HIIT me baby one more time; students lead virtual fitness classes
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By James Mercandante Staff Writer Once the audience filled up the theater seats, the lights dimmed and the show commenced. Students came out from backstage with flutes in hand, prepared to unveil their talent as both individuals and a choir. On April 23 at 8 p.m., the College’s all-female Flute Choir performed in Mayo Concert Hall to showcase the skills they’ve developed throughout the semester. The performance wasn’t just an average recital, but a euphonious engagement that immediately drew the crowd in. Directed by David DiGiacobbe, a flute professor at the College, the first piece the choir performed was “Overture to the Abduction from the Seraglio” by Mozart, which sounded overwhelmingly beautiful as a flute adaptation. The concert continued with “Variations on a Theme by Haydn” by John Brahms and “Flute Fantasia” by Sonny Burnette, which were equally as enchanting. After intermission, senior music majors Marisa Blackman, Caroline Hoynowski, Ashley Krebs and Jessica Richter shined with their presentation of “Trois Pieces pour quatre Flutes” by Eugene Bozza. To conclude the concert, the full choir performed “Suite from El Amor Brujo” by Manuel de Falla, which was devised into five sections that came together harmoniously. The harmonies the choir produced were delicate yet powerful, which made the audience feel like it was floating on air. Genesis Lopez, a junior political science major, found herself pleasantly surprised by the performance. “I did not know what I was expecting when I came to this recital as I only anticipated people just playing the flute, but the way they played as a group was mesmerizing,” she said. Throughout the concert, it was apparent how much dedication and hard work was embedded within this performance, as each note was played flawlessly. “We practiced every Wednesday for two hours since the beginning of the semester,” said Lauren Estes, a freshman music and elementary education dual major. On stage, Estes shared that she was able to “breathe and focus on the music,” which helped her perform smoothly. After each performance, students bowed while receiving outstanding applause from the crowd, verifying their sheer excellence. The last piece concluded the concert in a phenomenal way, which took the audience on a musical journey filled with a myriad of transitions and tones. The closeness, teamwork and unity of the flute choir were also evident throughout the night. “All I could think about was how much fun I was having with all of my friends,” said Emma Schell, a sophomore music education major.
By James Mercadante Staff Writer Beyoncé has a tendency to break her quiet spells by dropping new material with hardly any warning, all the while consistently breaking the internet and shaking the Beyhive to its very core. Her impact can simply be summarized by the lyrics she sings in “‘Top Off ––” “F*** it up and then leave, come back, f*** it up and leave again.” The new Netflix documentary, “Homecoming: A Film by Beyonce,” was released on April 17 at midnight to commemorate the one-year anniversary of her headlining Coachella performance. The film reveals the world Beyoncé created on that stage, which also allowed audiences to stream their own personal Beyoncé concert in the comfort of their homes. It skillfully uncovers intimate narratives from the artist herself and detailed how her masterpiece was built. “Homecoming” renders more than just a performance at Coachella, but an accolade of the black college experience, a celebration of femininity and a tribute to black writers and artists. As the first black female artist to headline Coachella, Beyoncé felt “it was more important that I brought our culture” to the stage, “instead of me pulling out my flower crown.” And she fully succeeded in doing so, as she offers a visual and sonic engagement of African-American culture. She talked about the issues surrounding Historically Black Colleges and Universities, through her stepping choreographies, orchestra, Nefertiti-inspired costumes and all-black crew. “I wanted every person that has ever been dismissed because of the way they look,” Beyoncé narrated in the film, “to feel like they were on that stage— killin ’em’” She utilizes her platform to present an array of representational images for her audience and paves a path for future generations of black artists. In terms of the performance itself, Beyoncé proves herself to be a true leader in this film. She does not only capture everyone’s attention, but also operates as the heartbeat of the entire production. The documentary reveals the attentiveness in which she handles her craft, as she “selected each detail every light, the height and shape of the pyramid (stage), every patch was hand sewn.” She pays close attention to detail and has a purpose behind every choice. Such attention to detail explains why she always has notes after each practice: she believes there is always room for improvement. However, her performance is without a doubt perfect, with no improvements needed. The precision and rigor in her choreography is remarkable. At times, the film cut the frame from her first performance to her second one and everyone on stage would be in the exact position, producing the same energy and passion. The way she moves and controls her body holds an immense amount of power — one that can either make you feel paralyzed, as if your body is accepting the fact that it can never function in the way hers does, or make you feel like all you can do is dance like you’ve been trained your whole life to do so. It’s almost scary how immaculate her dancing is, but it’s even more shocking how she is singing at the same time, never losing breath or messing up the key. Her vocals are mesmerizing, as she is able to silence the crowd with her high falsettos and her sultry lower register. She also delivers intense energy when she raps, screams or growls. Whether you like Beyoncé’s music or not, everything about her ability to perform live is what makes her one of the greatest entertainers of this generation. This film represents Beyoncé’s true homecoming, which is her return to the place where she truly belongs –– the stage. And she came back, with a two-hour show that was emblematic of her 22-year career, in a flawless formation.
