Nine-time Grammy Award winner Billie Eilish’s third album “HIT ME HARD AND SOFT” showcases her maturation as a lyricist and evident strides in her captivating storytelling. Much of the strength of this album also comes from co-producer Finneas’ adept handling of its stylistic elements. Similar to her previous works, Eilish does not conform to one single genre, but revisits familiar territories, creating variations in previously explored genres. There’s a lack of variation in vocal delivery and movement, but this is somewhat mitigated by the unique percussion backings developed by Finneas. The experimentation in sound highlights both the strengths and weaknesses of the duo. While they excel in their development of atmospheric, dreamy tracks, the pair’s reluctance to branch out severely hinders the album’s dynamism. 

The album’s lyrics focus on heartbreak, self-discovery and existentialism. With lyrics that can be interpreted to be about her past relationship with Jesse Rutherford, Eilish offers a unique take on breakup songs by dedicating a track to Rutherford’s ex-girlfriend. In track five, “WILDFLOWER,” Eilish empathizes with the ex-girlfriend while in her relationship, seeing, “her in the back of [her] mind all the time.” Eilish then sings about her newly publicized queer identity in both explicit and delicate ways on tracks like “LUNCH” and the coming-of-age story “BIRDS OF A FEATHER.” Adding to her development in writing, the title of the album “HIT ME HARD AND SOFT,” serves as a metaphor for the duality present throughout the album. The juxtaposition in the verbs in the title is paralleled in the hard-hitting percussion and lyrical themes paired with gentle vocals. This contrast is further mirrored in the album cover, featuring Eilish half in shadow and half in light, symbolizing the interplay of dark and light within the music. The poignant maturity of Eilish’s storytelling and symbolism reveals a vulnerability many listeners can resonate with. 

In contrast to this evident maturity in lyricism, the stagnant nature of the vocal musicality of the album ultimately diminishes its lasting impression on the listener. Eilish’s attempts at creating grand crescendos, as seen in “THE GREATEST,” fall short of the impact achieved in past hits like “Happier than Ever.” Similarly, the previously mentioned track “WILDFLOWER” makes an attempt at a grand buildup but seems to fall flat. On tracks like “CHIHIRO,” Finneas’ multi-part, uptempo synths stand out, but Eilish’s vocals remain consistent, lacking the variation needed to keep the audience engaged. The soft vocals and effervescence that define much of her discography persist throughout the album, with all attempts at large buildups maintaining limited vocal intensity, offering little novelty to the listener. Furthermore, the repetitiveness in the album’s sound can lead to a sense of monotony. Many tracks blend into one another, making it difficult for individual songs to stand out. For instance, songs like “L’AMOUR DE MA VIE,” and “BITTERSUITE” seem almost interchangeable, both featuring similar melodic structures and playful beats, eliminating individuality. The lack of dynamic vocal shifts within tracks contributes to this issue, as Eilish often maintains a subdued, whisper-like delivery that can become tiresome over the album’s duration. Finneas’ production quality is undeniably high, yet its quality sometimes overshadows Eilish’s vocals, making it more difficult for her soft lyrical choices to fully resonate. This lack of musical diversity can cause listeners to lose interest, as there are few moments of surprise or innovation to break the mold.

Ultimately, “HIT ME HARD AND SOFT” showcases Billie Eilish and Finneas’ musical strengths, but remains constrained by a formulaic approach to vocal delivery. Highlighting areas for further exploration and development. Given its faults, the album lacks in possessing the standout qualities that would elevate it in being a competent addition to Eilish’s otherwise noteworthy discography. The album is not without its quality – offering maturity in songwriting and intricate musical productions; however, the lack of vocal innovation unfortunately diminishes its potential impact.

Every year, juniors in Drexel’s Music Industry Program (MIP) plan and host an event called Sonic Soup at World Cafe Live. Sonic Soup is a concert that features artists signed to MAD Dragon Music Group — an entirely Drexel-student-run record label founded in 2003 — named for the tradition of being a free entry for those who bring a can of soup for donation to a local soup kitchen. This year, Sonic Soup featured eight local artists: djella, Laur, GREAVES, Luke Santana, Boy Beverly, Sophie Price, Karlia and Heavy Metal Chess Club. The collection of artists represented a variety of genres and aspects of the Philadelphia music scene, indicative of the broad range of interests and talents of Drexel students who manage, book and publish these artists. 

