For the sixth consecutive year, the Pentagon has fallen short in an independent audit of its accounting systems. The news was revealed by a Pentagon official last Wednesday. Mike McCord, the Defense Department’s chief financial officer, emphasized that while there is progress, it is not sufficient. Secretary of Defense Lloyd Austin stressed the need for improved performance and speed in addressing these issues.

An annual audit is a thorough examination of an organization’s financial records, processes and systems by independent auditors to ensure accuracy, transparency and compliance with established standards and regulations. In the case of the Pentagon, this audit is conducted by the Department of Defense Inspector General (DoD IG) or external auditors that are appointed by the government.

The Defense Department remains the only federal agency in the country that has failed to ever pass an independent audit—a requirement under federal law that has existed for all government agencies since the early 1990s. For the last decade, all but the DOD have been able to meet that requirement. Yet, somehow, the DoD, which has the largest budget of any federal agency, has failed every year. The Pentagon’s inability to pass a full financial audit since 1990 raises serious concerns about the DoD’s financial management and accountability. This persistent failure has significant implications for taxpayers, lawmakers and national security.

The failure to pass the audit suggests persistent issues within the DoD’s financial management practices, such as inaccuracies in accounting, insufficient documentation, weaknesses in internal controls or non-compliance with financial regulations. It highlights challenges in ensuring accountability and transparency in the Pentagon’s vast and complex budgetary operations, which can involve billions of dollars in spending across numerous programs and agencies.

Although striving for a “clean” audit, achieving this goal remains years away, according to McCord. The audit encompasses 29 sub-audits of the department’s services, all of which must pass for overall approval. This year, seven sub-audits succeeded (the same number as last year), and no instances of fraud were discovered. 22 of the sub-audits were unsuccessful. 

The audit evaluates the Pentagon’s record-keeping processes concerning its weapons systems, military personnel and global property. Conducted by 1,600 auditors who conducted 700 site visits, the assessment covered $3.8 trillion in assets and $4 trillion in liabilities, according to Pentagon data. As a government agency with a $1.6 trillion budget, the Pentagon should be fully able to have a record-keeping system where things do not slip through the cracks. 

The inability to pass the audit reflects systemic issues within the DoD’s financial infrastructure. Inaccurate accounting, insufficient documentation and weaknesses in internal controls not only hinder financial transparency but also pose risks of waste, fraud and abuse. Without a clear understanding of where funds are being allocated and how they are being used, it becomes challenging to identify inefficiencies, prioritize spending and make informed budgetary decisions.

The lack of a clean audit opinion undermines public trust and confidence in how taxpayer dollars are being managed within the largest government agency. With the Pentagon’s budget reaching hundreds of billions of dollars annually, ensuring transparency and accuracy in financial reporting is essential for ensuring responsible stewardship of public funds.

From a national security perspective, the Pentagon’s financial management shortcomings can impact military readiness and effectiveness. Inaccurate financial data may lead to delays or disruptions in the procurement of essential equipment, maintenance of military assets and support for military operations. Additionally, the inability to accurately track and report financial transactions could leave the Department vulnerable to exploitation by adversaries or internal threats.

Despite ongoing efforts to address these challenges, the fact remains that the Pentagon’s financial management practices continue to fall short of the standards expected of a federal agency of its size and importance. Achieving a clean audit opinion is not merely a bureaucratic requirement but a crucial step toward ensuring fiscal responsibility, operational efficiency and national security. Addressing the root causes of the Pentagon’s audit failures will require sustained commitment, comprehensive reforms and close oversight from both Congress and the public to ensure that the DoD can effectively fulfill its mission while being accountable to the American people.

Even though the annual audit was not successful, it has facilitated the Pentagon’s efforts in inventory management, enabling savings and streamlining the process of locating and shipping critical technology, such as arms, to regions like Ukraine. 

Moving forward, there is an urgent need for improved performance and speed in addressing the root causes of the Pentagon’s audit failures. If other government agencies can pass an audit, so can the DoD. If all American citizens are required to submit their taxes every year and are held accountable for failing to do so, the Pentagon should also be held accountable for their shortcomings. 

Taylor Swift’s latest album, “The Tortured Poets Department,” (“TTPD”) released on April 19, has sparked a whirlwind of reactions from fans and critics alike. Known for her candid songwriting, infectious melodies and deeply personal narratives, Swift’s music has always been a lightning rod for both adoration and critique. However, her newest release seems to have intensified this dichotomy. 

“All’s fair in love and poetry” was a tagline that Swift used for promotion of her latest album, and this play on the famous poetic idiom suggested that the singer was going back to her roots of baring her heartbreak and hurt through songwriting. Maybe the tagline also hinted to expect the unexpected, since the new record ended up being a double album drop, with “The Tortured Poets Department: The Anthology” coming out at 2 a.m. on the release night, with 15 additional songs. 

Catchy pop melodies, blunt references to her personal life interlaced with raw, imperfect emotions… these have all been trademarks of Taylor Swift’s 18-year career. Over the years, she has built an immense fanbase that adores all of those qualities of her discography. Yet her latest album, “The Tortured Poets Department,” has faced criticism for incorporating those very components. 

The reception of Swift’s newest release, both from critics and listeners, has been paradoxical. She’s being praised and criticized for the same things. Lyrics and song meanings are being both overanalyzed and underanalyzed. It feels as if people are both missing the point as well as reaching too far for metaphors that are not being made. Swift’s lyrics are dissected with a fine-tooth comb in viral TikTok videos and online reviews, with some listeners finding profound meaning in every word, while others dismiss them as shallow and trite.

