While winter has not completely ended, a few warm days have snuck in here and there, showing that spring is not as far away as it feels. Spring is a season of new beginnings, growth and hope — and what better way to start off the season than with some new music? These are the songs that have been officially deemed as the best songs to help you blossom this season. 

“if u want” – Keni Titus (2023)

Titus’s debut album “mud on my superstars” features many chill tracks with a bright tone. The track, “if u want” encapsulates that sweet feeling of wanting to be around someone all the time. Titus uniquely describes this romantic desire with the lyrics, “If you want, I could fit right in the gaps of your teeth.” The track feels akin to running through a field of pink peonies. 

“simple things” – runo plum (2024)

Track one off plum’s single “simple things / wallowing” is a soothing ballad that reassures the listener that while life is extremely difficult, the simple things that can be enjoyed are worth staying alive for. The cover art for the single is an eye-catching oil pastel painting of fruit, which feels incredibly homey and comforting. 

“Triptych” – Samia (2020)

Even though Samia’s entire discography is impressive and definitely worth a listen, if there is any song that people looking to get into her music should listen to, it is “Triptych” off her debut album “The Baby.” A triptych is a style of art that includes three panels. Samia constructs an incredibly vulnerable story admitting the different ways in which she sacrificed herself for a relationship. Towards the end of the track, the synth, electric guitar, drums and powerful wailing vocals stand out, coming to a crash and drifting away. “Triptych” showcases a release of pain, processing feelings before starting anew. 

“Nine Stories” – Hazel English (2024)

English’s track “Nine Stories” off her third album “Real Life” returns to the cute and light feelings of a budding romance. Sonically, the song gives off the feeling of floating through the air, with English’s breathy and distant vocals. It recreates the pure feeling of being enamored with someone, almost as if encapsulated by a bubble of romance. After a heavy winter, this track is just what you need to feel hopeful about the future again.

“Either Way” – Odie Leigh (2024) 

“Either Way” continues the excitement surrounding a wholesome new romance. This track, off her debut album “Carrier Pigeon,” has just the right amount of repetition when it comes to lyrics that create a buildup of emotion. There is a certain pleading in Leigh’s vocals with the chorus lyrics, “Do you wanna know me? / Do you wanna know me, do you wanna know me / Like I wanna know you? I wanna know you” that accurately represents what it feels like to wonder if feelings that someone has may be reciprocated. The lyrics describe how it feels to have such strong feelings for someone that it feels like there is no other solution besides letting them rise to the surface. 

“Street by Street” – Laufey (2020)

Laufey’s popularity has increased significantly within the last couple of years, but it is worth returning to “Street by Street,” one of her earlier singles as spring comes into view. This empowering and jazzy song describes what it feels like for one to rediscover themselves and “take back [their] life” after a rough period. Aside from the song’s concept, Laufey’s smooth vocals are always the perfect comfort for when someone is trying to pick themselves back up. 

“One Year Stand” – Frankie Cosmos (2022)

This soft track off Cosmos’s album “Inner World Peace” shows what it feels like for someone to let someone else love them. One standout lyric, “I am going to start letting you / Put spinach in my eggs,” shows the significance of such a simple gesture that means much more than it seems. The electric guitar of the track plays in correspondence with each word that Cosmos sings, creating an intriguing sound. Overall, the track is about the acceptance of multiple forms of love, while still holding space for past love. 

“strawberries for two” – tinyumbrellas (2022)

This single is as lovely as it sounds, with tinyumbrellas’s harmonies gently swirling around, like a warm breeze. The song’s concept is simple, but that is what draws the listener in. It feels like a pause from all the noise of the world and exactly what it is like to purely enjoy someone’s company. The track is surely a spring picnic playlist staple. 

Give this playlist a listen and embrace the calm solace that this upcoming season has to offer, and maybe pick some flowers on your walk to your next destination. 

While winter has not completely ended, a few warm days have snuck in here and there, showing that spring is not as far away as it feels. Spring is a season of new beginnings, growth and hope — and what better way to start off the season than with some new music? These are the songs that have been officially deemed as the best songs to help you blossom this season. 

“if u want” – Keni Titus (2023)

Titus’s debut album “mud on my superstars” features many chill tracks with a bright tone. The track, “if u want” encapsulates that sweet feeling of wanting to be around someone all the time. Titus uniquely describes this romantic desire with the lyrics, “If you want, I could fit right in the gaps of your teeth.” The track feels akin to running through a field of pink peonies. 

“simple things” – runo plum (2024)

Track one off plum’s single “simple things / wallowing” is a soothing ballad that reassures the listener that while life is extremely difficult, the simple things that can be enjoyed are worth staying alive for. The cover art for the single is an eye-catching oil pastel painting of fruit, which feels incredibly homey and comforting. 

“Triptych” – Samia (2020)

Even though Samia’s entire discography is impressive and definitely worth a listen, if there is any song that people looking to get into her music should listen to, it is “Triptych” off her debut album “The Baby.” A triptych is a style of art that includes three panels. Samia constructs an incredibly vulnerable story admitting the different ways in which she sacrificed herself for a relationship. Towards the end of the track, the synth, electric guitar, drums and powerful wailing vocals stand out, coming to a crash and drifting away. “Triptych” showcases a release of pain, processing feelings before starting anew. 