One of the most exciting aspects of Sonic Soup is its location. World Cafe Live is an iconic independent Philadelphia music venue that MIP students, as well as other students in University City and young adults in Philadelphia, typically frequent to see their favorite artists play. Upon entering World Cafe Live, there was a table for the titular soup collection and a line to the ticket booth to receive tickets for the performances. The venue is set up like it would be for any show, with extensive merch tables outside the performance space, colored wristbands to determine underage attendees, stanchions for lining up and World Cafe staff for checking tickets. The official nature of this event makes it exciting to attend as it is a reminder of how MIP students are trained to be working professionals in the industry rather than just observing faces. 

Djella, a Drexel MIP student herself, served as an opening act for Sonic Soup. A crowd favorite, she has made a name for herself and is a highlight of Drexel’s student artists. Djella did not disappoint at Sonic Soup — she skillfully transitioned between upbeat pop songs and psychedelic songs with ease, utilizing matching beats between songs to keep her set cohesive yet interesting.

 The next artist to perform was Laur, a student at the University of Pennsylvania who describes her music as indie rock. Laur’s set featured heartfelt lyrics and an ethereal sound; warm reverb on the guitars specifically created a dreamy sound which was the perfect transition from the upbeat nature of djella’s set to the rest of the artists. 

The next act, GREAVES, is a New Jersey-based hyperpop artist who reintroduced the crowd to an incredibly upbeat sound. GREAVES’ 9-song set was a cacophony of sound, showcasing his experimental music style and unconventional production techniques. There was an emphasis on his lyrics along with frenetic beats and glitchy synths throughout the set. 

Luke Santana, a Boston-area rapper who combines popular hip-hop and pop techniques to create a unique sound, was the next performer. Santana performed his newest album “Where Freezy At” and a few other popular tracks. His set provided chill R&B and rap energy as promised. Santana was also extremely personable and connected with the audience throughout his set. 

Following Luke Santana was Boy Beverly, another Philadelphia-based artist who is known for his ability to seamlessly combine genres in his music, producing a one-of-a-kind sound. His songs are a representation of his inner pain, creating an authentic experience that is balanced well by the energetic nature of his production—providing for a somewhat contradictory yet engaging sound and performance. 

The next artist to take the stage was Sophie Price, another Drexel student performer who has found her start in the industry through Philadelphia’s music scene. Price’s music is best described as a transcendental indie pop sound that incorporates elements of jazz. Price’s performance was serene yet captivating. 

Following Price was Karlia, the indie-soul singer from Philadelphia, who mesmerized the audience with her blend of emotive lyrics and powerhouse vocals, channeling contemporary R&B vibes. Each song served as a poignant chapter in her personal journey, infused with elements of jazz, soul and indie rock. Karlia’s music showcased her distinct and unforgettable sound.

The final act was Heavy Metal Chess Club (HMCC). A beloved Drexel band, HMCC performs songs that mix rock-fueled guitar riffs with emotive vocals. They carve out a distinct sound rooted in the emo revival they grew up loving that never fails to excite a crowd. Their performance was exciting and an excellent choice for the night’s last. Heavy Metal Chess Club’s set was energetic yet introspective, creating an infectious enthusiasm and camaraderie among the band and the crowd. Overall, Sonic Soup 2024 was an extremely successful event showcasing some very talented artists, all managed by Drexel students.

The Drexel Dance Ensemble puts on two professional-caliber productions in the Mandell Theater each year—one in the fall and one in the spring. This year’s spring production, “The Essence of Being,” debuted last week and featured pieces choreographed by regional and NYC professional artists; it was performed in alternation with “Rising as One,” choreographed by students. The spring show is also notable as it is the first of the year to combine FreshDance with the rest of the Dance Ensemble. FreshDance is a Drexel dance company that provides professional performance opportunities for freshmen in the dance program. “The Essence of Being” included eight different pieces: four pieces in each act with a 15 minute intermission in between. 

The show started with “ova,” a dance consisting of three parts marked by three songs. The first dancer visible on stage was in an elevated structure covered in purple fabric, which was made to look like a tall skirt with her back to the audience. The visual of a dancer standing still with her legs covered emphasized dancing with arm and head movements, which provided an interesting new perspective on an activity typically associated with full-body movement. The dance felt emotional and light with pastel lighting and graceful movements. 

Next up was “To the Moon,” an upbeat dance to music by The Rolling Stones and David Bowie. Dancers moved more freely in this dance yet their movements still closely matched the rhythms of the music. The set and costuming were both a blank white, acting as a canvas for the rainbow lights to shine on. This dance engaged the audience with its upbeat nature and exciting visuals. 

“Amor (Love),” the third performance, was a bit eerier than the previous acts. It started with shadowed dancers transferring water from one vessel to the next on stage, cultivating an interesting focus on the sounds of water rather than the dancers’ movements. The dancers tended to move together in a group rather than having a focus on individuals. Occasionally, the lights dimmed, giving the group a shadowy look that added to the mystique and made it even more difficult to identify singular dancers. This piece was introspective and emotional in an interesting contrast to the previous dance. 