Her fans have theorized and asked for a double album for multiple new releases now, including “1989 (Taylor’s Version)” and “Midnights.” But when she released 31 new songs, critics responded by saying it was too much. The New York Times published a review saying this album shows Swift needs an editor, and many fans have echoed these sentiments. 

Poetry doesn’t always make perfect sense the first time you read it. Many critical reviews were published just hours after the album dropped, and some of those critics have now gone back on their word. Swift shines in her lyricism, she is not known for mixing new crazy beats for each individual track, so it makes sense that an album that was marketed as breakup poetry may take a few listens to appreciate. 

Swift has reached unbelievable levels of fame over the past few years, as showcased by the Eras Tour, but this response to her new albums is not a new phenomenon. The 2022 release “Midnights,” which went on to win Album of the Year (AOTY) at the Grammys, had a mixed reception, and when she departed from her traditional upbeat pop with the 2020 indie-folk album “folklore,” there was no shortage of people questioning if she could do it. “Folklore” also won an AOTY and is generally regarded as one of the crowning jewels of Swift’s discography.

Despite the mixed critical response, “The Tortured Poets Department” is making waves by breaking numerous streaming records. Swift has become Spotify’s most-streamed artist in one day, and “TTPD” the most-streamed album in one day, with over 300 million streams. In just its first week of release, the album has set a new single-week streaming record, further solidifying Swift’s status as a powerhouse in the music world.

The album’s immense popularity on streaming platforms speaks to the undeniable appeal of Swift’s music, transcending the boundaries of genre and resonating with audiences of all ages and backgrounds. Despite the varying interpretations and reactions to the album’s content, its overwhelming success on streaming platforms underscores Swift’s ability to connect with listeners on a global scale.

At the end of the day, “TTPD” delivers a diverse array of tracks that showcase her versatility as a songwriter and storyteller. Sticking to the tradition of putting a very emotional, personal song as Track 5, “So Long London” is vulnerable and haunting, reflecting on the loss of a place and a love that could have been forever. Another standout song is “How Did It End,” an introspective track that showcases Swift’s ability to lay her heart out on the page, with the echoing questions that never end when one bares their love life to public scrutiny. With a serene melody and thought-provoking lyrics, this song invites listeners to reflect on the complexities of endings.

On the flip side, “So High School” is a sweet and catchy pop ballad that harkens back to the nostalgia of teenage romance, with references that many fans have tied to Chiefs’ tight-end Travis Kelce. With its upbeat tempo and infectious hooks, this song is sure to become a fan favorite, capturing the essence of young love with its playful lyrics and infectious energy.

This album is largely sad and slow, which is not always descriptive of Swift’s music, and that is not everyone’s cup of tea. What resonates deeply with one person may leave another feeling indifferent or even disdainful. It’s a reminder that art, much like poetry, is subjective and open to interpretation. In the case of “The Tortured Poets Department,” Swift’s exploration of love, loss and the complexities of human emotion and behavior invites a myriad of reactions, each colored by the listener’s own experiences and perspectives.

This response to her album, as well as the various interpretations and theories of her songs, speaks to the multifaceted nature of her artistry. She is simultaneously celebrated and scrutinized for the qualities that define her as an artist—her vulnerability, authenticity and unapologetic embrace of her own narrative. 

One thing remains clear: Taylor Swift’s music will always evoke strong reactions, provoking thought, sparking debate and igniting passion in equal measure. Love her or loathe her, one thing is certain—Taylor Swift is here to stay, and her voice will continue to resonate with audiences for years to come.

Taylor Swift’s latest album, “The Tortured Poets Department,” (“TTPD”) released on April 19, has sparked a whirlwind of reactions from fans and critics alike. Known for her candid songwriting, infectious melodies and deeply personal narratives, Swift’s music has always been a lightning rod for both adoration and critique. However, her newest release seems to have intensified this dichotomy. 

“All’s fair in love and poetry” was a tagline that Swift used for promotion of her latest album, and this play on the famous poetic idiom suggested that the singer was going back to her roots of baring her heartbreak and hurt through songwriting. Maybe the tagline also hinted to expect the unexpected, since the new record ended up being a double album drop, with “The Tortured Poets Department: The Anthology” coming out at 2 a.m. on the release night, with 15 additional songs. 

Catchy pop melodies, blunt references to her personal life interlaced with raw, imperfect emotions… these have all been trademarks of Taylor Swift’s 18-year career. Over the years, she has built an immense fanbase that adores all of those qualities of her discography. Yet her latest album, “The Tortured Poets Department,” has faced criticism for incorporating those very components. 

The reception of Swift’s newest release, both from critics and listeners, has been paradoxical. She’s being praised and criticized for the same things. Lyrics and song meanings are being both overanalyzed and underanalyzed. It feels as if people are both missing the point as well as reaching too far for metaphors that are not being made. Swift’s lyrics are dissected with a fine-tooth comb in viral TikTok videos and online reviews, with some listeners finding profound meaning in every word, while others dismiss them as shallow and trite.

Her fans have theorized and asked for a double album for multiple new releases now, including “1989 (Taylor’s Version)” and “Midnights.” But when she released 31 new songs, critics responded by saying it was too much. The New York Times published a review saying this album shows Swift needs an editor, and many fans have echoed these sentiments. 

Poetry doesn’t always make perfect sense the first time you read it. Many critical reviews were published just hours after the album dropped, and some of those critics have now gone back on their word. Swift shines in her lyricism, she is not known for mixing new crazy beats for each individual track, so it makes sense that an album that was marketed as breakup poetry may take a few listens to appreciate. 