“Nine Stories” – Hazel English (2024)

English’s track “Nine Stories” off her third album “Real Life” returns to the cute and light feelings of a budding romance. Sonically, the song gives off the feeling of floating through the air, with English’s breathy and distant vocals. It recreates the pure feeling of being enamored with someone, almost as if encapsulated by a bubble of romance. After a heavy winter, this track is just what you need to feel hopeful about the future again.

“Either Way” – Odie Leigh (2024) 

“Either Way” continues the excitement surrounding a wholesome new romance. This track, off her debut album “Carrier Pigeon,” has just the right amount of repetition when it comes to lyrics that create a buildup of emotion. There is a certain pleading in Leigh’s vocals with the chorus lyrics, “Do you wanna know me? / Do you wanna know me, do you wanna know me / Like I wanna know you? I wanna know you” that accurately represents what it feels like to wonder if feelings that someone has may be reciprocated. The lyrics describe how it feels to have such strong feelings for someone that it feels like there is no other solution besides letting them rise to the surface. 

“Street by Street” – Laufey (2020)

Laufey’s popularity has increased significantly within the last couple of years, but it is worth returning to “Street by Street,” one of her earlier singles as spring comes into view. This empowering and jazzy song describes what it feels like for one to rediscover themselves and “take back [their] life” after a rough period. Aside from the song’s concept, Laufey’s smooth vocals are always the perfect comfort for when someone is trying to pick themselves back up. 

“One Year Stand” – Frankie Cosmos (2022)

This soft track off Cosmos’s album “Inner World Peace” shows what it feels like for someone to let someone else love them. One standout lyric, “I am going to start letting you / Put spinach in my eggs,” shows the significance of such a simple gesture that means much more than it seems. The electric guitar of the track plays in correspondence with each word that Cosmos sings, creating an intriguing sound. Overall, the track is about the acceptance of multiple forms of love, while still holding space for past love. 

“strawberries for two” – tinyumbrellas (2022)

This single is as lovely as it sounds, with tinyumbrellas’s harmonies gently swirling around, like a warm breeze. The song’s concept is simple, but that is what draws the listener in. It feels like a pause from all the noise of the world and exactly what it is like to purely enjoy someone’s company. The track is surely a spring picnic playlist staple. 

Give this playlist a listen and embrace the calm solace that this upcoming season has to offer, and maybe pick some flowers on your walk to your next destination. 

While winter has not completely ended, a few warm days have snuck in here and there, showing that spring is not as far away as it feels. Spring is a season of new beginnings, growth and hope — and what better way to start off the season than with some new music? These are the songs that have been officially deemed as the best songs to help you blossom this season. 

“if u want” – Keni Titus (2023)

Titus’s debut album “mud on my superstars” features many chill tracks with a bright tone. The track, “if u want” encapsulates that sweet feeling of wanting to be around someone all the time. Titus uniquely describes this romantic desire with the lyrics, “If you want, I could fit right in the gaps of your teeth.” The track feels akin to running through a field of pink peonies. 

“simple things” – runo plum (2024)

Track one off plum’s single “simple things / wallowing” is a soothing ballad that reassures the listener that while life is extremely difficult, the simple things that can be enjoyed are worth staying alive for. The cover art for the single is an eye-catching oil pastel painting of fruit, which feels incredibly homey and comforting. 

“Triptych” – Samia (2020)

Even though Samia’s entire discography is impressive and definitely worth a listen, if there is any song that people looking to get into her music should listen to, it is “Triptych” off her debut album “The Baby.” A triptych is a style of art that includes three panels. Samia constructs an incredibly vulnerable story admitting the different ways in which she sacrificed herself for a relationship. Towards the end of the track, the synth, electric guitar, drums and powerful wailing vocals stand out, coming to a crash and drifting away. “Triptych” showcases a release of pain, processing feelings before starting anew. 

“Nine Stories” – Hazel English (2024)

English’s track “Nine Stories” off her third album “Real Life” returns to the cute and light feelings of a budding romance. Sonically, the song gives off the feeling of floating through the air, with English’s breathy and distant vocals. It recreates the pure feeling of being enamored with someone, almost as if encapsulated by a bubble of romance. After a heavy winter, this track is just what you need to feel hopeful about the future again.

“Either Way” – Odie Leigh (2024) 

“Either Way” continues the excitement surrounding a wholesome new romance. This track, off her debut album “Carrier Pigeon,” has just the right amount of repetition when it comes to lyrics that create a buildup of emotion. There is a certain pleading in Leigh’s vocals with the chorus lyrics, “Do you wanna know me? / Do you wanna know me, do you wanna know me / Like I wanna know you? I wanna know you” that accurately represents what it feels like to wonder if feelings that someone has may be reciprocated. The lyrics describe how it feels to have such strong feelings for someone that it feels like there is no other solution besides letting them rise to the surface. 

“Street by Street” – Laufey (2020)

Laufey’s popularity has increased significantly within the last couple of years, but it is worth returning to “Street by Street,” one of her earlier singles as spring comes into view. This empowering and jazzy song describes what it feels like for one to rediscover themselves and “take back [their] life” after a rough period. Aside from the song’s concept, Laufey’s smooth vocals are always the perfect comfort for when someone is trying to pick themselves back up. 