“Body Language” was all about energy and teamwork. Dancers moved sharply and together, showing off their coordination. At times, the music stopped to allow the audience to focus on the rhythmic sounds made by the dancers themselves. Throughout different parts of the piece, dancers split into groups that performed different dances at the same time, giving the audience members lots to view and process. Their dances spoke volumes, telling a story of togetherness and rhythm.

After a break, the show continued with “suite | one,” which began as a slower piece choreographed to reggae-inspired music. The dancers’ movements were markedly free and non-calculated, which made the dance fun to watch as it was unpredictable. The intensity of their movements grew throughout the piece, eventually getting the crowd involved in rhythmic clapping as they performed. This dance was an excellent reintroduction to the show. 

Then came “PICTOGRAMS,” where dancers seemed almost robotic, moving in jerky, precise ways. The dances were mechanical and calculated, creating a unique viewing experience. It was like watching machines come to life, but there was still a sense of harmony as the dancers moved together. 

“Instinctual” began with a dreamy vibe. The set played with light and shadow as the dancers moved gracefully across the stage. Along with a music change, the dance became more somber as dancers began to move animalistically. This piece contained duality and created an element of surprise as the moods changed between songs. 

Finally, “Untitled” was a burst of color and energy. Movements were free and exciting, creating a complex piece that captivated viewers, drawing them in once again as the show came to a close. The vigor of the dancers was evident and they seemed to enjoy themselves on stage. Their bouncy movements and vivacious energy brought the show to a lively close. Overall, this dance performance showed how movement can tell stories, evoke emotions and convey the power of dance as a medium.

On Friday afternoon, May 13, Lawn Jawn, Drexel’s annual spring festival organized by Flux and Drexel’s Music Industry Program, took place between the URBN Center and URBN Annex. The long-anticipated event was free and open to the public, encouraging everyone to join the fun. Attendees enjoyed live performances from artists based in Philly, had the opportunity to support local business vendors and enjoyed a variety of food options. Running from 1-5 p.m., Lawn Jawn was a colorful experience that uplifted the spirits of Drexel’s community and offered a much-needed break ahead of finals week. 

Each year, Lawn Jawn creates a platform for vendors to showcase their talents and creativity. Walking through tables arranged by Drexel students and other local vendors, items like clay jewelry, fur hats, vintage clothing, upcycled bags and dumpling-shaped soap were among the collections on display. A total of 24 vendors had applied for this year’s event, and many left feeling pleasantly surprised by the amount of support and interest customers expressed for their products. In addition to vendor tables, there was another table towards the front where visitors could join a raffle to receive coveted prizes or purchase Lawn Jawn customized stickers and posters. Lawn Jawn was also sponsored by Pepsi, providing free Celsius drinks and giveaways for the event.

Amongst the sellers were three food options to keep guests energized throughout the event. Those with a sweet tooth could walk over to the ice cream and dessert truck to enjoy a treat in the hot sun. Another stall on the opposite side of the road sold an array of pastries and cakes. As a third option, people could try the Asian food truck selling dumplings to enjoy amongst the sounds of good conversation and music. 

As people were rolling in, electric producer and DJ Kari introduced a unique sound that fused EDM micro-genres to set the mood for the day. After that, this year’s performances continued with Hotel Breakfast, a group based in Philly that brought the energy to kick off the event. Students and Philadelphia natives love them for their style, which oscillated between electronic rock, shoegaze and emo, as they performed music from their recently released EP, “rip hotel breakfast.”  Mild Temperance came in next, giving the audience a performance inspired by jazz, RnB and bedroom pop. Their music whimsically expresses their love for people, spirituality and attention to mental health, and floats over technically complex sound arrangements. The news that Karlia, a Drexel senior and local rising star was appearing at Lawn Jawn had the crowd buzzing. Her renditions of Weak by SWV and Redbone by Childish Gambino blew fans away. To end the event with a bang, the headlining group Snacktime came in last, and gave fans everything they were expecting and more. They are a multi-genre group that has quickly grown into one of Philadelphia’s most beloved bands. Their sound had a unique and fun 90s feel, mixed with undertones of Hip-Hop and R&B.

Overall, flowers go to the organizers for managing to pull off such a successful event and wholesome experience for the Drexel community and those beyond. It provided a fun day off in the sun before students start to prepare for the rest of the academic quarter. Many look forward to attending or taking part in next year’s Lawn Jawn, anticipated only to be bigger and better. Be sure to be on the lookout for notices calling out for vendors, and be inspired by initiatives like Lawn Jawn that amplify the talent and endless creativity circling all around us.