Swift has reached unbelievable levels of fame over the past few years, as showcased by the Eras Tour, but this response to her new albums is not a new phenomenon. The 2022 release “Midnights,” which went on to win Album of the Year (AOTY) at the Grammys, had a mixed reception, and when she departed from her traditional upbeat pop with the 2020 indie-folk album “folklore,” there was no shortage of people questioning if she could do it. “Folklore” also won an AOTY and is generally regarded as one of the crowning jewels of Swift’s discography.

Despite the mixed critical response, “The Tortured Poets Department” is making waves by breaking numerous streaming records. Swift has become Spotify’s most-streamed artist in one day, and “TTPD” the most-streamed album in one day, with over 300 million streams. In just its first week of release, the album has set a new single-week streaming record, further solidifying Swift’s status as a powerhouse in the music world.

The album’s immense popularity on streaming platforms speaks to the undeniable appeal of Swift’s music, transcending the boundaries of genre and resonating with audiences of all ages and backgrounds. Despite the varying interpretations and reactions to the album’s content, its overwhelming success on streaming platforms underscores Swift’s ability to connect with listeners on a global scale.

At the end of the day, “TTPD” delivers a diverse array of tracks that showcase her versatility as a songwriter and storyteller. Sticking to the tradition of putting a very emotional, personal song as Track 5, “So Long London” is vulnerable and haunting, reflecting on the loss of a place and a love that could have been forever. Another standout song is “How Did It End,” an introspective track that showcases Swift’s ability to lay her heart out on the page, with the echoing questions that never end when one bares their love life to public scrutiny. With a serene melody and thought-provoking lyrics, this song invites listeners to reflect on the complexities of endings.

On the flip side, “So High School” is a sweet and catchy pop ballad that harkens back to the nostalgia of teenage romance, with references that many fans have tied to Chiefs’ tight-end Travis Kelce. With its upbeat tempo and infectious hooks, this song is sure to become a fan favorite, capturing the essence of young love with its playful lyrics and infectious energy.

This album is largely sad and slow, which is not always descriptive of Swift’s music, and that is not everyone’s cup of tea. What resonates deeply with one person may leave another feeling indifferent or even disdainful. It’s a reminder that art, much like poetry, is subjective and open to interpretation. In the case of “The Tortured Poets Department,” Swift’s exploration of love, loss and the complexities of human emotion and behavior invites a myriad of reactions, each colored by the listener’s own experiences and perspectives.

This response to her album, as well as the various interpretations and theories of her songs, speaks to the multifaceted nature of her artistry. She is simultaneously celebrated and scrutinized for the qualities that define her as an artist—her vulnerability, authenticity and unapologetic embrace of her own narrative. 

One thing remains clear: Taylor Swift’s music will always evoke strong reactions, provoking thought, sparking debate and igniting passion in equal measure. Love her or loathe her, one thing is certain—Taylor Swift is here to stay, and her voice will continue to resonate with audiences for years to come.

Taylor Swift’s latest album, “The Tortured Poets Department,” (“TTPD”) released on April 19, has sparked a whirlwind of reactions from fans and critics alike. Known for her candid songwriting, infectious melodies and deeply personal narratives, Swift’s music has always been a lightning rod for both adoration and critique. However, her newest release seems to have intensified this dichotomy. 

“All’s fair in love and poetry” was a tagline that Swift used for promotion of her latest album, and this play on the famous poetic idiom suggested that the singer was going back to her roots of baring her heartbreak and hurt through songwriting. Maybe the tagline also hinted to expect the unexpected, since the new record ended up being a double album drop, with “The Tortured Poets Department: The Anthology” coming out at 2 a.m. on the release night, with 15 additional songs. 

Catchy pop melodies, blunt references to her personal life interlaced with raw, imperfect emotions… these have all been trademarks of Taylor Swift’s 18-year career. Over the years, she has built an immense fanbase that adores all of those qualities of her discography. Yet her latest album, “The Tortured Poets Department,” has faced criticism for incorporating those very components. 

The reception of Swift’s newest release, both from critics and listeners, has been paradoxical. She’s being praised and criticized for the same things. Lyrics and song meanings are being both overanalyzed and underanalyzed. It feels as if people are both missing the point as well as reaching too far for metaphors that are not being made. Swift’s lyrics are dissected with a fine-tooth comb in viral TikTok videos and online reviews, with some listeners finding profound meaning in every word, while others dismiss them as shallow and trite.

Her fans have theorized and asked for a double album for multiple new releases now, including “1989 (Taylor’s Version)” and “Midnights.” But when she released 31 new songs, critics responded by saying it was too much. The New York Times published a review saying this album shows Swift needs an editor, and many fans have echoed these sentiments. 

Poetry doesn’t always make perfect sense the first time you read it. Many critical reviews were published just hours after the album dropped, and some of those critics have now gone back on their word. Swift shines in her lyricism, she is not known for mixing new crazy beats for each individual track, so it makes sense that an album that was marketed as breakup poetry may take a few listens to appreciate. 

Swift has reached unbelievable levels of fame over the past few years, as showcased by the Eras Tour, but this response to her new albums is not a new phenomenon. The 2022 release “Midnights,” which went on to win Album of the Year (AOTY) at the Grammys, had a mixed reception, and when she departed from her traditional upbeat pop with the 2020 indie-folk album “folklore,” there was no shortage of people questioning if she could do it. “Folklore” also won an AOTY and is generally regarded as one of the crowning jewels of Swift’s discography.

