2024 has already proven to be a dynamic year for music, with a wide range of albums gaining popularity across all genres. Whether you’re drawn to high-energy pop, reflective R&B or genre-blending classics, the year has something to offer for every listener. Here are some of the notable albums from this year so far:

Charli XCX, “BRAT“

It is never too late to have a brat summer if you have not enjoyed this album yet. Charli XCX’s latest album “BRAT” is a rebellious, edgy, high-energy blend of hyperpop and punk. The album’s production is stellar, helmed by Charli’s frequent collaborators A. G. Cook and EasyFun. Even Vice President Kamala Harris joined the trend by heavily incorporating Brat elements in her presidential election campaign.

Listen to: “360,” “So I,” “Girl, so confusing,” “Apple”

Beyoncé, “Cowboy Carter“

Ever since Beyoncé dropped her self-titled fifth album in 2013 without prior announcement, she has remained a central figure in popular culture. “Cowboy Carter” is a bold response to the criticism Beyoncé faced after performing her country single “Daddy Lessons” at the 2016 Country Music Awards where she was dismissed as a “pop artist.” The album also dives into the complicated relationship between race and genre in American music. Overall, it blends diverse genres, including country, R&B, blues, folk, rock and roll, pop, psychedelic soul and hip-hop. It truly shows her versatility and continued relevance in the music industry. 

Listen to: “DOLLY P,” “TEXAS HOLD EM’,” “JOLENE,” “YA YA,” “SPAGHETTI” 

Billie Eilish, “HIT ME HARD AND SOFT“

Billie Eilish has undergone significant artistic shifts—from her debut bedroom-pop to the old-school-inspired “Happier Than Ever.” Released on May 17, “HIT ME HARD AND SOFT” marks her third studio album. The 10-song album reflects her coming-of-age and self-reflection. It shows the person she is now and the person she could become. Overall, the album is bold, brilliant and somewhat brighter. At the end of “BLUE,” Eilish leaves us with a tantalizing question: “When can I hear the next one?” It’s a question that lingers, much like the album itself, promising more to come.

Listen to: “SKINNY,” “BIRDS OF A FEATHER,” “WILDFLOWER,” “THE GREATEST” 

Taylor Swift, “The Tortured Poets Department“

One of the most awaited albums, of course. This is one of Swift’s most introspective and candid projects. The dual album shows her commitment to exploring every single facet of her artistic vision. The album features some great collaborations including artists like Post Malone, Florence + the Machine and more. Even if it does not clinch Album of the Year, it has undoubtedly cemented its place in the hearts of fans and critics alike.

Listen: “I Can Do It With a Broken Heart,” “Florida!!! (Ft. Florence + the Machine),” “Fortnight (Ft. Post Malone),” “The Smallest Man Who Ever Lived” and so many more!!!” 

Vampire Weekend, “Only God Was Above Us“

In the late 2000s, Vampire Weekend was an easy target for criticism: many found the privilege of the Ivy League aesthetic appalling. Their music so far is often drawn from a more nostalgic set of influences. “Only God Was Above Us” marks a significant evolution for Vampire Weekend. While it may not be a conventional chart-topper, its artistic merit is undeniable. The cover—a rusting subway carriage—sets the tone for an ode to 20th-century New York, a time of endless possibility now painfully out of reach. This album is not about looking back; it is about existing on its own terms. It shows that they have moved beyond nostalgia.

Listen to: “Gen-X Cops,” “Capricorn,” “Classical”

Dua Lipa, “Radical Optimism“

Released four years after her disco-infused hit album “Future Nostalgia,” “Radical Optimism” marks a new chapter for Dua Lipa. The cover art features her in the ocean —seemingly calm despite a looming great white shark— gracefully weathering chaos. This time, Lipa’s fans questioned the overall cohesiveness of the album and felt like she could have either omitted some of the mismatched tracks or crafted more songs to bridge their tone with the rest of the album. But overall, the album does have its moment to shine and definitely shows her growth as an artist and willingness to experiment with this one. The album blends neo-psychedelia, dance-pop and ABBA-esque melodies.