“If I was to ask for Megan Thee Stallion if she would collab with me, would I really have a shot at a feat?” raps Eminem in his new song “Houdini.” The track, which serves as the lead single to his upcoming album, is currently making waves in the pop culture world for every reason you can think of. This lyric, for example, is one reason why the song has gotten so much publicity, even more so than other recent Eminem songs. The bar references the 2020 shooting incident which fellow rapper Megan Thee Stallion was involved in, in which the rapper was shot in the foot by fellow musician Tory Lanez. This immediately brought loads of attention to the track, for both good and bad reasons and once again put Eminem in a precarious position in the public eye, a spot that he has stepped in and out of over his career.

Over two decades ago, such was normal for the Detroit rapper, who made a name for himself with edgy lyrics,  subjects and an incredibly explosive personality, to say the least. However, in the years since then, Eminem has grown and matured and seemingly no longer had that thing that set him apart from the crowd, leading to a stretch of releases that felt bland and overall underwhelming. Leading up to the single, people were not sure what to expect; would it be more of the same? Or rather something similar to what made Eminem who he is? If the track’s reception is any indication, then the latter is definitely more accurate, as the track displays a version of Eminem that had been gone for over a decade.

Eminem begins the song by interpolating his 2002 hit “Without Me,” repeating the phrase “Guess who’s back,” over a playful sample of the Steve Miller Band song “Abracadabra,” whose chorus is also redone by Eminem in the song. Just a few bars into the first verse, Eminem recites the Megan Thee Stallion line. This is far from the song’s only questionable line, with the next verse containing the line “Bumping R. Kelly’s favorite group, the black guy pees,” and just a couple lines later with the line “my transgender cat’s Siamese, identifies as Black but acts Chinese.” He then goes on to make several references to cancel culture and then jokingly disses everyone from his manager, longtime friend and collaborator Dr. Dre and even his own kids. 

Just from reading the lyrics alone, there is a lot to process here and it is no wonder why reactions were so mixed. For a lot of people, lyrics like these are childish and immature and Eminem is simply too old to be making music like this. For others, the lyrics are also childish and immature, but that is exactly what they want. These are the kind of lyrics that Eminem was known for and the reason why so many people love his music. Is it kind of corny? Definitely. Without a doubt these are some of the corniest, worst lyrics Eminem has ever written and performed. Does that matter? Not one bit. The song, as well as its accompanying video, is fun and energetic and a far cry from the disappointing work he has been putting out over the last few years.

With the full project set to be released this summer, it will be intriguing to see where Eminem goes from here. Despite the controversy it created, the song performed well and it seems fans would not mind some more of the same. If Eminem decides to take this route, then the success of the album will all come down to whether or not fans actually enjoyed the song, or the memories it brought back of Eminem’s golden years. No matter what happens though, “Houdini,” is proof that Eminem still has some gas left in him and it will be interesting to see just how much more he has left in the tank.

On May 6, stars made their way to the Metropolitan Museum of Art in New York City for the biggest night in fashion. This year, the theme of the museum exhibition, “Sleeping Beauties: Reawakening Fashion,” accompanied the dress code “Garden of Time,” resulting in a display of bold designs and archival pulls that left those watching stunned. Now, it is time to unpack the best-dressed of those who attended the prestigious event. 

Emma Chamberlain was one of the first to arrive in a custom Jean Paul Gaultier dress. Its thorny and gothic elements made for a visually complex and cohesive look. The flowery patterns on her lace wrapped around her body like ivy before falling into a train. In an interview on the carpet, she said she was glad that every year she “feels more prepared,” and this look is evidence of her growing confidence.

Anticipation was high for Zendaya’s look when the world found out that Anna Wintour had selected her as one of this year’s co-chairs. Critics are never disappointed by Zendaya and esteemed “image-architect” Law Roach, who has been curating her wardrobe for over a decade.. Zendaya had not one, but two looks. The first was a custom design by John Galliano, who referenced a similar piece he exhibited with Dior in 1999. Metallic berries and leaves embellished an emerald green and dark blue dress made from organza and sage-hued lamé that shimmered in the light. The second was a look by the same designer but this time under Givenchy. Zendaya made a statement with this dress, which had only previously been worn once, by Veronica Webb, the first black supermodel to exclusively sign with Revlon. Sneaking out to appear on the carpet once again, Zendaya topped the black rococo-inspired corset gown with a bouquet turned into a high fashion hat. 

Mona Patel was a name to remember when she made her first Met Gala appearance in an Iris Van Herpen dress in collaboration with Law Roach in India. 3D kinetic butterflies fluttered on her arms as delicate layers of her dress fell to the carpet with gold detailing. It was a magical combination of technology and fashion that fit nicely within the theme. 