“One Year Stand” – Frankie Cosmos (2022)

This soft track off Cosmos’s album “Inner World Peace” shows what it feels like for someone to let someone else love them. One standout lyric, “I am going to start letting you / Put spinach in my eggs,” shows the significance of such a simple gesture that means much more than it seems. The electric guitar of the track plays in correspondence with each word that Cosmos sings, creating an intriguing sound. Overall, the track is about the acceptance of multiple forms of love, while still holding space for past love. 

“strawberries for two” – tinyumbrellas (2022)

This single is as lovely as it sounds, with tinyumbrellas’s harmonies gently swirling around, like a warm breeze. The song’s concept is simple, but that is what draws the listener in. It feels like a pause from all the noise of the world and exactly what it is like to purely enjoy someone’s company. The track is surely a spring picnic playlist staple. 

Give this playlist a listen and embrace the calm solace that this upcoming season has to offer, and maybe pick some flowers on your walk to your next destination. 

Fall term on campus is often filled with the excitement of returning from co-op or summer break. Even students who have been in classes all summer are eager to reunite with familiar faces, anxious to return for a new academic year. Unfortunately, the same cannot be said for the winter term.  

I have spoken to several students who feel similarly regarding winter term, with the overall consensus being that classes are emptier, more difficult and the walks to class are brutal with the weather. Feeling exhausted, unmotivated and having difficulty staying positive is a common experience for many students.

Winter term, with its cold temperatures and shorter days, creates conditions that make seasonal affective disorder, or seasonal depression, more likely to affect students. This form of depression is linked to a lack of exposure to sunlight and shorter days. Symptoms are more common than one might think, including feelings of irritability, frustration, restlessness, having difficulty concentrating, remembering, making decisions; and more. The mental health crisis among college students, specifically, has been exponentially worsening with more and more individuals being affected by mental health issues.

So why does winter term feel especially daunting? Aside from the weather, the fast-paced nature of Drexel’s academic calendar leaves little room to breathe and can feel overwhelming. Many of us are in the midst of finding a co-op, balancing several credits and being members of numerous clubs, all while adjusting to being back from break. However, it is important to remember that support is available, and prioritizing mental health is crucial.

Freshman biomedical engineering major Lamisa Topader expresses her experience so far in winter term: “The transition from break to classes was a drastic change. The professors are not as welcoming this [term] and are jumping right into materials without much explanation. I think it has a lot to do with material already being taught during fall term and professors also being burnt out.” Topader’s experience highlights the struggles many students face during winter term, and underscores the importance of finding ways to cope and seek support. 

Tehreem Kabir, a third-year peer counselor at Drexel, shares her insight into strategies she typically recommends to struggling students.

“The key is to know yourself because every person is different and has different needs. The most effective approach, in my opinion, is community. Whatever you are struggling with, it can be very helpful to try to communicate with and surround yourself with people you are close to and trust, whoever that may be. And if there isn’t anyone that comes to mind, which is perfectly normal, by the way, well, that’s what the peer counselors are here for. We are here for anyone who wants to talk about absolutely anything.”

Kabir highlights campus resources, stating that, “Drexel offers free therapy for anyone who is seeking support, and if individual therapy does not work for someone, we also have group therapy. Groups can be a good way to communicate with people who have been through similar things as you without feeling too much pressure on yourself to share. Peer counseling is a great option to talk or vent to other like-minded students about anything they’re going through.”

However, Kabir emphasizes that therapy may not be for everyone and recommends other options such as mindfulness workshops that can be attended online. “If someone just wants a space to decompress and relax by themselves, we have a Wellness Room located in the Counseling Center which is a very cozy space and contains things like yoga mats, essential oils, self-care cards, etc.”

Mental health resources on campus can be found online.

Drexel provides a variety of services, including peer counseling, group counseling, individual counseling with a licensed professional, wellness workshops and more!

To specifically target Seasonal Affective Disorder, Drexel offers a Light Box Therapy Program where students can check out a light box that mimics natural sunlight, in an attempt to “affect brain chemicals linked to mood and sleep, possibly easing symptoms of SAD.” 

Student organizations such as the National Alliance on Mental Illness, Drexel Active Minds, Students of Color in Psychology and other clubs prioritize the discussion and importance of mental health and receiving help. On February 17, SOCPSY will be hosting a Winter Self-care event where they will discuss what seasonal depression is, tips and strategies to deal with seasonal depression and receive resources that are available to students on Feb. 17 at 5:30 PM in the Academic Building- Classroom 108.

The Recording Academy of the United States has been hosting the Grammy Awards annually since 1959 to celebrate achievements in the music industry. This year, the Grammy Awards will look a little different. 

Since the first official ceremony in 1959, the Grammys have grown into a phenomenon much larger than just the televised distribution of awards. Most of the ceremonies have been hosted in the heart of the entertainment industry: Los Angeles. The music community has taken advantage of the publicity surrounding the Grammys and tends to plan their most important events in the week leading up to the ceremony. This series of events is referred to as ‘Grammy Week’ and is considered the most significant seven days of the year for music industry professionals. As the lauded week proceeding the Grammys on Feb. 2 approaches this year, however, the host city happens to be covered in flames. 