Listen to: “Training Season,” “Houdini,” “End Of An Era”

Zack Bryan, “The Great American Bar Scene“

Released on July 4, Zach Bryan’s “The Great American Bar Scene” captures an underlying acceptance of life’s struggles. Through 18 tracks, Bryan continues his trend of exploring themes of youth, success and introspection. Some reviewers appreciate the authenticity and emotional resonance of Bryan’s music. However, others find it somewhat familiar, with Bryan settling into a groove similar to his previous work. Overall, Zack Bryan is an up-and-coming fan favorite artist and regardless of the shortcomings, the album’s lyrics and the collaboration with Springsteen do deliver some justice.

Listen to: “American Nights,” “Northern Thunder,” “Great American Bar Scene”

Ariana Grande, “Eternal Sunshine“

 Ariana Grande’s highly anticipated seventh studio album, “Eternal Sunshine,” released on March 8. Inspired by the movie “Eternal Sunshine of the Spotless Mind,” Grande wants to wipe her mind clean. The 13 tracks truly show her emotional rollercoaster, ending each song with a voice note of reassurance, talking about her journey toward acceptance. Overall, the R&B-pop really blends her personal introspects with her musical creativity.

Listen to: “intro (end of the world),” “i wish i hated you,” “imperfect for you,” “the boy is mine,” “yes, and?”

Future & Metro Boomin, “We Don’t Trust You“

Future and Metro Boomin’s latest collaboration, “We Don’t Trust You,” invites listeners into a world of excess, desire and unapologetic indulgence.  Whether he is reflecting on love, wealth or inner demons, his voice resonates. Kendrick Lamar’s surprise appearance on “Like That” elevates the album. Some critics argue that the album overstays its welcome. At an hour long, it tests listeners’ attention spans.
Listen to: “We Still Don’t Trust You,” “Right 4 You,” “Gracious,” “Like That”

Olivia Rodrigo’s stop in Philadelphia on Friday, July 19 was the 58th show of the 75 stops on her GUTS tour, yet there were no signs of her slowing down while racing through her 23-song setlist.

Pink Pantheress, known for her hyper-pop music like “Pain” and collaboration with rapper Ice Spice on their hit, “Boy’s a liar Pt. 2,” kicked off the evening as Rodrigo’s opener. She is one of the four special guests that have been a part of Rodrigo’s tour, including Chapell Roan, Remi Wolf and The Breeders.

As the Wells Fargo Center bled purple with glitter and sparkles, and thousands of lace-up Doc Martens filled every seat in the 21,500-seat arena — teen girls jumped up and down impatiently, some tugging at their friends’ or parents’ arms. They were unable to contain their excitement, grinning from ear to ear.

In the dark arena, several spotlights shined onto Rodrigo as she emerged from the stage floor. Simultaneously, the audience erupted in shrill, piercing screams.

Her band consisted of guitarists Heather Baker and Arianna Powell, drummer Hayley Brownell and bass guitarist Moa Munoz. Throughout the night, Rodrigo showcased her own guitar skills and vocals as she laid atop the center of the stage as it rose, singing and not skipping a single beat.  

Fans replicated Rodrigo’s outfits as they donned fishnet tights, sparkly skirts, purple accessories and makeup. Rodrigo, herself, had four unique outfits laid out for the night as she strutted down the runways of the stage: a sparkly silver two-piece set, a white ribbed tank with “It’s always SOUR in Philadelphia” written in purple letters paired with dark silver bottoms, a red bodysuit and a netted rhinestone dress over a black two-piece set. 

Rodrigo’s Livies prepared themselves for the evening by making friendship bracelets. They also listened to her discography, including music from SOUR and High School Musical: The Musical: The Series. She sang all of her hits including, “vampire” and “deja vu” and even returned to an encore to sing “good 4 u” and “get him back!”

Much like her freshman album, Rodrigo’s sophomore album included singing about pent-up rage, growing up, dealing with fame, breakups and exes and covering a lot of the bases of girlhood. 

While some fans snagged tickets during Ticketmaster’s presales, others like Marcela Siahaan got tickets the day of the show.

“[I] immediately looked in my closet for something not only comfortable but cute,” said Siahaan.

Ensuring that her fans got the best experience, Rodrigo sat atop a purple moon while singing “logical,” which slowly made its way around the arena. While singing “enough for you,” she interacted with the audience in the back of the arena and especially, in the higher sections. Hundreds of hands raised to wave and she excitedly waved back. 

Before the audience could realize she was transitioning into the next song, Rodrigo directed a cameraman toward a couple standing in the floor-seating section who then kissed, prompting squeals and cheers all around.

