technique.

Indie singer Lucy Dacus released her fourth studio album on March 28. Known for her involvement in the band boygenius alongside Phoebe Bridgers and Julien Baker, Dacus has also gained attention for her song “Night Shift.” Her new album, “Forever Is a Feeling,” encompasses thirteen songs with delicate, lush instrumentals and contemplative lyrics. 

Throughout the album, Dacus tells a story of self, religion and desire, but most importantly, her album centers around love. The very first song, “Calliope Prelude,” has no lyrics. Instead, it features a beautiful weave of string instruments that create an ethereal sound. From the get-go, Dacus lets her audience know the atmosphere she plans to create throughout the album. 

“Big Deal” seamlessly continues the instrumentals from “Calliope Prelude” while adding softly sung words. The song introduces themes of longing, love and realization that give direction for the rest of the album.

The next track is “Ankles,” which was released as a single two months before the album. Accompanied by a music video starring Dacus and Havana Rose Liu, this single takes on an uplifting melody with hopeful lyrics. However, there is still that element of unattainability and longing felt in many of Dacus’s songs. 

“Limerence” features the same lulling piano while referencing specific names in its lyrics, making the song personal. In this slower tune, Dacus describes being attached to the idea of “a beautiful life” but being conflicted with the instant gratification that stems from her worst habits. 

“Modigliani” is the fifth track and alludes to the Italian painter Amedeo Modigliani. This title fits with her theme of antiquity and classical art, which is also evident in the music video for “Ankles.” “Modigliani” leans into a heavier, darker rhythm that reflects the lamenting lyrics. 

Continuing this darker melody, “Talk” features laid-back sounds and steady drums. At this point in the album, Dacus begins to incorporate a lot of questions and doubts in her lyrics. She asks, “Why can’t we talk anymore?” and continues, “Did I make you nervous or bored? / Or did I drink you to the last drop?” 

The contemplative nature of the songs takes on a religious angle in “For Keeps.” Equipped with the bare essentials of guitar and vocals, this song is shorter and delivers a personal comparison between God, the Devil and her lover. 

The titular track “Forever Is a Feeling” shifts the mood with a more uplifting melody. Instead of being a standout, it serves as a connecting song, tying together and encompassing all the songs in the album. 

“Come Out” continues the lighter instrumentals with a gentle beat. However, the lyrics do not shy away from the fact that the song is about missing someone; they reflect a deep and sincere feeling of yearning.

“Best Guess” is perhaps the sweetest song on this album. Many of Dacus’s fans speculate that this song is about Julien Baker, her bandmate and partner. Despite its title, “Best Guess” does not ask any questions in its lyrics, unlike the previous songs. Instead, it solidifies the fulfillment Dacus feels with her “best guess at her future,” which is implied to be a person she loves. 

With a surprise feature from Hozier, “Bullseye” is a folky song with a balanced blend of his and Dacus’s vocals. It also includes more narrative elements, which fit in with the Americana style of this track.

“Lost Time” returns to a slower composition as it concludes the album. It doesn’t completely erase the doubt and desire that Dacus opens with, but it has a sense of contentment that comes with acceptance.

For longtime fans, “Forever Is a Feeling” might sound too calm compared to some of her previous records, which had heavier instrumentals and stronger vocals. However, this new album keeps Dacus’s delicate lyricism while shifting to a softer melody, overall adding a new tenderness to Lucy Dacus’s discography.

The post Lucy Dacus releases contemplative album appeared first on Technique.

Coinciding with National Poetry Month, Poetry@Tech hosted an Open Mic Night as part of a series of events for the 2025 TechArts Festival. Poetry@Tech invited students to the Ferst Center for the Arts to read their original poems to an audience of their peers, paired with refreshments and a welcoming atmosphere.

Travis Denton and Victoria Chang lead the poetry program at Tech. Denton serves as the associate director for Poetry@Tech and aids Chang, the director for Poetry@Tech. Both teach poetry in the Institute’s School of Literature, Media, and Communication. 

The Open Mic Night featured a variety of writers, many of whom were in poetry classes. However, some students who attended crafted their own poems without taking a class, and some people did not attend Tech but wanted to showcase their poetry.

The styles of poetry ranged anywhere from spoken word to narrative, surreal poems that explored themes of family, friendship, loss and acceptance. Although some speakers expressed how the Open Mic was their first time sharing their poetry, each one of them delivered their writing with a proud voice.