The wildfires in Los Angeles that erupted across the city on Jan. 7 have had devastating effects on the city. At one point there were close to 200,000 people under evacuation orders from their homes. As of the evening of Tuesday, Jan. 28, all of the fires are at least 88% contained. That being said, over 47,000 acres of land in LA have been burned and over 16,000 structures have been destroyed. While the fires seem to thankfully be mostly under control, LA is still reeling as a city; they are only in the beginning phases of recovering from the devastation. 

Since the fires broke out, there have been questions surrounding the upcoming Grammy Awards. This year, despite the wildfires plaguing LA, the Recording Academy announced on Jan. 13 that “the 67th Annual GRAMMY Awards telecast on CBS will continue to be held on Feb. 2.” While this decision may seem insensitive to the natural disaster ruining the lives of so many Los Angeles residents and many members of the music community, the Academy also announced that the ceremony would “carry a renewed sense of purpose: raising additional funds to support wildfire relief efforts and honoring the bravery and dedication of first responders who risk their lives to protect ours.” Further, they took this opportunity to announce that their sponsored events of Grammy Week would be consolidated into only four events, all focused on “using the power of music to help rebuild, uplift, and support those in need.” 

In the wake of this announcement, the major labels who usually host revered events during Grammy Week — Universal Music Group, Warner Music Group, Sony Music and BMG — declared that their events preceding the Awards would also be canceled. Each of the labels echoed the Academy’s sentiment towards focusing their energy resources on local relief efforts; each even made multi-million dollar donations to MusiCares, the Academy’s affiliated charity. 

Using highly publicized events to raise money seems like a worthy pursuit, but the overall state of LA raises the question – is it appropriate to host an awards ceremony typically associated with glamour and celebration while much of the city is burned? The Awards have been rescheduled twice, in 2021 and 2022, both due to concerns surrounding COVID-19, proving that postponing is not impossible. Further, the ceremony has been held in four cities other than Los Angeles in the past: New York, Nashville, Chicago and Las Vegas. The ceremony could potentially have been relocated to a previous host city while still focusing on raising money for relief in LA. 

The Academy has taken on the task of airing an awards show entertaining enough to retain the viewership it has come to expect without seeming insensitive to the ongoing suffering occurring right outside of the arena. Tune into the Grammy Awards on CBS on Feb. 2 to see how the Academy manages to sustain tradition while also “raising additional funds to support wildfire relief efforts and honoring the bravery and dedication of first responders who risk their lives to protect ours.” 

“Squid Game,” the Korean thriller/drama that took the world by storm in 2021, has returned at the end of 2024 for its second season and is expected to return once more in mid-to-late 2025 with its third season. “Squid Game” was created and directed by Hwang Dong-hyuk, who won an Emmy for his directorial work in Season One of the show. Season Two was released on Netflix on Dec. 26th, 2024, to much excitement by many fans worldwide. Season two boasted an even more star-studded cast than the initial season with the return of beloved actors such as Gong Yoo, Lee Byung-hun, and Lee Jung-jae, as well as an assortment of new actors such as T.O.P. and Jo Yu-ri, both former K-pop idols.

The basic premise of the show is that a large group of people in poverty and/or crippling amounts of debt are taken to a mystery island to play children’s games with the hopes of winning the prize money of 45.6 billion won (approximately 31 million USD). They play these games as entertainment for the rich and elite members of society. Squid Game is a critique of capitalism and not a very subtle one at that. In the first season, all the players are given the opportunity to leave the game or stay, and while the majority of the players vote to leave, almost all of them come back after realizing the reality of living in poverty and in debt is worse than dying on a mysterious Island and never having your loved ones know. Season One of “Squid Game” became a global sensation, becoming the most-watched non-English language show of all time. With the growing popularity of the show, the original message on class struggle and the harms of capitalism seemed to be left behind.

At the time of Season One’s release and the following months, Squid Game-related products and content were on the rise. Most shopping centers had something Squid Game related, the children’s toy kiosks at the mall all had little plushies of Squid Game guards and YouTubers recreated the games played in the show. The show was originally meant to critique the horrors of capitalism but became completely detached from that message and turned into marketable plushies and YouTube challenges for prize money. It became a sensation with kids despite the show’s incredibly dark and violent content. The main takeaway people seem to have taken from the show, rather than its discussion on the harms of capitalism, is just the fun games, bright colors and shapes. A prime instance of this detachment of the message from the show’s content would be Mr. Beast’s “Beast Games” on Amazon Prime. The show is a reality TV show inspired by the likes of “Squid Game” but completely misses the original meaning of the show. “Beast Games” is a show where regular people compete to play games to win 5 million dollars to produce entertainment for the mega-corporation Amazon to sell for a hefty profit. This show, while inspired by “Squid Game,” entirely misses the mark by turning these challenges from this dark dystopia into a reality without acknowledging the show’s original message.