“They might… just be in love,” said Rodrigo as she dedicated her song “so american” to the couple. 

Although the couple’s romance was the highlight of their night, much of the crowd brought their best friends along for the hour-and-a-half performance. Who better to help fix the strap on a dress that suddenly tore while jumping enthusiastically to “obsessed?”

Dona Howard, who had attended approximately 30 different concerts, said that Rodrigo’s was one of her favorites. 

“I would relive that night a million times if I could,” said Howard.

Some fans added that Rodrigo requires a larger stage or additional concerts in some cities. In cities such as New York City and London, four shows were held to accommodate her large fanbase. As Maggie Stillman, a student at Drexel University, put it, “Her music, vibes, and energy just require bigger venues.”

While many may know 42  Dugg for things like his stature (a staggering five foot one) or his now iconic whistle before all of his songs and verses, he has also quietly built up a rather impressive catalog of singles, mixtapes and features that have made him a hot commodity in the rap game. Born and raised in Detroit, Dugg became good friends with Atlanta rapper Lil Baby, eventually signing to his 4 Pockets Full label in a joint deal with Yo Gotti’s CMG label in 2019, seen in an infamous video of Lil Baby gracing him with the company chain. Since then, it has been a steady rise for the young rapper, who has continued to put out hits despite repeated trips to jail, his most recent stint only ending last October. Following his release, Dugg put out a few loosies in the fall and winter before announcing that his debut album, titled “4eva Us, Never Them” was to be released on July 4. 

Going into the record, the usual was expected from Dugg. Just like his last few mixtapes, the expectation was that there would be a mix of high-energy melodic trap anthems, similar to hits like “4 Da Gang” and his feature on Tyler, the Creator’s “Lemonhead.” Fans also anticipated a few low-key, more emotional tracks like “Free Merey,” and his verse on “Ron Artest.”

For better or worse, the record was simply just more of the same. The intro begins with a spoken word portion, in which a woman essentially compares Dugg to a lion, before the whistle is heard and Dugg gets into his verse, in which he raps about his time in jail as he lets the beat build. The following two tracks see Dugg at his most Dugg, with the rapper essentially screaming for five minutes straight, only taking a break so Meek Mill can do the same thing on the latter. However annoying it may sound, this is Dugg at his best and a great way to kick off the album.

The next track, “Fresh From The Feds,” is a stark contrast from the previous few. Over a solemn instrumental, a much slower, more melodic Dugg once again raps about his life both in jail, his return and the emotional effect it has had on him. There are a few cuts on the album that are similar to this. On top of this, the songs “Wrong Right,” “My Mama,” “Need You,” and the closing track “Real Ones” all have the same vibes. Although Dugg makes a respectable effort to be in touch with his emotions through these songs, they are just boring at the end of the day, and nothing that is enjoyable to listen to. This is not to say that Dugg should stick to making bangers; as is mentioned above, Dugg has proven that he can make low-key, emotional tracks that sound good at the same time. Unfortunately, this is not true for any of his attempts on this record, and the songs simply add time to an already bloated tracklist.

Despite these setbacks, there are numerous songs throughout the album that make it worthwhile. Most of these are just Dugg doing what he has always done and what he is great at, which is filling any song he touches with his rare energy. Songs like “Catch 1” and “Org,” which do not really stand out in terms of their instrumentals, end up as pretty enjoyable songs due to the high-energy performances. Another track that is similar to that is “4eva Us Freestyle,” which starts off with a great performance over a pretty solid FORVERROLLING beat, but all attention is taken away from the song once Dugg, out of nowhere, recites the bar “Sike, I’m lyin’, we be fappin’ [n-words].” What was initially a really strong track ends on a really odd, unexpected note. While there is nothing inherently wrong with Dugg’s lyrics, it certainly catches listeners off guard and distracts them from the rest of the song.

Other than these tracks, the main highlights of the record are the features. All but one of the features (looking at you Rylo Rodriguez) are purposeful and add a lot to the song, while at the same time elevating Dugg’s own rapping abilities. He is able to match the energy of anyone he collaborates with, whether it be trading bars about life in the streets with his long-time friend EST Gee on “Since When,” or talking about not wearing panties with up-and-comer Sexyy Redd on “N.P.O.” It is on tracks like these that Dugg pushes himself to expand his sound, which he can clearly do when he feels the need to. However, for a majority of this record, Dugg seemingly does not feel that need at all. Despite a few standouts, both in the positive and negative directions, 42 Dugg has once again managed to drop an entire project filled with a lot of songs that sound very similar. Depending on one’s opinion of the rapper, this could be very bad or very good, or even more likely not important whatsoever. But, for fans of 42 Dugg and this style of music, this is a step in the right direction for the rapper, who will be an interesting artist to watch as the years go by.