The event lasted over an hour and a half, filled with the words of student poets and their passions. Every poet was able to get an equal amount of respect and attention. The supportive atmosphere even inspired a few audience members to volunteer to read their writing spontaneously.

Thomas Brazzle, assistant director for the Office of the Arts, commented that “the arts bring us together as a community.” 

This community was evident at the poetry reading, as audience members clapped and cheered for strangers and friends alike. 

“I appreciated … the bravery. There were a lot of people saying this was the first time [they read their work]. I think it was a great community type of environment,” Brazzle added.

In addition, he pointed out how studying arts at Tech is a unique experience compared to other organizations. 

“One of the things that’s sticking out to me is the multifaceted approach. At Tech, there’s so many different things you can build off of,” he said. For Brazzle, who comes from a non-profit background, being at Tech has given him much more freedom to experiment and try out new events. His sentiment showed in the poetry event, where students of various majors came together to share their work.

The Open Mic Night was a part of the more significant celebration of the TechArts Festival. The GT Musician’s Network already hosted their 1000 Couches Festival, which featured Tech bands playing live music.

In addition, some upcoming events include DramaTech’s rendition of “Spring Awakening,” a musical; ARTlanta, where students can make artworks such as paintings, bracelets and pottery; and an Art Gallery Expo held in the Ferst Center.

Brazzle also stated that he was looking forward to the GT Arts Block Party, which will close out the festival on April 18. This event features food trucks, games, screen printing and glow-in-the-dark canvas painting. In addition, there will be dance performances from Tech’s own Tekstyles, GT Dance Company, and GT FlashMob.

Poetry@Tech and Arts@Tech are great organizations for students to branch out and express their creativity. Catch any of these events on campus for a chance to support the arts program and pick up a new hobby.

The post Poetry Open Mic Night highlights student creativity appeared first on Technique.

On Feb. 13, two renowned writers visited Tech to give a poetry reading. The event was organized by Poetry@Tech, a program with more than 20 years of partnership with the Ivan Allen College of Liberal Arts. Victoria Chang and Travis Denton are the heads of Poetry@Tech, bringing poets from around the country to provide their insight to Tech students. This semester’s reading welcomed Richard Siken and Camille Dungy to the Atlantic Theater. 

Richard Siken’s debut was in 2004 with his book “Crush,” which won the Yale Series of Younger Poets competition and received critical and popular acclaim. In addition, he published another poetry collection titled “War of the Foxes” in 2015. His honors include a Lambda Literary Award and a Pushcart Prize. 

Camille Dungy is the author of several books, including her 2017 poetry collection “Trophic Cascade” and her 2023 book “Soil: The Story of a Black Mother’s Garden,” a tale about being a mother. Currently, she is a professor at Colorado State University along with being a poet. Dungy was recently awarded the Guggenheim Fellowship for her work. 

Siken and Dungy have a history of reading together dating back to when their debut novels released in the early 2000s. The reading at Tech was the first time they read together in many years, which Chang noted in the introduction of the poets. 

Siken went first, reading poems out of his upcoming book “I Do Know Some Things,” which is set to release in mid-2025. His book recounts the experience after having a stroke and how he subsequently rebuilt his life, writing, and sense of self. While his first two poetry collections incorporate fictionalized elements, his new book portrays a real, autobiographical narrative. He started his reading with the poem “Real Estate,” which vividly depicts his relationship with his parents. 

Siken’s exploration of family and his internal sense of self leaves a powerful impact on the audience. His poetry is often unabashed, even when talking about dysfunctional family matters that are often private. In this exploration of his past, he reconstructs his present self.  

Dungy, on the other hand, read a diverse collection of poems from her published and unpublished works. She took time to describe the theme and context of each poem, which ranged from love to frustration, nature to and family. In particular, she read a poem titled “Frequently Asked Questions: #7,” which details an encounter she had with a steward on a flight. In the poem, the steward cries at an interaction between the Dungy and her child, which seems like an unusual reaction. However, when the steward explains the context that he viewed it in — a scene of intimacy between a Black mother and her baby — the story takes on a deeper meaning. Although the premise is simple, her use of language and dialogue takes words on a page and transforms them into complex, realistic ideas. Dungy also gave a sneak peek into her next poetry collection, which she states will be a “love story” about America. 

After the reading was finished, students talked to the authors and got their books signed. Both poets interacted with the students and welcomed the gratitude, appreciation and commentary that students supplied about the event. 

The February readings by the poets brought thoughtfulness and artistry to Tech. Poetry@Tech is set to host another reading in the coming fall semester.

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