Despite the mixed critical response, “The Tortured Poets Department” is making waves by breaking numerous streaming records. Swift has become Spotify’s most-streamed artist in one day, and “TTPD” the most-streamed album in one day, with over 300 million streams. In just its first week of release, the album has set a new single-week streaming record, further solidifying Swift’s status as a powerhouse in the music world.

The album’s immense popularity on streaming platforms speaks to the undeniable appeal of Swift’s music, transcending the boundaries of genre and resonating with audiences of all ages and backgrounds. Despite the varying interpretations and reactions to the album’s content, its overwhelming success on streaming platforms underscores Swift’s ability to connect with listeners on a global scale.

At the end of the day, “TTPD” delivers a diverse array of tracks that showcase her versatility as a songwriter and storyteller. Sticking to the tradition of putting a very emotional, personal song as Track 5, “So Long London” is vulnerable and haunting, reflecting on the loss of a place and a love that could have been forever. Another standout song is “How Did It End,” an introspective track that showcases Swift’s ability to lay her heart out on the page, with the echoing questions that never end when one bares their love life to public scrutiny. With a serene melody and thought-provoking lyrics, this song invites listeners to reflect on the complexities of endings.

On the flip side, “So High School” is a sweet and catchy pop ballad that harkens back to the nostalgia of teenage romance, with references that many fans have tied to Chiefs’ tight-end Travis Kelce. With its upbeat tempo and infectious hooks, this song is sure to become a fan favorite, capturing the essence of young love with its playful lyrics and infectious energy.

This album is largely sad and slow, which is not always descriptive of Swift’s music, and that is not everyone’s cup of tea. What resonates deeply with one person may leave another feeling indifferent or even disdainful. It’s a reminder that art, much like poetry, is subjective and open to interpretation. In the case of “The Tortured Poets Department,” Swift’s exploration of love, loss and the complexities of human emotion and behavior invites a myriad of reactions, each colored by the listener’s own experiences and perspectives.

This response to her album, as well as the various interpretations and theories of her songs, speaks to the multifaceted nature of her artistry. She is simultaneously celebrated and scrutinized for the qualities that define her as an artist—her vulnerability, authenticity and unapologetic embrace of her own narrative. 

One thing remains clear: Taylor Swift’s music will always evoke strong reactions, provoking thought, sparking debate and igniting passion in equal measure. Love her or loathe her, one thing is certain—Taylor Swift is here to stay, and her voice will continue to resonate with audiences for years to come.

Taylor Swift’s latest album, “The Tortured Poets Department,” (“TTPD”) released on April 19, has sparked a whirlwind of reactions from fans and critics alike. Known for her candid songwriting, infectious melodies and deeply personal narratives, Swift’s music has always been a lightning rod for both adoration and critique. However, her newest release seems to have intensified this dichotomy. 

“All’s fair in love and poetry” was a tagline that Swift used for promotion of her latest album, and this play on the famous poetic idiom suggested that the singer was going back to her roots of baring her heartbreak and hurt through songwriting. Maybe the tagline also hinted to expect the unexpected, since the new record ended up being a double album drop, with “The Tortured Poets Department: The Anthology” coming out at 2 a.m. on the release night, with 15 additional songs. 

Catchy pop melodies, blunt references to her personal life interlaced with raw, imperfect emotions… these have all been trademarks of Taylor Swift’s 18-year career. Over the years, she has built an immense fanbase that adores all of those qualities of her discography. Yet her latest album, “The Tortured Poets Department,” has faced criticism for incorporating those very components. 

The reception of Swift’s newest release, both from critics and listeners, has been paradoxical. She’s being praised and criticized for the same things. Lyrics and song meanings are being both overanalyzed and underanalyzed. It feels as if people are both missing the point as well as reaching too far for metaphors that are not being made. Swift’s lyrics are dissected with a fine-tooth comb in viral TikTok videos and online reviews, with some listeners finding profound meaning in every word, while others dismiss them as shallow and trite.

Her fans have theorized and asked for a double album for multiple new releases now, including “1989 (Taylor’s Version)” and “Midnights.” But when she released 31 new songs, critics responded by saying it was too much. The New York Times published a review saying this album shows Swift needs an editor, and many fans have echoed these sentiments. 

Poetry doesn’t always make perfect sense the first time you read it. Many critical reviews were published just hours after the album dropped, and some of those critics have now gone back on their word. Swift shines in her lyricism, she is not known for mixing new crazy beats for each individual track, so it makes sense that an album that was marketed as breakup poetry may take a few listens to appreciate. 

Swift has reached unbelievable levels of fame over the past few years, as showcased by the Eras Tour, but this response to her new albums is not a new phenomenon. The 2022 release “Midnights,” which went on to win Album of the Year (AOTY) at the Grammys, had a mixed reception, and when she departed from her traditional upbeat pop with the 2020 indie-folk album “folklore,” there was no shortage of people questioning if she could do it. “Folklore” also won an AOTY and is generally regarded as one of the crowning jewels of Swift’s discography.

Despite the mixed critical response, “The Tortured Poets Department” is making waves by breaking numerous streaming records. Swift has become Spotify’s most-streamed artist in one day, and “TTPD” the most-streamed album in one day, with over 300 million streams. In just its first week of release, the album has set a new single-week streaming record, further solidifying Swift’s status as a powerhouse in the music world.

The album’s immense popularity on streaming platforms speaks to the undeniable appeal of Swift’s music, transcending the boundaries of genre and resonating with audiences of all ages and backgrounds. Despite the varying interpretations and reactions to the album’s content, its overwhelming success on streaming platforms underscores Swift’s ability to connect with listeners on a global scale.