Each summer, Philadelphia’s historic Franklin Square is transformed into a beautiful and bright festival celebrating the culture and the art of Chinese lanterns. The festival, running from June 20 to Aug. 18, has no shortage of both fun and immersive things to do. This year is the Year of the Dragon; the festival is adorned with dragon-themed stories and art that truly transport the visitor from standing in a park in Philadelphia to experiencing a beautiful display of Chinese culture.

When walking through the front gate of the festival, the first thing visitors will see is a breathtaking, giant dragon display that is sure to take your breath away. The dragon spans 200 feet and overlooks the events happening across the fairgrounds. In addition to the marvelous creature, there are beautiful lantern displays of a pagoda, different pieces of nature and the story of the Nine Sons of the Dragon. Towards the back of the park, there are also interactive lanterns that are fun for all ages. There are animals that turn into pianos, beehives that test your speed, and trees that turn into microphones and drums.

Beyond the illumination of the lanterns, there are also a few shows for viewers to enjoy. First, there is a stage show that runs a few times per evening. The show features performers who put on acts including gymnastics, folk dance, face-changing and more. The audience watches in awe as the performers take to the stage live to complete these incredible feats. In addition to the stage show,a fountain show occurs in the center of the park. The water dances in a majestic pattern to traditional Asian music.

After playing games, watching shows and walking around, there are plenty of food and beverage options to give the boost of energy that you need! From traditional Asian delicacies like dumplings and mochi to beloved American cuisine like burgers and smoothies, there are countless options for everyone to enjoy. One of the most engaging food options of the festival is the pineapple smoothie. Found at multiple places throughout the park, the smoothie is served inside of a whole pineapple. The delicious treat is perfect for a cool down in the hot summer weather, and it provides a unique experience as well!

While the festival is only open for a few months of the year, guests can also still visit some of the other staples of Franklin Square while visiting. The mini golf course and the carousel are open during the festival, and although they do cost an additional fee, they add even more fun to an already amazing night!

The beauty of this festival is truly unmatched. Whether you find yourself under a forest of lily pads, in a field of sunflowers or standing right next to some pandas, the immersive experience that the festival provides is both unique and refreshing. With courses to teach visitors about Asian culture, vendors that sell authentic art and even other guests eager to share what they know about the lanterns, one is sure to leave the festival not only in awe, but with a deeper knowledge of Asian culture.

The festival is open from 6 p.m. to 11 p.m. every night. Tickets can be purchased either online or at the gate. There is still a month left to visit, so get your friends and your camera and head to Franklin Square today!

While the world was still jamming to “Familia” in 2022, Camila Cabello was already dropping hints on social media about her next project. Fast forward to June 28, 2024 and the much-anticipated album “C, XOXO” finally made its debut, featuring 14 tracks that blend emotions, beats and unapologetic girl power, all set against the backdrop of Miami.

As soon as the lead single “I LUV IT” featuring Playboi Carti hit social media on March 27, it was clear that Cabello was venturing into uncharted territory this time. This fresh direction was evident in the album’s eclectic mix of genres, including afrobeat, R&B and reggaeton.

Collaborations are a highlight on “C, XOXO,” with Cabello teaming up with Drake for not one, but two tracks: “Uuugly” and “HOT UPTOWN.” Fans of both artists have warmly welcomed this unexpected duo. City Girls, the Miami-based pair also join forces for “Dade County Dreaming,” a track that celebrates their shared hometown with fierce, evocative verses. “HE KNOWS,” a controversial yet dynamic collaboration with Lil Nas X, signposts the overall vibe of Cabello’s album.

Cabello leans into her sensual side with “Chanel No.5,” adding another layer to the album’s diverse sounds. Meanwhile, “June Gloom,” the final track on the album, provides a melancholic conclusion, perfect for a cathartic sobfest.