In Season Two the show makes some changes to the rules of the squid game, with new games to play and an interesting twist where the players can vote at the end of each game if they wish to continue or not, where the majority wins. The latter addition to the show furthers the idea presented in Season One that life in the game where you may die a brutal and violent death is better than facing the horrors of their lives of debt in the real world. The different characters of the show portray different types of people struggling with debt. Some of the highlights include a mother and son duo who are there to pay off the son’s gambling debt, a rapper and drug addict who lost his money on a dog-themed crypto coin, a YouTuber who is in legal debts due to his promotion of said faulty crypto coin, a pregnant woman in debt also from this same crypto coin, a father who needs to pay for his sick daughter’s medical treatment, and a transgender woman who was fired for her gender identity and in medical debt from the various surgeries she has had. This season also dabbles with the implications of the “don’t give up” mentality. Many of the characters don’t want to leave the game as they view it as giving up, they have a mentality that “we’ve come this far, why give up now”, and the new rules introduced allow this season to really play with this idea. This ideology is something we see a lot in our society. Instead of stopping, people will continue doing things that harm them in the hope that their struggles will pay off. 

“Squid Game” made its views on capitalism and class struggle very clear with little to no subtlety, and Season Two continues representing this idea. Alongside this, the show also seems to touch on how the original message of Season One was forgotten in exchange for the popularity of the games played throughout the show. The editing, cinematography and music within Season Two make it feel like the show is aware of this, particularly during the second game. The way the scenes are shot and the music that is included distract the viewer from the fact that if they lose they die. The music feels motivational, everyone is cheering when the players pass the Finish Line and they all jump for joy. Then, the camera pans out, you see them jumping in puddles of the blood of those who died and you remember this is not just a game. The way these scenes play out creates the feeling that the players within the game are forgetting the repercussions. The show frames the “six-legged race” game in a way where the viewer is excited and rooting for the characters in a way that feels heartfelt and like a community. The elements of these scenes frame the game in a way that feels like they’re trying to make you the viewer, and the players of the game, forget the reason they are playing these games – that being because they are willing to die here rather than face the realities of their financial debts, burdens and struggles out in the real world. 

One of the highlights of Season Two is the new representation of different characters such as Cho Hyun-ju, the transgender character. This sort of representation of transgender people is incredibly uncommon amongst mainstream television, especially East Asian television. The way she is written is very well executed, her gender identity is not the focal point of her character and the way other characters connect with her feels incredibly realistic. Another highlight is the season in that it has several good and unexpected twists that you would expect from a thriller. The show also has various humorous moments that feel natural within the story despite its dark nature and that mostly do not distract from the contents of the show.

Season Two is not perfect, and neither was Season One. There were several writing issues that did not go away in the second season. The show’s writing has an issue with the show-not-tell rule, where the dialogue unnaturally explains elements of the show that the viewer would have been able to figure out. Another issue with Season Two is the character of Mr. Kim. Mr. Kim was the loan shark from Season One who was written as a threat to Gi-hun’s life. He was written to be cutthroat and heartless, even making Gi-hun sign a contract with his own blood. But in Season Two his character is completely rewritten; he becomes a comedic-style character. All the seriousness and intensity from Season One was forgotten, and he becomes a goofy leader of a small-time gang of hooligans. This change feels unnatural and jarring. The show’s ending also leaves something to be desired.. Season Two ends on a cliffhanger but not necessarily a good one. Season One left off on a cliffhanger that felt more fitting and conclusive while Season Two feels more like an episode ending rather than a season. Season Two ends without this round of the “Squid Game” even ending. Seasons Two and Three were created side by side meaning that whichever point they chose to stop Season Two was likely to feel incomplete. Regardless, only the release of Season Three will show where this story is heading next.

The rise of artificial intelligence in the music industry is reshaping how music is created, consumed and owned, sparking both excitement and controversy. What was once a realm for traditional instruments and human creativity is increasingly being augmented by AI technology, creating music in the styles of famous artists, cloning voices and even generating new songs entirely. While this shift presents new possibilities, it also raises pressing concerns around intellectual property, ethical issues and the future of human artistry in a rapidly evolving digital landscape.

Early AI experiments in music were relatively simple. In 2016, the AI program Flow Machines composed “Daddy’s Car,” a Beatles-inspired song. While charming, it lacked the nuance and originality of the Fab Four, functioning more as a technical curiosity than a true artistic breakthrough. Fast forward to 2023 and AI-generated music has evolved significantly. The Beatles even went back and used AI to clean up and finish a partially recorded song called “Now and Then”. Programs like OpenAI’s Jukebox can now produce highly convincing tracks that mimic the style of artists ranging from Frank Sinatra to Drake.

The allure of AI in music is in its ability to assist creators, offering a fresh set of tools for musicians, producers and songwriters. In this way, it could be argued that AI is merely a technological advancement in production and is no different than using technology such as auto-tune to alter the sound of a song digitally. 

Artists like Grimes have embraced the technology, allowing fans to use AI versions of her voice to create and profit from new compositions. By opening her music to AI manipulation, Grimes has demonstrated one way to integrate AI into the music-making process, acknowledging its potential for both creative freedom and financial benefit.