After her rise in the music industry as an African popstar and it-girl, Tyla’s appearance at the Met gala was no surprise. In her debut, Balmain and renowned designer Olivier Rousteing created a dress that symbolized the “sands of time.” The look was completed with a jet-black pixie cut and an hour-glass bag that fittingly matched with her hour-glass figure.  

Anok Yai sparkled in precisely 98,000 Swarovski gems in a full body blue jumpsuit that looked like a second skin. As she embodied the element of water, crystals embellished her body right to her fingers and shoes.  And to finish, Anok’s glowy skin and slick curled pixie made for quite the memorable look.  

This year, Bad Bunny joined Zendaya, Chris Hemsworth and Jennifer Lopez as Anna Wintour’s co-chairs. Fans expected him to dress to impress and he did just that. The Puerto Rican rapper and singer wore a custom navy suit from the Maison Margiela Artisanal Collection by John Galliano. The piece echoes Bad Bunny’s gender non-conforming approach to modern high fashion. A sharp and cohesive silhouette is accentuated by a satin black corset, exaggerated shoulders and exposed stitching. Galliano accessorized the look with handheld blue flowers and brought the drama with a plush hat. 

You may know Wisdom Kaye from his viral looks on Twitter, Instagram or TikTok. Kaye was a particularly inspiring name on this year’s guest list that encourages creatives to never give up. His nurtured love for fashion, art and entertainment landed him on one of the biggest stages in fashion. Designed by Robert Wun, Kaye graced the carpet in a captivating “burnt rose” look. Together they brought a new spin on the theme “Garden of Time.” Instead of blooming florals, Kaye gave us decaying roses in the most elegant way. It’s fashion that aims to tell a story; to communicate the ephemeral quality of beauty and the message that even things in decay can be beautiful. 

Actress Elle Fanning wore an icy-like dress designed by Balmain. Almost transparent, it looked delicate enough to be glass. The devil was proven to be in the details when fashion enthusiasts zoomed in on the glass birds that animatedly pulled on her sleeves. 

Canadian actress Taylor Russell makes her debut wearing a piece by Jonathan Anderson under Loewe. Russell’s high neck corset created the illusion of wood molded to her body. At the event, she mentioned that she wanted to embody a tree, and in an interview with Vogue, Anderson elaborated that biomimicry was the inspiration for the 3D modeled corset, designed to play with our perception of “what’s real or surreal.” A draped silk skirt with a thigh-high slit softened the look.  

British fashion designer Harris Reed wore a show-stopping patterned pantsuit that looked like a walking piece of art, including a halo lined with arrows, an angular draped train and dramatic corset. He continues to give the world creative work that advocates for gender fluidity and inclusivity and proves that fashion can be revolutionary. 

Whether it is mechanical butterflies, 3D corsets designed using biomimicry or gender-fluid garments, the Met Gala should inspire Drexel students to push boundaries in every discipline.

On Friday, May 10, Drexel’s Dragon Concert Series, Flux and Women in Music  collaborated to plan a behind-the-scenes tour of The Mann Center for their members. The Mann Center is a performing arts center in Fairmount Park that acts as a concert venue, a multi-purpose events space, an education center and much more. The tour was led by Emily Stock, the manager of venue production operations; Ashley Vanett, the director of private events and facility rentals — and Drexel Music Industry Program alumna; Ian Brown, the front of house manager, Maggie Long, the private events coordinator and Dazia Williams, a production assistant. Throughout the tour, The Mann’s staff revealed to students the meticulous planning and unwavering dedication that is required to successfully put on concerts as well as host other events in a multi-purpose entertainment space. 

The tour began at The Skyline Stage, which is The Mann’s festival-style setup with a capacity of about 7,000 audience members. What was once a temporary structure that had to be built up and torn down every season is now a permanent stage, which has greatly simplified the process of setting up for shows. There is now concrete poured behind the stage so that trucks and forklifts do not sink or get stuck in the mud while loading equipment into the area if it has rained, which was a poignant hypothetical as it was raining heavily on the day of the tour. Vanett noted that small details such as preventing vehicles from getting stuck are in line with the staff’s goal of “always trying to make this a good experience for the back of house and front of house.” In the performing arts business, keeping those who put on the show happy is just as important as entertaining customers to ensure smooth sailing productions and a healthy work environment. 