At the end of the day, “TTPD” delivers a diverse array of tracks that showcase her versatility as a songwriter and storyteller. Sticking to the tradition of putting a very emotional, personal song as Track 5, “So Long London” is vulnerable and haunting, reflecting on the loss of a place and a love that could have been forever. Another standout song is “How Did It End,” an introspective track that showcases Swift’s ability to lay her heart out on the page, with the echoing questions that never end when one bares their love life to public scrutiny. With a serene melody and thought-provoking lyrics, this song invites listeners to reflect on the complexities of endings.

On the flip side, “So High School” is a sweet and catchy pop ballad that harkens back to the nostalgia of teenage romance, with references that many fans have tied to Chiefs’ tight-end Travis Kelce. With its upbeat tempo and infectious hooks, this song is sure to become a fan favorite, capturing the essence of young love with its playful lyrics and infectious energy.

This album is largely sad and slow, which is not always descriptive of Swift’s music, and that is not everyone’s cup of tea. What resonates deeply with one person may leave another feeling indifferent or even disdainful. It’s a reminder that art, much like poetry, is subjective and open to interpretation. In the case of “The Tortured Poets Department,” Swift’s exploration of love, loss and the complexities of human emotion and behavior invites a myriad of reactions, each colored by the listener’s own experiences and perspectives.

This response to her album, as well as the various interpretations and theories of her songs, speaks to the multifaceted nature of her artistry. She is simultaneously celebrated and scrutinized for the qualities that define her as an artist—her vulnerability, authenticity and unapologetic embrace of her own narrative. 

One thing remains clear: Taylor Swift’s music will always evoke strong reactions, provoking thought, sparking debate and igniting passion in equal measure. Love her or loathe her, one thing is certain—Taylor Swift is here to stay, and her voice will continue to resonate with audiences for years to come.

Taylor Swift’s latest album, “The Tortured Poets Department,” (“TTPD”) released on April 19, has sparked a whirlwind of reactions from fans and critics alike. Known for her candid songwriting, infectious melodies and deeply personal narratives, Swift’s music has always been a lightning rod for both adoration and critique. However, her newest release seems to have intensified this dichotomy. 

“All’s fair in love and poetry” was a tagline that Swift used for promotion of her latest album, and this play on the famous poetic idiom suggested that the singer was going back to her roots of baring her heartbreak and hurt through songwriting. Maybe the tagline also hinted to expect the unexpected, since the new record ended up being a double album drop, with “The Tortured Poets Department: The Anthology” coming out at 2 a.m. on the release night, with 15 additional songs. 

Catchy pop melodies, blunt references to her personal life interlaced with raw, imperfect emotions… these have all been trademarks of Taylor Swift’s 18-year career. Over the years, she has built an immense fanbase that adores all of those qualities of her discography. Yet her latest album, “The Tortured Poets Department,” has faced criticism for incorporating those very components. 

The reception of Swift’s newest release, both from critics and listeners, has been paradoxical. She’s being praised and criticized for the same things. Lyrics and song meanings are being both overanalyzed and underanalyzed. It feels as if people are both missing the point as well as reaching too far for metaphors that are not being made. Swift’s lyrics are dissected with a fine-tooth comb in viral TikTok videos and online reviews, with some listeners finding profound meaning in every word, while others dismiss them as shallow and trite.

Her fans have theorized and asked for a double album for multiple new releases now, including “1989 (Taylor’s Version)” and “Midnights.” But when she released 31 new songs, critics responded by saying it was too much. The New York Times published a review saying this album shows Swift needs an editor, and many fans have echoed these sentiments. 

Poetry doesn’t always make perfect sense the first time you read it. Many critical reviews were published just hours after the album dropped, and some of those critics have now gone back on their word. Swift shines in her lyricism, she is not known for mixing new crazy beats for each individual track, so it makes sense that an album that was marketed as breakup poetry may take a few listens to appreciate. 

Swift has reached unbelievable levels of fame over the past few years, as showcased by the Eras Tour, but this response to her new albums is not a new phenomenon. The 2022 release “Midnights,” which went on to win Album of the Year (AOTY) at the Grammys, had a mixed reception, and when she departed from her traditional upbeat pop with the 2020 indie-folk album “folklore,” there was no shortage of people questioning if she could do it. “Folklore” also won an AOTY and is generally regarded as one of the crowning jewels of Swift’s discography.

Despite the mixed critical response, “The Tortured Poets Department” is making waves by breaking numerous streaming records. Swift has become Spotify’s most-streamed artist in one day, and “TTPD” the most-streamed album in one day, with over 300 million streams. In just its first week of release, the album has set a new single-week streaming record, further solidifying Swift’s status as a powerhouse in the music world.

The album’s immense popularity on streaming platforms speaks to the undeniable appeal of Swift’s music, transcending the boundaries of genre and resonating with audiences of all ages and backgrounds. Despite the varying interpretations and reactions to the album’s content, its overwhelming success on streaming platforms underscores Swift’s ability to connect with listeners on a global scale.

At the end of the day, “TTPD” delivers a diverse array of tracks that showcase her versatility as a songwriter and storyteller. Sticking to the tradition of putting a very emotional, personal song as Track 5, “So Long London” is vulnerable and haunting, reflecting on the loss of a place and a love that could have been forever. Another standout song is “How Did It End,” an introspective track that showcases Swift’s ability to lay her heart out on the page, with the echoing questions that never end when one bares their love life to public scrutiny. With a serene melody and thought-provoking lyrics, this song invites listeners to reflect on the complexities of endings.