The album balances high-energy tracks with more introspective and gorgeous songs like “Twentysomethings” and “B.O.A.T,” showcasing Cabello’s versatility. “Twentysomethings” stands out as an anthem for those stuck in the maze of adulthood, with Cabello reassuring her listeners: “Don’t freak out, don’t stop now, babe. We’re only twenty-something.”

Despite its varied influences, “C, XOXO” has faced criticism for a perceived lack of cohesion. While some fans have praised Cabello for stepping out of her comfort zone, others have accused her of riding on the success of artists like Charli XCX, sparking heated debates on social media. Cabello, unfazed by the criticism, told PAPER Magazine in an interview: “Charli loves me, so everybody can f*** off.”

Overall, “C, XOXO” is a testament to Cabello’s artistic range, offering something for both long-time fans and new listeners. Whether you are feeling energetic or experiencing a “sad girl summer,” this album demands attention and invites multiple listens to fully appreciate its nuances and versatility.

On Wednesday, April 24, Drexel’s Dragon Concert Series (DCS) hosted their first Spring Into Entertainment (SIE), an event featuring five alumni panelists with entertainment industry jobs followed by a Q&A and a networking mixer. DCS is a DragonLink-recognized organization committed to engaging Drexel students in the music and live entertainment industries. It offers access to career events, such as SIE, and provides avenues for learning the intricacies of concert and live performance planning.

In an interview with Beckett Chase, the current treasurer of DCS and one of the event planners, he explained how the event committee went about finding panelists for the event. Chase noted that their main guiding question was “What kind of person does the DCS membership want to see?” Primarily, they wanted the event to be exciting and engaging for DCS members, the target audience of the event. SIE planners wanted a diverse array of people while also ensuring the companies they represented were interesting to attendees. A further consideration was geography, as DCS did not have the budget to pay panelists or provide travel. Because of this, SIE planners mostly asked alumni based in Philadelphia, New York, DC, and Delaware. 

The event was open to Drexel students and alumni alike. In his interview, Chase shared that the marketing was focused primarily on Music Industry (MIP) and Entertainment and Arts Management (EAM) students to achieve a goal of about 1:3 alumni to 2:3 students for the networking portion of the evening. Chase explained that when planning the event, DCS members were conscious that many sophomores and juniors might be searching for entertainment industry co-ops and wanted to ensure that alumni were available to network with undergrad students rather than just connect with their fellow alumni. 

The first panelist to introduce herself was Jayla Johnson, a 2022 Drexel EAM program graduate who works in brand partnerships at Roc Nation. Throughout the night, Johnson stressed to the audience the importance of getting involved and making connections to be successful in the entertainment industry. She shared many of the college student ambassador programs she joined while at Drexel and how the skills she learned through being part of such programs allowed her to be successful in the job market post-grad. Johnson shared that it is important to remember that  “you’re always a student, no matter what you’re doing.” Never getting too confident and always being willing to learn a new skill is crucial to a job in such an ever-changing and fast-paced industry.

Theo Feldman, the next panelist, is the founder of 3x Music and has worked with TIDAL, Universal Music Group and Sony Music. Feldman graduated from the MIP program in 2019. Since he founded his own management company out of his freshman-year dorm room in Millennium Hall, Feldman’s main emphasis was on the importance of maintaining an entrepreneurial spirit. In such a competitive industry, being able to think of innovative ideas is crucial to success. Feldman stated the importance of “wanting to come to the table with fresh and innovative ideas” to stay relevant and successful in the industry. 

In the same vein as the two aforementioned alums, Kyle Gillette-Norman—EAM ‘14 and the current head of creative strategy, sports and gaming at Twitch—highlighted the importance of keeping up with trends and being aware of changes in the industry. When he graduated, cable networks still ruled the entertainment industry. Gillette-Norman shared how he asked himself “Where is entertainment going next and how can I put myself there?” when the pandemic hit and how this question led him to seek a job in the streaming world. He advised the audience always to think three steps ahead and be searching for new opportunities and mediums that may take over. 

Sarah Detwiler, MIP ‘16, works as the senior manager for global music business relations at Peloton. She urged the audience to “experience things for yourself instead of trying to learn about trends,” calling attention to the importance of exploring multiple facets of the entertainment industry. Before Peloton, Detwiler worked as a music publisher. She believes working multiple jobs in the industry gave her a better understanding of each aspect that she may have to consider in her current job. Any job in the entertainment industry, she shared, is extremely interdisciplinary. For example, she works closely with the music programming department at Peloton, in which the final panelist—Lauren Docteroff, EAM ‘15 and senior manager of the music programming department at Peloton—also happens to be a part of. 