However, the lines between homage and imitation blur as AI becomes increasingly sophisticated. In 2023, the viral song “Heart on My Sleeve,” which seemed like a collaboration between Drake and The Weeknd, was revealed to be generated using AI. The track, which mimicked the artists’ vocal styles and production, raised alarms across the industry. Neither Drake nor The Weeknd were involved in the creation, yet the song gained traction and millions of streams, highlighting the risks of unauthorized AI use.

The ability of AI to replicate the voices and styles of famous artists without their consent has sparked debate regarding the ethicality of using AI to mimic specific artists. AI-generated music has raised questions about intellectual property rights and voice cloning as artists’ concerns about exploitation and the loss of control over one’s likeness have grown. 

The Recording Industry Association of America and other industry groups have advocated for stronger regulations to prevent the unauthorized use of artists’ voices and likenesses in AI-generated content. This push is not just about protecting individual artists but also preserving the unique qualities that make each performer special and feel inclined to create their own art. 

One example of legislative action in this space is the ELVIS Act, passed in Tennessee in 2024, which aims to protect performers from having their voices and likenesses exploited through AI technology. This is the first law specifically designed to guard against AI-driven impersonation, marking a significant step in regulating the use of AI in the entertainment industry. However, the law’s broad language has raised concerns about inadvertently affecting legitimate forms of artistic expression, such as biopics or cover bands, which also involve mimicking famous artists.

Regulating AI in the music industry is complicated by the global nature of the technology and the rapid pace of its development. Laws that protect intellectual property rights, like copyright, often struggle to keep up with innovations in AI. Copyright laws were not designed with machine learning in mind, and as a result, artists and companies are left to navigate a legal landscape that lacks clear guidelines for AI-generated content.

In addition to the legal challenges, there is also a philosophical debate about what constitutes ‘authentic’ music. As AI continues to improve, it becomes harder to distinguish between human-created and AI-generated songs. While some view this as an exciting frontier for creativity, others worry that it may devalue human artistry, turning unique voices into easily replicable templates. This anxiety is particularly pronounced in genres like hip-hop and blues, where AI-generated content has sometimes been accused of cultural appropriation or misrepresentation.

The future of AI in music lies in finding a balance between innovation and protection. While AI offers tremendous creative potential — helping artists produce new sounds, restore lost voices and even assist in the songwriting process — its unchecked use could undermine the rights of creators. As the industry grapples with these challenges, it is clear that collaboration between lawmakers, artists and tech companies will be essential in shaping a future where AI can be used responsibly.

In a recent filmmaker presentation, producer Christina Chen and directors Dana Ledoux Miller and David Derrick Jr. spoke about their experiences creating the film “Moana 2,” set to release in theaters on Nov. 27.

A highly-anticipated sequel, released eight years after the original movie “Moana,” became a huge hit, “Moana 2” builds on the world and story of Moana, the willful and adventurous daughter of a Polynesian village chief. Inspired by Polynesian mythology, the first “Moana” follows her journey from being chosen by the ocean to restore a relic of the ancient goddess Tefiti to doing so with the help of a renowned demigod, Maui. The movie was an instant favorite for its heartwarming story, lush animation and lively music. 

Now, in the sequel, Moana answers a new call to action from her ancestors, assembling a crew to embark on another brave journey across the ocean. As she faces fresh responsibilities, audiences meet new characters like her little sister, Simea, while familiar figures like Maui return with unexpected emotional depth.

Miller, who also co-wrote the film, discussed her connection to Moana as a storyteller of Samoan heritage. Early in her career, she struggled to find opportunities to pitch stories representing her Pacific Islander background. She began as a set production assistant and worked in television for years before transitioning into animation. When the first “Moana” movie was released, watching it was deeply moving for her; she even recalled crying in the theater, feeling genuinely represented on screen for the first time.

Derrick Jr., who also worked as a storyboard artist, grew up in Farmington, Utah, where he was captivated by the animated worlds of “The Lion King” and “Tarzan”. Inspired by these films, he moved to California to study at the California Institute of the Arts, launching a career that has spanned over 20 years in the animation industry. With Samoan heritage, Derrick brings his own connection to the “Moana” films, and he is passionate about honoring Polynesian culture and the concept of a shared “cultural ethnosphere” — a network of traditions, knowledge and stories passed across generations. For Derrick, “Moana 2” embodies the spirit of exploration and community that has long defined Pacific Islander culture. He finds joy in the collaborative nature of filmmaking, believing it allows artists to create something far more impactful and resonant than anyone could achieve alone.

The creation of “Moana 2” brought together a crew of over 700 people. From storytellers and animators to musical and technical experts, each contributor brought unique talent and perspectives to their roles. Chen, Miller and Derrick Jr. emphasized that anyone — not just artists — can play an essential role in bringing a film to life. They reflected on the collaborative spirit of Disney, where traditional 2D animators work alongside 3D animators, merging modern techniques with the legacy of paper-and-pencil animation, a nearly lost art that is being kept alive in projects like Moana.