The next space on The Mann’s campus that students visited was Crescendo. This is a covered space that is used primarily for hosting dinners before select shows — particularly, before performances from the Philadelphia Orchestra. In Crescendo, the students were taught about the intricacies of organizing dining at an event space. The Mann has a set menu posted on the website for pre-concert dinners, however, they work with a variety of caterers for private events that may be held in Crescendo’s space. They have previously hosted events such as yoga classes, galas, weddings, Philadelphia Magazine events and even Bar and Bat Mitzvahs. While the selection is limited to pre-approved caterers, Vanett explained that this is to ensure both safety and guest satisfaction. The Mann has screened catering companies to ensure they provide a variety of options while maintaining quality, cleanliness, organization and reliability. Such details are indicative of the types of decisions that go on behind the scenes that a concert attendee may not consider, representing the full breadth of working at a performing arts space. Other spaces on The Mann’s campus include Acclaim, a pre-furnished space typically used for pre- or post-concert receptions; the Cadillac terrace, which is used to bring together major donors and guests during events; and Woodlands by TD which is a multi-purpose open-air setting for outdoor events. 

But beyond the technical aspects, The Mann is dedicated to providing top-notch customer service. Brown delved into services provided by The Mann to ensure guest satisfaction and safety before concerts even begin. For example, he noted that free parking is offered to reduce pre-show congestion and improve the overall experience for patrons by limiting wait times. To further enhance guest satisfaction, outside lawn chairs are no longer permitted, eliminating delays caused by metal detectors and ensuring a smoother entry process. Instead, the Mann is planning to offer rental chairs to provide a more comfortable viewing experience for attendees. Accessibility is also a key focus, with accommodations made for patrons with disabilities or mobility issues. For sold-out shows, lawn screens and speakers are added to enhance the viewing and listening experience for those seated farther from the stage. Brown noted that each decision made by the staff is “always going back to customer service and guest satisfaction and safety” because ultimately, running a performing arts venue is a customer service job. 

The main stop on the tour was the Presser Foundation Stage,the venue’s main stage. Given that it is the most frequently utilized space and that it has been permanent since its building, putting on productions or hosting events on the Foundation Stage is a more streamlined process than the other more multi-purpose spaces. There is a set number of stagehands and teamsters that work at The Mann and know all of the ins and outs of The Foundation stage, which helps to minimize any issues with load-in, production and load-out. It is important to have such experts understand the space they are working in to ensure that artists whose shows cannot work at The Mann would not be surprised upon arrival.

In addition to its commitment to customer service, The Mann is deeply rooted in its community. Programs like the All City Orchestra Summer Academy and the Motion and Music Academy provide invaluable opportunities for local youth to explore their passion for the arts and gain hands-on experience in the industry. As a nonprofit, The Mann needs to engage in such community-building to gain the support of locals who want to preserve the venue and all of its efforts. The behind-the-scenes tour of The Mann Center showcased not only the meticulous planning and dedication required for successful concerts and events but also emphasized the venue’s commitment to top-notch customer service, accessibility and community engagement, reflecting the multifaceted nature of running a performing arts space.

On May 12, 2024, Drake posted a picture on his Instagram story with the caption “Good times. Summer vibes up next.”. To many, this was his white flag. After weeks, or apparently the better part of a decade, of beefing with Kendrick Lamar, it was finally over, and everything could hopefully go back to normal. 

But how did this all begin? Some believe it started back in 2012 when Kendrick claimed that he, as well as another dozen of his peers, were better than Drake in a feature on Big Sean’s song “Control.” After years of subliminals fired back and forth, including records like “Meltdown” by Drake and “All the Stars” by Kendrick, the competition came into the spotlight on the song “First Person Shooter,” a Drake song featuring J. Cole. On the track, J. Cole brings up the idea of the “big three”, a crew consisting of the latter two, along with Kendrick, with Cole claiming himself to be the best of the three. While Drake and Cole simply viewed this as friendly competition, Kendrick didn’t seem to find the humor of it responding in a scathing verse on Future’s “Like That” record.

On the track, Kendrick raps the now infamous line: “Motherf*** the big three, it’s just big me.” If nothing said in the last decade officially set off the beef, this was it; and it seemed the next classic rap battle was on the horizon. The first person to respond to the dig wasn’t Drake, but rather J. Cole with the song “7-Minute Drill.” In the song, Cole takes jabs at Kendrick’s work and his skills as a rapper. However, just a few days later, Cole apologized for the diss, calling it “the lamest sh**” he’s ever done.” With Cole now out of the equation, this put all eyes on Drake. It took a few weeks, but eventually, Drake responded with the track “Push Ups”. The four-minute song insulted Kendrick for his height and writing verses for the likes of Taylor Swift and Maroon 5. The song mainly targeted Kendrick, but also referenced the likes of Rick Ross, ASAP Rocky, Metro Boomin, and Ja Morant, among others. In the words of Drake himself, he was fighting a “20 v 1,” with seemingly everyone against him. 