Docteroff, similarly to her fellow panelists, underscored the importance of creativity. She shared that the main focus of her team is to “always make sure we are thinking out of the box and not doing the same wash and repeat.” Keeping fresh ideas, she noted, helps to keep customers interested as their habits change and gain the interest of new customers. Once again, the fast-paced nature of the industry, the importance of remaining aware and the benefits of being creative were emphasized to the audience. 

Recapping the event, Chase noted lessons from the panelists that stood out to him, mainly, the emphasis on collaboration within the entertainment industry. Chase noted that it can be hard to remember as students that jobs will most likely never involve working alone. It is crucial to be able to work on a team and with people with different interests and skills. Finally, Chase expressed their appreciation of the common message from the panelists that “it is a people’s industry.” Each panelist shared the emphasis they put on personality when hiring. The entertainment industry can be very competitive and disheartening while searching for jobs.    Hearing from high-up individuals in the industry that they value being yourself, being an individual and contributing to their environment in your own way was refreshing and a hopeful conclusion to the night. 

If you haven’t heard of Dean Lewis yet, you are missing out! On April 3, 2024, the renowned Australian pop singer-songwriter took the stage at the Wells Fargo Center as the opening act for AJR. With a captivating entrance at 7:18 p.m., he kicked off the concert by showcasing his guitar skills and diving straight into his iconic hit, “Waves,” setting the crowd alight with energy and excitement. He maintained this high note, following up with another crowd favorite, “Stay Awake.”

But it wasn’t just Lewis’s musical talent that stole the show; it was his genuine connection with his audience that truly set him apart. Before launching into another song called “7 Minutes,” he paused to share the personal story behind the song, recounting his experiences about two contrasting dates with the same person in London — the first one was great, the other not so much — that inspired the heartfelt lyrics.

The atmosphere reached a fever pitch during “Hurtless,” with fans singing along enthusiastically and showing their love for one of Lewis’s most beloved tracks.

Next, he performed a deeply personal song called “How Do I Say Goodbye,”  sharing that it holds a really special place in his heart as it was written after he lost his father. He told the audience how the song came to be while he was thinking about a trip his family took to LA and reflecting on “the way my mum and dad look at each other” during the writing process.  The crowd was hanging on to every word, feeling the raw emotion behind the song.

One of Lewis’s remarkable qualities is making true connections with his audience by sharing personal anecdotes and reflections about his songwriting. This ability of his invites the audience to relate and connect to his music on a deeper level. His next song, “Half a Man,” was about his past experiences of pushing girls away, resonating deeply with many in the crowd.

One highlight of the night was when Lewis surprised the crowd with a soulful cover of Taylor Swift’s “Cruel Summer,” prompting even those unfamiliar with his music to join in and sing along. It was a moment of pure joy and connection. Dean is one of those people who has a unique voice and exceptional musical tones, making his cover an absolute delight to the ears.

Continuing his set, Lewis performed another hit called  “Memories,” and shares the story of how he wrote this song after losing his relationship of 5 years. Many audience members joined in, singing along to the heartfelt lyrics.

Before wrapping up his act, Lewis shared the story behind his final song, “Be Alright,” revealing it was inspired after seeing a message on his ex-girlfriend’s phone. As he took up an electric guitar for this last performance, he charged up the audience, setting the stage for AJR’s performance.

Overall, despite being just the opener, Dean Lewis drew a big chunk of the crowd solely there to see him. In just 45 minutes, he left a lasting impact on an entire stadium, satisfying his existing fans and winning over many new ones. With his already strong fanbase, it’s clear that another tour from Dean Lewis is overdue, promising more memorable moments and increased stage time for his dedicated supporters.

You can check out his music here. 

“Dearest gentle readers, did you miss me?” The trailer for the third season of Bridgerton has arrived! Released April 1, Shonda Rhimes is giving us a glimpse into what to expect from a new story of love that grows from an unexpected friendship. And with midterms fast approaching, tuning in to Bridgerton could be a fun way to take your mind off the stress. After months of waiting, the trailer succeeds in convincing us that the new season of the award-winning show will be worth your while. 