By James Mercadante Staff Writer It’s easy to lose faith in pop music as new artists recycle old chord progressions and duplicate lyrical content. But once in a while, there’s an artist that raises her middle finger to what traditionally sells and refuses to conform — these days, that artist is Billie Eilish. On March 29, the 17-year-old released her highly-anticipated debut album, “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” The LP consists of 14 tracks, both written and produced by Billie Eilish and her 21-year-old brother, Finneas, in their childhood home in Los Angeles. On the night of her album release, Eilish posted the album cover on her Instagram and pleaded with her fans writing, “This album is the world to me, so please take care of it.” Her body of work demands to be heard and felt. The album plays out like a soundtrack to a cinematic masterpiece, as the tracklist order progressively tells a story. It is the soundtrack to your dreams consolidated into one LP. Each song sonically emulates various dreams that range from sinister nightmares to velvety dreams with music boxes ringing in your ears. The album drags listeners to places that Eilish in visits in her sleep. One captivating aspect of the young artist is her hushed, soft vocals that she uses to gracefully sing melodious lyrics that are tougher to digest. Her voice makes listeners feel like they are floating above water or sinking quickly below it. Eilish is more than capable of giving audiences goosebumps — her voice and production verbally massages any ache that possesses body or spirit. “Xanny” is a perfect example of this effect. The lyrics detail her opposition to resort to drugs like Xanax in order “to feel better.” Her vocals sway back and forth, taking control of viewers and asserting Eilish’s narrative. The song opens with an intense tone, transitions to a peaceful piano arrangement and concludes with a cappella vocals. Eilish’s voice mimicks the effects of drug use, Xanax in particular, in her attempts at relieving your anxiety and displaying how true serenity can come in many forms, especially in her music. It is not just her vocals, but the transparency in Eilish’s lyrics that render her work as unequivocally raw. At times, she crosses dangerous territory when expressing certain thoughts, such as contemplating death by suicide. The album title, “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” could translate literally to the vividity of her dreams or could be an allegory of life after death. She makes several biblical references to heaven and hell, especially in “All the Good Girls Go to Hell,” but also through burials in “Bury a Friend,” where her own worst enemy — herself. “Listen Before I Go” is a piano ballad that depicts Eilish’s last thoughts before she leaves her life on Earth. She adds sound effects such as rain, wind, voices below her and ambulances, which all create an image of her standing on a rooftop and contemplating her options. Eilish sings, “Sorry there’s no way out but down,” which offers no resolution or hope for her listeners. This certainly has the ability to destruct her listener’s perception of reality and artistry. She does not offer any ounce of hope, which is unbelievably disturbing and can leave audiences unsettled. Besides that particular song, her lyrics are overall mature, especially from such a young artist. This is what makes this album so special and thought-provoking. Her concluding track on the LP, “Goodbye,” steals one lyric from every other song and sings the album backward, as if she is pulling you back to reality. Eilish crafted her album to be a dream that her listeners most definitely do not want to wake up from.