About a week and a half later, Kendrick released the track “Euphoria”. At this point, it was clear that this was far from a friendly battle. The best way to describe the song is hateful, with Kendrick’s bars including lines like “I hate the way that you walk, the way that you talk.” This line was also a reference to DMX responding to an old interview question on his thoughts on Drake. He goes after Drake’s Blackness, his failures as a father, as well as accusing him of taking advantage of women. Kendrick also alleges that Drake has been trying to pay people for dirt on him and even requesting a feature for “First Person Shooter.” Kendrick also accuses Drake of trying to get “Like That” removed from radio airplay, and ridiculing him for getting robbed at a Chinese restaurant in his hometown of Toronto.

Drake did not tap out, but rather responded just a few days later with the song “Family Matters.”. This track was a 7-minute diss that accused Kendrick of embellishing his past in Compton, liking white women and included several digs towards his family. Drake claimed one of Kendrick’s children is actually the son of his manager, Dave Free, and he allegedly beat his fiancee and that his family is no longer together.

Less than 20 minutes later, Kendrick responded with “Meet the Grahams”, a simply terrifying song that accused Drake of pedophilia, sex trafficking, and hiding the fact that he also has an 11-year-old daughter. Before giving Drake a chance to respond to the allegations, Kendrick went back to back with the song “Not Like Us”. In what is essentially a west coast club song with DJ Mustard. Kendrick continues to throw jabs at Drake, doubling down on his initial claims, calling him a “certified pedophile” and accusing him of cultural appropriation. The song went number one and videos on social media showed people all over the world dancing and calling Drake a “69 god.” Drake responded the next day with “The Heart Part 6,” deflecting Kendrick’s accusations and claiming that he gave Kendrick’s team false information regarding his alleged daughter. Despite Drake’s efforts, the song fell flat and marked the beginning of the end of Drake’s fight.

Over the next week or so, people speculated that there was more to come from the dueling rappers. However, as the days passed it seemed more and more likely that it had wound down. This didn’t stop the discourse, and rumors continued to swirl even after Drake seemingly called it quits. Well-known Drake groupie, DJ Akademiks, claimed that there was no backing to the Dave Free allegations that Drake put forward, and there was similarly no proof of any of Kendrick’s accusations. 

At the end of the day, this does not matter to the average listener. Whether false or not, Kendrick’s disses hit harder and the songs sounded better, which is all that’s needed to win a rap battle nowadays. Does Kendrick actually wear children’s shoes? Most likely not. Did Drake actually fart into a disabled man’s ventilator? We’ll never really know for sure, but that’s irrelevant to fans and public sentiment.

From auditioning for American Idol to dropping out and gaining popularity on TikTok in 2021, Benson Boone is now headlining and selling out venues on his freshly released Fireworks and Rollerblades World Tour all across the United States. 

Fans formed long lines at the gates of The Fillmore and waited for the doors to open. Meanwhile, a recognizable voice could be heard from inside the venue as gasps and giggles erupted at the front of the lines. As the throng of teenage girls, some with their significant others, their mothers and an occasional father all filed in, they were all building up excitement to watch Benson Boone perform right before their eyes. 

English singer and songwriter Mimi Webb opened for Boone on the warm evening of April 14. Riling fans up before singing her hit Red Flags, she invited the audience to raise bandanas, scrunchies, and anything red and swing it round and round. Webb also gained popularity in October of 2021 when she released her debut EP, “Seven Shades of Heartbreak” which made it onto the UK Albums Chart at number nine, with her hit song “Good Without” reaching number eight. 

As the lights dimmed and Boone walked out on stage, the audience did not seem prepared to hear someone who sounded exactly like they do on Spotify. It was amazing! 

A box placed between the stage and barricade served its purpose early during the show. As Boone jumped down in between the gap during his second song, he reached into the audience, holding fans’ hands and singing to them, which he did a few more times throughout his show. A proven multitasker, Boone simultaneously sang and did backflips on the stage in a set of denim pants, a white tank, a denim jacket, and a pair of brown satellite stompers, also known as Adidas Sambas. 

Boone, sang his top hits, “Beautiful Things,” “Slow it Down,” “In The Stars,” and “Cry,” before inviting fans to sing his new unreleased song, “Pretty Slowly,” with him. Pointing at the crowd, he sang, “When I look at you,” before pointing towards himself, “When you look at me. Oh, there’s still two lovers, so who the hell are we?” Quickly catching on, the audience fell into Boone’s rhythm. Following his hit, “In The Stars,” Boone invited a couple on stage, dedicating his song, “Love of Mine,” to them before one lowered to his knee and proposed, prompting a silent celebration from Boone who raised his hands excitedly. 