The Show Release Dates: 

PART 1: May 16 

PART 2: June 13 

Where to find the trailer: 

YouTube 

Where to watch it: 

Netflix 

Side note: Seasons 1&2 are available for streaming

Across the first two seasons of the show, we have watched the Bridgerton children mature in their pursuits for love and companionship in a world set during the Regency Era. On a stage set within high society London, the architecture, fashion and style carry with them an air of rich elegance and grace. Every season, young ladies and men enter the marriage market in the hopes of finding someone who can help them establish themselves in society. Historically, it was an incredibly important time of the year due to the weight marriage had over one’s social status and family reputation. However, throughout every season, the various festivities sponsored by the Queen, inspire an egregious amount of gossip. And it is gossip that Lady Whistledown (AKA Penelope Featherington) uses to turn herself into quite the entrepreneur.

Up until this point, Penelope has been floating in the corners of ballrooms and tea parties like a wallflower. She listens in on whatever gossip she can find; using her pen to expose scandals and rumors that circulate in a mysterious weekly paper that keeps society thoroughly entertained. However, season three will aim to force Penelope into the brightest of lights. This season, Miss Penelope Featherington will bloom. Now starring as the romantic lead, she has lost hope for the crush she’s had on Colin Bridgerton turning into anything reciprocated and is ready to explore her options. We’re excited to see her take control of her life while she graces through the season in what looks to be a new and sexy wardrobe, ready to find herself a husband.

On the other side of things, audiences may worry about where this places our dear Colin. For context, Colin has for a while been one of Penelope’s closest friends. He has so far been incredibly naïve about her feelings towards him and reckless about the shallow women he finds himself falling for. This upcoming season, we will see Colin once again trapped in his oblivious spell. He will choose to help Penelope find a husband under the idea that he is only being a good friend but will later realize that his feelings for Penelope may be more than platonic love. 

Audiences can be excited to tune into a story of two friends who let love creep into a forbidden picture. But this time, our female protagonist will be walking with a new-found confidence, self-belief and purpose. All eyes will be on her, and we can only hope that Colin isn’t too late.

Each quarter, on the Sunday evening before finals week, students in the Drexel University Concert Band pause their studying and dress in black to perform a full concert — one that they have prepared for in only ten weeks. On March 18, the Mandell Theater was filled with friends and family excited to hear this quarter’s program: “Perspectives — Wonder.”

The show opened at 7:00 p.m. with the band’s rendition of “O Magnum Mysterium,” a work set by Morten Lauridsen and arranged by H. Robert Reynolds. Assistant Conductor Dr. Harley Givler led the group through the piece, which also kicked off the concert’s livestream — something new that was being offered to allow supporters of the band to watch the show from anywhere.

The second piece the band played was Julie Giroux’s Symphony No. VI “The Blue Marble.” It consisted of three movements: “The Blue Marble,” “Voices in Green” and “Let There be Life.” During this piece, the concert band tried something they had never done before. Venturing bravely into the world of live mixed media, the ensemble performed against a video timed precisely to their performance. There were striking visuals combined with skillful musicianship to create a unique and captivating experience.

After a brief intermission, the band performed their second act — John Mackey’s “Wine Dark Sea,” inspired by Homer’s “Odyssey.” This piece comprised of three movements. The first, “Hubris,” featured complex rhythms and intense melodies. The second, “Immortal thread, so weak,” included more somber, even slightly haunting displays of isolated woodwinds. The third and final movement, “The attentions of souls,” closed the show with a ranging, dynamic performance that exemplified the band’s mastery of the challenging arrangement.

Patrick Bailey, the music director and conductor of the concert band was kind enough to speak briefly with The Triangle following the show. When asked about working with the band this quarter, he said, “It’s always amazing to see the growth from the beginning of the term through the performance. The level of music making just continues to go up and up every term.”

As you may know, Drexel is not a conservatory. There is no such thing as majoring in music performance or taking dozens of credits worth of classes to learn any one instrument. Each and every student in the concert band studies something else — often in a field far separated from music. But they maintain their passion. When asked about working with the students, Bailey said, “It’s really rewarding to see them grow and be successful. I’m always inspired by their hard work.”
This year’s concert band performance series began at the end of the fall quarter with their concert: “Perspectives — Open Skies,” and will conclude in the spring with their final concert of the academic year, “Perspectives — What We Hold Most Dear.” For more information on the Drexel University Concert Band, visit https://drexel.edu/performingarts/music/concert-band/.