On the flip side, “So High School” is a sweet and catchy pop ballad that harkens back to the nostalgia of teenage romance, with references that many fans have tied to Chiefs’ tight-end Travis Kelce. With its upbeat tempo and infectious hooks, this song is sure to become a fan favorite, capturing the essence of young love with its playful lyrics and infectious energy.

This album is largely sad and slow, which is not always descriptive of Swift’s music, and that is not everyone’s cup of tea. What resonates deeply with one person may leave another feeling indifferent or even disdainful. It’s a reminder that art, much like poetry, is subjective and open to interpretation. In the case of “The Tortured Poets Department,” Swift’s exploration of love, loss and the complexities of human emotion and behavior invites a myriad of reactions, each colored by the listener’s own experiences and perspectives.

This response to her album, as well as the various interpretations and theories of her songs, speaks to the multifaceted nature of her artistry. She is simultaneously celebrated and scrutinized for the qualities that define her as an artist—her vulnerability, authenticity and unapologetic embrace of her own narrative. 

One thing remains clear: Taylor Swift’s music will always evoke strong reactions, provoking thought, sparking debate and igniting passion in equal measure. Love her or loathe her, one thing is certain—Taylor Swift is here to stay, and her voice will continue to resonate with audiences for years to come.

During the first week of the spring semester at Saint Louis University, several on-campus dining locations were unable to accept Flex dollars, causing food access issues for many students on campus. 

One of SLU’s larger dining options, Fusz Hall, which contains three restaurants and a small market, is still closed for renovation, despite previous signs posted around Fusz that assured that the changes would be completed by the end of Winter Break. 

With the Flex issues, several on-campus establishments such as the C-store in the BSC and the BSC food court, only accepted cash, credit and debit payments. Some locations are asking students to write down their student ID numbers to be charged later, but this was not an option available at all locations. 

According to Benjamin Pearlman, the assistant vice president of student engagement at SLU, the issue was due to a software update. The software used by Sodexo at their registers was upgraded, and the new software was not compatible with the SLU card management software. 

These two must be aligned before university cards can be accepted at various locations on campus, Pearlman said. He said that permanent solutions are being rolled out as quickly as possible. 

The suddenness of this issue and lack of timely response led students to feel confused and panicked over the current dining situation. 

Freshman and sophomore students living in dorms are most affected by these changes. For students who have dietary restrictions or specific food requirements, the Flex outage, as well as one of the main dining locations being closed, has caused limited access to daily meals. 

All freshman students are automatically enrolled in the All Access meal plan, which includes unlimited meal swipes and $311 of Flex. 

Freshman Lily Nitsch said the Flex situation has negatively affected her due to her avoidant/restrictive food intake disorder (ARFID). 

“Many of my safe meals are no longer an option for me, so I’ve been skipping meals,” Nitsch said.

Many students have different dining requirements. Sophomore Hailey Jones is part of the Physical Therapy program and is currently on the Block 80 meal plan. She has a gluten allergy and said she has struggled with cross-contamination in the dining hall. She does not have a personal kitchen and said her main food sources are Fusz and Panera. 

“Fusz being closed has cut me down to only one reliable option, which has ridiculous lines now that other places are either closed or don’t take Flex,” Jones said. “The line sometimes takes so long that I can’t eat before I go to class.”

For Junior Mia Yeo, the current food situation has had a significant impact on her day-to-day life. Yeo is on the Block 80 plan, which includes 80 meal swipes and $995 of Flex, and currently lives in a dorm on campus.

She said she relies on campus dining for the majority of her meals, and having the food hall in her dorm, Fusz, closed was already inconvenient. On top of that, the Flex outage provided additional challenges. 

“Throughout all of my years at SLU, I have never seen the Flex system go down as many times as it has this year,” Yeo said. “Instructions on what to do to continue to utilize my meal plan when this occurs are often unclear and have resulted in me getting to the cash register and being told that I have to pay cash or credit for my meal, and I don’t usually carry those items with me across campus.”

Students expressed their frustrations on the DineSLU Instagram and contacted SLU administration. One user commented “we pay so much for a meal plan and now we can’t even use it? seriously?”

On Jan. 22, students received an email from Benjamin Pearlman explaining the issues and offering an explanation on how to continue using Flex despite the software issues. The email stated that “Students with SLUcard will not be turned away for campus dining locations due to the outage. We apologize for the confusion and inconvenience these issues have caused and are continuing to work to solve them as quickly as possible.”

The previous week, DineSLU announced that Flex was out through an Instagram post, and the email was sent only after students spoke out and voiced concerns on the social media platform in the days prior. 

This delayed communication was frustrating for students like freshman Rina Abouantoun, who expressed their disappointment with how the issue was being handled.  

“It feels like SLU is putting no effort into resolving this. If they make us pay with debit and credit, they should reimburse us,” Abouantoun said.

Pearlman said there are no plans to compensate or reimburse students. If they have questions about their balances or plans, they are encouraged to contact dining@slu.edu.

Junior Kayl Baker said they are frustrated with the university’s temporary solution to the problem. They added they were disappointed in SLU’s response, and that not all students can afford to pay for their meals with credit or cash, no matter how temporary. 

“We pay for our meal plans so we can eat. No student should have to worry about how they’re paying for their next meal when they already paid for it.” 

Pearlman said that Subway and Qdoba were on track to be open on Jan. 26. As of Jan. 29, the restaurants remained closed.

Nov. 11 marked the opening weekend of the 2023 Saint Louis International Film Festival (SLIFF). SLIFF is one of the longest-running film festivals in the midwest, attracting filmmakers, industry professionals and film enthusiasts from around the world. This is the 23 annual year of the festival, which typically showcases a diverse selection of films, including feature-length films, documentaries and shorts.