All three creative leads of the movie spoke positively about their time working with the film’s gifted cast. Auli’i Cravalho reprised her role as Moana; she began her first work at 14 years old and is now 23. Of mixed Asian American and Pacific Islander descent, Cravalho captured the essence of the character in a way that resonated with audiences and crew alike. In addition to her rich cultural link to Moana, her genuine enthusiasm and spirit brought a heartfelt energy to the new movie. Dwayne Johnson also returned to voice Maui, bringing his incredible talent and Samoan heritage to the role. The team praised Johnson’s dedication to portraying Maui with even more emotional complexity. This depth is challenging to capture, but Johnson took on the challenge, combining Maui’s bravado with moments of vulnerability and cementing him as a multifaceted character. Khaleesi Lambert-Tsuda, a Japanese voice actress and a fresh addition to the “Moana” franchise, voices Moana’s younger sister, Simea. Miller said she thoroughly enjoyed working with Lambert-Tsuda in the recording booth, drawing out the perfect youthful energy to bring the adorable new character to life.

The filmmakers also touched on the musical aspect of Moana 2, which promises to be as lively and captivating as the original. Songwriters Emily Bear and Abigail Barlow, known for their Grammy-winning “The Unofficial Bridgerton Musical,” bring a goofy, dorky charm to some of the film’s funniest new songs. Returning composers Opetaia Foa’i and Mark Mancina lend continuity and depth to the soundtrack. Foa’i, who is Samoan-born and praised for his work on Moana’s Samoan and Tokelauan language songs like “Logo te Pate” and “We Know the Way,” adds authentic richness to the film, and Mancina’s composing is transformative. 

The first Moana film drew on the expertise and insights of the Oceanic Story Trust, a group of Pacific Islander cultural experts who were brought on to ensure that the film’s storytelling honored the heritage of the Pacific Islands with authenticity and respect. For “Moana 2,” Disney brought back both past contributors and new voices to accomplish the same goal. The many consultants include Dr. Dionne Fontini, an anthropologist from Samoa, and Nainoa Thompson, a master navigator from the Polynesian Voyaging Society. Their and many others’ contributions ensured that Moana acted as a meaningful representation. 

With “Moana 2,” the filmmakers hope to immerse viewers in the traditions of Pacific Islander communities. The film is an opportunity to show audiences what it means to come from a family rooted in close ties and shared responsibility. Disney’s intentional inclusion of AAPI identities at every production level is crucial to this storytelling, from the cultural consultants and actors to the directors and composers. It ensures that the narratives surrounding Pacific Islander cultures are told by those who have lived them. “Moana 2” is not just a celebration of heritage; it is powerful evidence of the success in providing deeply rooted cultural communities with platforms to share their stories globally.

Beginning in June, two Drexel University students decided for a senior project to develop a virtual reality film that would draw on and serve as an ode to their Nepali heritage. With a team assembled to help execute their vision, they aim to give voice to the struggles women in Nepal face as they go through their monthly menstruation. Prashanna Subedi now enters his final year as a senior Film & Television student and began thinking about what would make a meaningful thesis earlier this year. He identified a desire to use the tools he had learned as a filmmaker and the resources around him to raise awareness of the harmful consequences of chhaupadi: an ancient Nepali tradition intended to be symbolically positive but at the cost of stripping women of their dignity and lives for centuries.

Subedi then joined Prasin Shrestha, a friend, fellow Nepali and Westphal College of Media Arts and Design major studying digital media, to help him get his idea off the ground. Together, they laid out the plans for a unique virtual reality based film experience that would address and inform people about the harsh realities of menstrual huts — in a format that lifts these stories off of what has commonly been documented on 2D screens, offering a new perspective.

Initially, Subedi and Shrestha bonded over a similar upbringing in Kathmandu, Nepal’s capital, located in the Himalayas in South Asia. They shared their experiences of growing up with female cousins and relatives who would practice some form of chhaupadi that they would find unusual or prompt them to ask questions about. For example, this would look like refraining from touching drinking water, cooking food or touching any male relatives. Chhaupadi and all its forms are fueled by the perceived idea that when a woman is menstruating, she is considered ‘unclean.’ Practicing chhaupadi has, for generations, been one of the ways Nepali communities prevent the taboo of menstruation from afflicting bad fortune, illness, famine or other curses on families. It lives under an umbrella of social fear and pressure that if the practice of chhaupadi were discontinued, bad things would be bound to befall the disobedient.

Subedi and Shrestha recall being uncomfortable living in a fog that was oblivious to what exactly chhaupadi was and all its different shades. 

“But when I first learned about Chhaupadi, I was shocked to learn stories from these remote villages, where women are forced into unsafe, unhygienic, and sometimes life-threatening conditions during their periods especially when they need sanitation and care most,” shared Shrestha.

Although they had both been raised in a relatively ‘progressive’ Kathmandu, they began asking questions about what versions of chhaupadi existed beyond this bubble. They quickly discovered that what they had been exposed to secondhand in their families did not scratch the surface of what other young women were facing in more rural communities. They discovered that more extreme forms of chhaupadi involve banishing young girls into unsanitary isolated huts and other dangerous structures for days, sometimes longer, that they often feel are suffocating to their health and humanity. For days, sometimes longer, they are confined to dark, claustrophobic, poorly ventilated spaces that put many at risk of illness, animal attacks or even physical or sexual assault. Despite menstrual huts being made illegal in 2005, according to ActionAid UK, the practice persists across the country – more so within less developed areas. The film will serve as a reminder that chhaupadi is not an ancient mythical practice but continues to harmfully affect women today.