The Jazz Age is back! Characterized by improvisation, swing, blue notes and syncopation, jazz found its peak in the 1920s. However, through different media forms such as rising artists and movie musicals, classic jazz has captured the ears of new young listeners. Released in 2016, “La La Land” follows Sebastian Wilder, a jazz musician trying to find his way to fame in the Los Angeles scene. The movie incorporates jazz tunes and a glimpse of the livelihood ambiance of jazz clubs. More recently, Grammy award winner Laufey has provided a modern twist to classical jazz and shot to fame on TikTok. This new era of jazz has inspired many young listeners to take a deeper dive into the origins of jazz music. Here are the tunes to transport you back to the old (and new) eras of jazz. 

• Movies and Musicals
  • I Get a Kick Out of You- Sutton Foster (2018)
    • From the hit musical “Anything Goes,” “I Get a Kick Out of You” brings classic jazz compositions onto the Broadway stage. Cole Porter combines the limelight of show tunes and tap dance numbers into the jazz world. 
  • Mia & Sebastian’s Theme Song- Justin Hurwitz (2016)
    • Played throughout the popular movie musical, “La La Land,” this piano ballad is filled with lots of emotions from heartbreak to reflection. Beware, after watching “La La Land,” you may not be able to listen to this song without a tear falling down your cheek. 
  • A Lovely Night- Ryan Gosling, Emma Stone (2016)
    • A more upbeat tune from “La La Land,” “A Lovely Night” follows the pattern from “Anything Goes” and incorporates tap dancing into jazz compositions. 

• Classic Jazz
  • A Sunday Kind Of Love- Etta James (1960)
    • This mellow song captures the picture-perfect moment of the sun peeking through your window on a Sunday morning. James’ raspy voice accompanied by wistful strings is the perfect leisurely song for your sunny days. 
  • Unforgettable – Nat King Cole (1952)
    • A key component in the composition of jazz pieces is the implications of strings. Famous for his romantic songs, such as “L-O-V-E,” Nat King Cole encapsulates that feeling of passion through his songwriting and instrumental accompaniments. 
  • My Way- Frank Sinatra (1969)
    • A classic, Frank Sinatra always knows how to capture the essence of jazz. The intensity of “My Way” is a perfect ballad for rainy days or dramatic choreography (shoutout to Ohio State University). 

• La Vie en Rose- Louis Armstrong (1950)
• Another slow, loving classic, Armstrong’s notorious trumpet skills transport you to the glistening lights of the Eiffel Tower. Covered and rejuvenated by many artists, this jazz classic has become the epitome of jazz.   
• Misty- Lesley Gore (1963) & Laufey (2023)
  • “Misty,” performed by Lesley Grove and Laufey, perfectly exemplifies a jazz standard. Jazz standards, in pop terms, are “covers.” Lesley Grove’s version possesses a whimsical and light tone. In comparison, Laufey’s cover highlights the piano composition through a slower tempo. While using the same lyrics and composition, jazz standards are popular amongst a genre of artists. 

• New jazz
  • Don’t Know Why- Norah Jones (2002)
• This pop-jazz tune, released in 2002, fits perfectly in a 2000s rom-com montage scene. Jones uses classic jazz notes to accompany her soothing voice and hopeless romantic lyrics. 

• Oncle Jazz- Men I Trust (2020)
  • Known for their recent hits, “Show Me How” and “Numb,” Men I Trust became widely known for their dream pop. In this one-minute tune, Men I Trust puts a twist to classic jazz by incorporating indie music patterns.
• Street by Street- Laufey (2021)
  • Bringing back classic jazz to the new generation of listeners, Laufey has perfectly mixed modern and classic jazz into her discography. 
• What Love Will Do to You- Laufey (2022)
  • Bringing more of a classic tone to her music, “What Love Will Do to You” brings out the whimsical piano and strings of old jazz. From modern to classic jazz, Laufey uses the base jazz compositions and adds her own style of music. 
• From The Start- Laufey (2023)
  • Popular from TikTok, this Laufey classic captured many young listeners. Laufey uses standard jazz notes throughout the composition but adds a pop beat on top to modify her sound. 

Take a listen and enjoy the wide variety of sounds jazz has to bring into the music field! Click this link for the playlist on spotify.