The festival’s programming often includes a wide range of genres and themes, covering topics from international cinema to independent and experimental films. One of the films shown this weekend at the Hi-Pointe Theater was the 2022 independent, animated feature “My Love Affair With Marriage” by Latvian director Signe Baumane.

“My Love Affair With Marriage” follows the main character, Zelma, on her 23-year journey for perfect love and lasting marriage set against a backdrop of historic events in Eastern Europe. Zelma experiences the ebb and flow of love, finding and losing it multiple times before ultimately uncovering her true identity shaped by her upbringing in the Soviet Union, and the societal demand and expectation to act as the ideal woman. Told from a woman’s point of view, the film blends historical, biological, societal and emotional arcs with a spirited sense of humor and thought-provoking musical numbers. This animated film for adults showcases various topics and issues such as gender norms, domestic violence, cultural expectations, girlhood fantasies and toxic relationships, that shape Zelma’s journey toward independence and liberation.

SLIFF presents awards in various categories to recognize outstanding contributions to filmmaking. Before the screening on Nov. 11, Baumane accepted this year’s Women in Film Award. Baumane is the sole writer, director, designer and animator of this feature film. She animates in the traditional method- pencil on paper. To create the film, Baumane crafted Zelma’s world by overlaying 2D line-drawn characters on meticulously constructed 3D paper-mâché dioramas. This animation style is a nod to Baumane’s Eastern European heritage and works incredibly well with the setting and time period of the film.

The film, a Latvia-USA-Luxembourg co-production, took seven years to make and was financed with the help of 1,685 individual donors and grants from many arts and cultural institutions. Baumane’s style combines her background’s aesthetic values and American sensitivities to realism. “My style is a blend of my Eastern European roots of metaphor and surreal imagery and a more literal, humor-oriented American sensibility. ‘My Love Affair With Marriage’ is a unique combination of both,” Baumane said.

“My Love Affair With Marriage” explores the complexities of relationships, love, sex and marriage from a woman’s perspective, using unique elements that drive the plot and personalize the narration. Zelma’s conception of marriage and love is not only shaped by her upbringing and society’s demands, but also by three singing mythological sirens that press misguided ideas of marriage and virtue onto Zelma during her childhood. Throughout the movie, Zelma compares her inner, unconventional persona to that of a cat; she has many spats with that cat, some humorous and some much more serious. The audience is visually walked through the science of what happens when someone falls in love, is rejected, builds a new habit, or grows dependent on another person, as viewers watch how Zelma’s brain makes sense of the world around her, shown through craftily animated sequences of neurotransmitters and synapses.

The film tells a story about being a woman, and how the institutional expectations of a woman’s role in marriage affect women’s journeys toward freedom and self-acceptance.

“My Love Affair With Marriage” will be available on North American video-on-demand platforms in 2024.

The world of fashion is often a cyclical one, with trends from the past resurfacing to captivate new generations. Lately, there has been a pronounced return of clothing trends from the 1970s and 1980s, giving rise to a sense of nostalgia and a unique fashion fusion. Retro fashion was filled with bold statements and staple pieces, and it is no surprise that some of those trends are coming back for another moment in the spotlight. 

One of the most iconic fashion trends of the 1970s, bell-bottom pants, has made a triumphant return. This time around, they’ve been reimagined as high-waisted flared jeans, offering a modern twist on a classic look. These wide-legged bottoms provide a touch of nostalgia and a chic, flattering silhouette that appeals to a new generation of fashion enthusiasts. In a matter of just a few years, the skinny jeans that graced almost every young woman’s legs in the last twenty years have become practically extinct, with denim trends leaning back on older trends like mom jeans, straight-legged pants and flared bottoms. 

Platform shoes were all the rage during the disco era of the ’70s, and now they’re making waves again. Contemporary designers have updated these iconic shoes, creating platform sandals, heels and sneakers. They offer not only a nod to the past but also a stylish elevation for the wearer. Converse rose to fame in the ’70s, when the shoe’s branding changed from being sports-oriented to being marketed as a leisure shoe. In 2023, Converse made a huge comeback. With new designs and styles, their platform shoes can be seen pretty much anywhere you look on campus. 

So many “vintage” band tees have been produced by brands like Hollister, American Eagle, Old Navy and so many more. The allure of vintage band tees from the ’70s and ’80s continues to grow. The graphic designs and music legends emblazoned on these shirts appeal to fans of all ages. Whether you’re a die-hard fan of the band or just appreciate the retro aesthetic, vintage band tees have become a staple of modern fashion, easily paired with any clothing item to create a simple and stylish outfit.  

The ’80s were a decade of bold colors and eye-catching patterns, and these vibrant elements have resurfaced in fashion. Neon colors, graphic patterns and flashy designs are back in vogue. Modern designers and fashion enthusiasts are embracing these lively elements, infusing a dose of retro exuberance into their wardrobes. There have been so many more colors offered on basic items like leggings, shorts and pants. In middle school, if I’d worn colorful leggings, I would have gotten laughed at. Now I have the same pair of leggings in pink, blue, lavender and navy. 

Another trend that has been making a huge comeback is athleisure. The ’70s and ’80s brought about a revolution in sportswear, and this trend has only gained momentum in the 21st century. Vintage sportswear, including tracksuits, retro sneakers and athletic-inspired accessories, has become an integral part of the athleisure movement. The comfort and style of these retro sporty pieces have made them a favorite for those who appreciate both fashion and function. The comeback of athleisure being worn casually has been around for a few years, led by brands like Nike, Adidas and Champion, who create sportswear styles that are both functional and stylish (and expensive!), leading consumers to wear those items for more events than just their morning jog. 