Through the film, formatted in virtual reality, viewers can expect to step into an immersive experience that leaves them inside the hut. Engulfed in a dark, hyper-sensory and realistic space, Subedi and Shrestha hope to encourage a deeper sympathy for the women forced to practice this tradition.  The movie will be a hybrid between fiction and non-fiction, putting us in the shoes of the character of Priya – a 13-year-old girl from a rural village who is banished into a hut by her father and head priest who feels responsible for upholding his role and duty to the community. Furthermore, the credibility of her story will be supported by research gathered by NGOs with whom the project team has been able to get in contact. Subedi’s cross-disciplinary team has proved to be why creating this film has been going so well thus far. Around the table are brilliant ideas discussed and executed by other students in Digital Media, Film & Television, Animation & Visual Effects and more across Drexel and the University of Pennsylvania. In addition, the team managed to get influential mentors involved in the project even though the VR industry is still relatively small at the moment.

Overall, Subedi, Shrestha and their team must be commended for the initiative to turn a senior thesis into a cultural, heartfelt project for good; it is a reminder of the brilliance that continues to glow in this university community. The next steps include the team anticipating taking a trip to Nepal over the winter break to continue their research. They also envision the film being shown in special screenings across Nepal and possibly becoming an interactive app on Quest. The project is set to be finalized by the end of spring.

Ultimately, the team hopes that the VR film will successfully amplify the impact of chhaupadi on women’s health and empowerment in rural Nepal in a creatively challenging way. They hope to share the stories of affected women, community leaders and local health experts to spark a deeper cultural transformation and allow conversations around the realities of chhaupadi to take up space. In this way, they hope to inspire meaningful change towards broader gender equity in Nepal.

Music has long been a powerful tool in political campaigns, shaping public perception and energizing supporters. From the rousing anthems of the early 20th century to the modern soundtracks accompanying campaign events this year, music has served as a vital component in the arsenal of presidential candidates. Over the decades, music has evolved from simple campaign jingles to generation-defining pop songs that resonate with diverse voter bases, reflecting cultural movements and societal changes. As technology has advanced, so has the integration of music into campaign strategies, from radio broadcasts to social media platforms. The historical significance, impact and evolving role of music in presidential campaigns highlights key moments and influential songs that have defined the political landscape in the United States. 

In early campaigns, popular song lyrics were often edited to incorporate the candidate’s name. While George Washington’s path to the presidency was not marked by partisanship, music was still employed to garner support. Supporters modified “God Save the King” to “God Save Great Washington,” mocking the anthem of their former rulers and promoting the new concept of an American President.

As campaigns became more competitive, candidates began using original campaign songs. In the 1840 election, Whig Party candidate William Henry Harrison campaigned with “Tippecanoe and Tyler Too,” one of the first songs to belittle an opponent — Martin Van Buren. Harrison’s catchy tune likely contributed to his victory against the incumbent, illustrating the power of music in shaping political narratives.

In the last century, candidates have typically opted for widely recognized pop songs to generate excitement instead of songs referencing themselves. Notable exceptions include Richard Nixon’s “Nixon’s the One” in 1968 and John McCain’s “Raisin’ McCain” in 2008. While Nixon won his election, the song did not resonate strongly with voters, and McCain’s campaign song failed to impact his race.

A turning point occurred in 1983 when Ronald Reagan effectively integrated popular songs into political campaigns, notably using “God Bless the USA” by Lee Greenwood during his 1984 reelection campaign. This strategic choice fostered positive associations between Reagan and the song. However, a memorable incident arose when Reagan referenced Bruce Springsteen’s “Born in the USA” during a rally in New Jersey. Despite its title, the song critiques the treatment of Vietnam veterans, leading Springsteen to clarify his political stance at a concert. This controversy marked the beginning of a complicated relationship between musicians and presidential campaigns.

In the 2020 presidential race, Donald Trump faced legal action from the Rolling Stones for using “You Can’t Always Get What You Want” at his rallies despite prior cease-and-desist requests. The band’s legal team, in collaboration with BMI, informed the Trump campaign that their music had been removed from the campaign’s licensing agreement, warning of potential lawsuits for continued use. This incident followed Tom Petty’s family issuing a cease-and-desist order after “I Won’t Back Down” was played at a Trump rally, reflecting ongoing tensions between artists and political figures.

Recently, in a significant show of support, Beyoncé granted Vice President Kamala Harris permission to use her anthem “Freedom” as a campaign song. This choice underscores Harris’s commitment to equality and empowerment, leveraging Beyoncé’s influence to resonate with a passionate fan base. By aligning with such a prominent artist, Harris reinforces her campaign’s message of progress and unity, demonstrating how contemporary music can serve as a rallying cry for political change and mobilization.

The intersection of music and politics in presidential campaigns has proven to be a dynamic and influential force throughout American history. As candidates harness the power of popular songs to connect with voters and convey their messages, the relationship between artists and political figures continues to evolve. Whether through anthems that inspire unity or controversial appropriations that spark a backlash, music remains a vital tool for shaping political narratives and mobilizing support. The ongoing dialogue between musicians and politicians will undoubtedly influence future campaigns, underscoring the enduring impact of music on the political landscape.