By James Mercadante Staff Writer Just when you thought she was at the peak of her artistic success, Ariana Grande showed off even more new hit content. On Friday, Feb. 8, Grande released her highly-anticipated fifth solo-album, “Thank U, Next,” and may have unveiled her best, most cohesive body of work to date. Back in 2018, Ariana Grande released her album “Sweetener,” was honored as Billboard’s Woman of the Year, got engaged and broke off an engagement— all in the span of five months. Grande’s relationships were scrutinized through every social media platform. Her response to those speculations was to casually drop a single that reflected and dismissed the value of her past relationships. This song, “Thank U, Next,” became her first No. 1 hit on the Billboard charts. Her whirlwind year soon gave way to the genesis of the Thank U, Next era. Grande’s preceding album comes across as sugarcoating her suffering and private issues, hence the title “Sweetener;” however, with “Thank U, Next,” Grande positions her narrative in a completely bare and vulnerable state. She lets the world know she “can’t fake another smile” and “can’t fake that she’s alright,” as said in her songs, which is a heavy contrast to her previously having, “no tears left to cry.” “Thank U, Next” is composed of a plethora of R&B soulful tracks that function as ingredients to the ultimate self-love album and one where Grande is hyper aware of who she is and is not looking for anyone’s approval. Even though she seems to be giving the the middle finger to all those fake smiles, she still stays so damn likable. The album begins with the song “Imagine,” where she paints a visual fantasy of an ideal relationship, yet it’s so far out of her reach that she’s forced to, in the song, “imagine a world like that.” This track is an appropriate introduction to the album and her voice ascends sheer excellence by gracing the track with whistle tones that we don’t deserve, yet she serves them anyway. Grande’s voice is one of the most remarkable features about her, but this album accentuates more than just her vocals — it manifests her capacity to formulate authentic and personal lyrics that resonate with her listeners. “Ghostin” possesses the most honest lyrics in Grande’s whole career. The song is a ballad that professes the guilt she feels for not being completely over her ex while being in another relationship. Fans speculate that the song is about mourning the loss of her ex, Mac Miller, who passed away due to a drug overdose last year. She tells her lover, “Though I wish he were here instead/don’t want that living in your head/He just comes to visit me/when I’m dreaming every now and then.” The lyrics in this piece express Grande’s genuine thought process, which evokes emotional responses from her listeners. The ballad ends with an instrumental of violins and string quartets, which can make you feel as if you’re floating; this simulaties a ghost-like feeling, and reminds you again of Miller. However, Grande presents more fun, catchy songs that can double as petty or witty Instagram captions, such as “Bloodline,” “7 Rings,” “Makeup” and “Break Up With Your Girlfriend, I’m Bored.” These tracks have heavy pop and R&B elements that have memorable melodies and timeless trap-style beats. Most songs on this album can either break your heart, make you want to dance or leave you feeling empowered. If you need new music to listen to, this is the album for you. Ariana Grande has proved herself as a true artist with this release and it needs recognition. “Thank U, Next” is gentle, raw and healing. It’s catchy and entertaining, it’s united and tenacious, but most importantly, it’s undeniably real.