To complete the retro look, accessories from the ’70s and ’80s have also enjoyed a revival. Items like fanny packs, oversized sunglasses and chunky jewelry have made a comeback, allowing fashion enthusiasts to incorporate these vintage touches into their contemporary outfits. Wearing a fanny pack would’ve been considered embarrassing five years ago, but now it seems every other post in my Instagram feed features a Lululemon belt bag or a cheaper counterpart. In my closet sit about twenty pairs of sunglasses in various colors and shapes, such as blue hearts and pink flames. Are these sunglasses practical? Absolutely not. They do a horrible job of protecting my eyes from the sun. Still, oversized and funky sunglasses have made a reappearance. 

Fashion has a way of revisiting its past, and the resurgence of ’70s and ’80s clothing trends is a testament to the timeless appeal of both these eras and these styles. From bell bottoms to platform shoes, vintage band tees to bold colors and patterns and the fusion of sportswear with everyday style, these trends are stylishly making a comeback. Whether you lived through these decades or are experiencing them for the first time, the fashion of the ’70s and ’80s continues to captivate and inspire the modern wardrobe, proving that good style truly stands the test of time.

On Oct. 11, Saint Louis University students gathered in the Wool ballroom for the second annual SLU drag performance. 

After the success of last year’s drag show, despite widespread publicity that garnered criticism from several right-wing organizations in the fall of 2022, SLU staff decided to make the show an annual event. 

The “All Love, No Hate” drag show was sponsored by the SLU Division of Diversity and Innovative Community Engagement (DICE), SLU Rainbow Alliance and SLU Student Involvement Center (SIC). All tips raised from the event were donated to support SLU Rainbow’s Queer Closet. 

Thomas Patterson, the program coordinator at the SLU SIC, said preparations for this year’s show included organizing more lighting and more seating, based on turnout for last year’s event. The drag show set-up this year also included a second stage in the center of the room, allowing more students a better view of the performances. 

SLU Rainbow Alliance’s President, senior Lane Hartman said the show couldn’t happen without the support of the SIC and DICE. He said he was hopeful to see the drag show become a tradition that will carry on for many years to come. 

“With the legislative and ideological attacks on LGBTQ+ and specifically trans folks in the United States, and especially Missouri, having this event that really celebrates, centers and encourages queer joy is absolutely critical,” Hartman said. 

The event organizers also set up a table for cash exchange, giving attendees the opportunity to get one-dollar bills, as tips are a customary part of drag culture. 

For two hours, the “No Hate, Just Love” drag show filled the ballroom with sparkling costumes, bright lights and loud cheering. 

The show featured six different performers, many from the local St. Louis area. Host and performer, Roxxy Malone, was one of the returning entertainers from last year. Malone started the show with a performance of Taylor Swift’s song “Cruel Summer.” A variety of uplifting pop songs and power ballads reverberated through the Wool ballroom during the two-hour show. 

Following last year’s footsteps, the show featured lip sync competitions between attending SLU students. The first lip sync to Katy Perry’s hit song “I Kissed A Girl” was between senior SAB member Devon Krummenacher and junior Rainbow Alliance member Nate Reyes, who both came prepared in heeled boots. Two more lip-syncs, to upbeat Beyonce songs “Alien Superstar” and “Crazy in Love,” followed as interludes between the drag performances, and then the three winners battled it out in a final face-off. 

Reyes ended up being the final champion, stealing the show with his death drop move. This is a dance move that has its roots in voguing, where it is considered one of the most dramatic and entertaining moves. It involves the dancer throwing their leg in the air and falling to the floor to the beat. 

Oct. 11 is National Coming Out Day, an annual LGBTQ+ awareness day to support anyone ‘coming out of the closet.’ October is also LGBTQ+ history month. 

According to the organizers, queer spaces like drag shows promote visibility and acceptance, for both queer people who are ‘out of the closet,’ and those that are not. “If you’re not in a space or time to come out, if you don’t feel safe, then you shouldn’t,” Drag queen Lucy Couture said in regards to National Coming Out Day.

Drag king Andrew Genius spoke about the importance of campus shows, for both viewers and performers. Genius got his start in drag doing campus shows, and enjoys coming back to the atmosphere these shows have. The entertainer talked about his own journey in drag, and how he did not have a lot of representation when first entering the scene. 

“It’s so exciting and so fun that I’m becoming the representation that I so greatly desired,” Genius said. 

SLU Student Government Association’s VP of Finance, Emma Lercher, has a long history of supporting drag shows. The junior works in the SIC and said she was excited to have gotten the chance to help with this event. 

Lercher had many good things to say about the drag show, both about the event planning process and the impact. 

“It’s one thing to say you support the queer community, but it’s another thing to put in the time, money and effort to put together such an amazing expression of queer joy,” Lercher said. “A lot of queer people at SLU come from small towns where they may have been one of the few queer people at their high school. So, allowing people the space to explore different expressions of sexuality really just creates a community of care, solidarity and visibility.” 

Drag queen Chasity Valentino has been involved in drag for over ten years and says she enjoys college campus shows. She discussed the importance of doing campus shows such as this one to promote diversity and inclusion. 

“I think it’s amazing that we have these opportunities. Especially in the state of Missouri, when there’s already so much legislation fighting against us already, to eliminate the art form of drag. Not just in Missouri, but across the country,” said Valentino. “But especially in places like Missouri, I think it’s important to come out and showcase that this is not a crime and to encourage the next generation behind us to continue to go out and vote, pay attention to what’s going on and encourage them to support their local entertainers.”