Throughout the night, Boone collected numerous friendship bracelets and sunglasses from the crowd. Laughing, he told the audience that he was tempted to but would not attempt to perform a song with a British accent, one that he usually jokingly speaks with his mother at home. 

Categorized as a pop singer, Boone’s music also fits into the rock genre with his emphatic, passionate, and heartfelt voice and lyrics. In his music, he’s expressed his admiration for and inspiration from artists like Billy Joel, Adele, and Queen. 

Between songs, Boone’s humor engaged the audience in a series of jokes, at one point, even performing an Irish jig, and tearing the sleeves off of his denim jacket. His set was nothing short of authentic, extraordinary, and jaw-dropping.

Even though almost every streaming platform offers some sort of “discover” feature, it can be hard to find new music that you ACTUALLY enjoy. Whether you’re sick of those playlists, tired of your rotation or just looking for something a little bit niche, here’s a list of songs from artists with under 500,000 monthly Spotify listeners.

“Patience Etc…” – Caroline Loveglow (2022)

Opening her debut album “Strawberry,” “Patience Etc…” is an airy, distorted dream pop track similar to artists like Sea Lemon, George Clanton and Planet 1999. Much like the rest of her first album, “Patience Etc…” stands out through Loveglow’s soft yet powerful vocals and ambient soundscape production style.

“CERBERUS” – Biking With Francis (2023)

Biking With Francis’s “CERBERUS” feels like a revival of the 2017-2019 indie pop/rap genre. Between their laid-back rap verses, the beat switch roughly halfway through the song and their catchy melody in the chorus, “CERBERUS” is the perfect song for a sunny day.

“Wild Animals” – Liv.e (2023)

Working with artists like MIKE and Earl Sweatshirt, Liv.e’s solo work holds up just as much as the big names she’s worked with. “Wild Animals” is the perfect showcase of her experimental production style and contemporary neo-soul sound.

“Letting Things Go” – Vulmon feat. Evangeline (2024)

With muted drums and retro keys, “Letting Things Go” is the perfect kind of simple: little instrumentation with quiet vocals and harmonies that highlight the main melody. Though a feature on the song, Evangeline’s vocal tone is light and captivating, a great song if you’re looking for something a little more mellow.

“Cherish It” – Phantom Youth (2024)

Much like the rest of their discography, “Cherish It” is the epitome of modern shoegaze. Heavy reverb, space-like guitar and almost indiscernible vocals reference the artists spearheading the genre. “Cherish It” feels introspective, relaxed, and like a new take on shoegaze.

“Favorite” – SOMOH (2024)

“Favorite” immediately grabs your attention through SOMOH’s layered bedroom-pop vocals and drums before leading into her energetic indie-rock chorus. Similar to artists like Hannah Cole and Boyish, SOMOH is able to contrast her delicate vocals with her 90s inspired rock instrumentation to create an addicting and unique indie pop song.

“Still Hoverin’” – DOOM GONG (2023)

DOOM GONG’s whispery vocals, bubbly synths, and distorted guitar make “Still Hoverin’” a chill yet upbeat summer-esque song. Describing themselves as “denim psych,” the atmospheric production and catchy drums of “Still Hoverin’” have kept this song in my rotation for the past year.

“BBIDGI” – The Army, The Navy (2024)

Though there are many different aspects of “BBIDGI” that speak to the talent of The Army, The Navy, their unpredictable yet satisfying harmonies have to be the top three. With other hits on TikTok like “Vienna (In Memoriam)” and “Persimmon,” the addictiveness of “BBIDGI” is unsurprising.

“See Ya There” – Genesis Owusu (2023)

“See Ya There” is a smooth, low-tempo indie-soul track with a funky bassline and watery, distorted guitar. With the success of his first album “Smiling with No Teeth,” it’s hard to believe that Genesis Owusu has just under 5,000 monthly listeners on Spotify.

“One On One (Remix)” – Micah Dailey-White feat. Headband Henny and Mickey Doo (2023)

If you’re looking for a high-energy dance track, “One On One (Remix)” is the perfect song. With an electronic drum beat and captivating melody broken up by rap verses, the two features make it the perfect song to add to your pregame/getting-ready playlist.

“Crush” – Unflirt (2020)

Soft drums, vocals, and guitar make up Unflirt’s dreamy bedroom pop song “Crush.” Bittersweet lyrics accompanied by a quiet guitar solo tell the story of having a potentially unrequited crush and all of the sad yet yearning feelings that come with it. 

Check out all of these songs here or on all streaming platforms.