By James Mercadante Staff Writer The small, yet cozy stage in the Traditions Lounge was set with three microphone stands and a soft-pale blue light that illuminated the space while students filed in and patiently waited for student musicians to take the stage at CUB Alt’s Student Soloist Night on Tuesday, Nov. 6 at 8 p.m. Students had the opportunity to showcase their musical abilities through both covers and originals pieces. As the crowd grew larger, the soloists prepared for their performances by warming up their vocal cords or tuning their guitars, which made some audience members eager for the set to start. The first soloist was Jared Pinkham, a freshman speech pathology and audiology major. He covered two pop songs a cappella. Pinkham’s first number was “Latch” by Sam Smith, and his second choice was “One Last Time” by Ariana Grande. Pinkham used his light and airy voice to encapsulate the falsettos that both Smith and Grande exercise in their musical repertoires. Next up was Luke Ambrose, a sophomore psychology major, who hopped on stage with his guitar in hand. Ambrose’s delicate vocals highlighted the rawness of Rex Orange County’s sounds. His first song was “Australia Street” by Sticky Figures. He also gave his own renditions of “41,” by Dave Matthews Band and “A Song About Being Sad,” by Rex Orange County, which was a crowd pleaser. Ambrose also performed an original song titled “Perfection,” which expressed his feelings for a girl he had admired. “Her name is Perfection,” Ambrose sang. “She’s a perfect girl.” His performance and original lyrics resonated with the crowd. Students in the audience were either dancing, singing along or recording the show to support the performer. The last performance of the night was junior psychology major Jillian Brueckner and junior finance major Ryan Fields, who performed as a cover duo. They first sang “Take Me to Church” by Hozier, and Fields displayed sonically beautiful vocals while Jill matched the same talent. Brueckner said that she was sick earlier that day, and notified the crowd she “took so much cold medicine that (her) hands feel numb.” However, the audience could not discern any hint of illness when she sang, as her voice was clear, fluid and in complete control of vibrato. When they performed “Shallow” from the “A Star is Born” movie soundtrack, she belted the chorus and captured the raw vocals of Lady Gaga. Both Brueckner and Fields used harmonies to blend their voices together, which proved the duo to be a great match.
By James Mercadante Staff Writer Bradley Cooper made his directorial debut with “A Star is Born,” and he presents a reimagined version of the 1937 film that tells the same tale in an intimate, yet authentic way – but don’t expect to come out feeling completely euphoric after seeing the film. The movie forces you to watch and ruminate over pressing issues that people face every day, and centers itself around the relationship between Jackson Maine (Bradley Cooper), an infamous songwriter and alcoholic, and Ally (Lady Gaga), who is an unknown artist struggling to establish herself in the industry. Jackson discovers Ally at a drag bar, where she sings “La Vie En Rose” in French, with drag-inspired makeup and a theatrical presentation. After their first encounter, the movie follows their romance and musical journey as they both support one another in their endeavors, whether its Ally giving Jackson musical inspiration or Jackson pushing Ally to find her voice. One of the strongest aspects of the film is its soundtrack. The most acclaimed track, “Shallow,” is the first song the couple sings on stage together, which sets the standards high for the upcoming songs. Cooper sings with conviction and validates himself to be a true storyteller, while Gaga gives the crowd chills with her powerful vocals and raw passion. The film was Gaga’s debut as a cinematic actress, yet you might have mistakenly assumed she’s been in the industry for years. She emulates excellence and proficiency and her performance was compelling, emotional and impactful, thus making this film even more spectacular. “A Star is Born” is quite lengthy at times. It includes scenes less entertaining than others, however, it gives viewers an opportunity to emotionally invest in the characters and watch a beautiful narrative unfold. The details in this film, from a tap of the nose to a simple lyric, are important because it reminds us to appreciate the details of our mundane lives, to fight for what we are passionate about and to contemplate the meaning of being human.
By James Mercadante Staff Writer The new Netflix original film, “Nappily Ever After,” can teach viewers a lesson or two. It sparks a myriad of conversations around issues such as the ideologies of race, gender conventions, self-love and, most importantly, hair. On the surface, Violet (Sanna Lathan) appears to have a perfect life. She holds a successful position as a beauty department marketer in an advertising company and she lives with her outrageously handsome boyfriend and British doctor, Clint (Ricky Whittle). Throughout her life, she maintains a painted face with a full set of straightened, relaxed hair. Her hair becomes a symbol of her collected demeanor. She never lets anyone see past the perfect person she wants people to perceive her as. Things fall apart when she breaks up with Clint, who describes their relationship as “like being on a two-year first date.” She undergoes an identity crisis, and she starts questioning the value of her careful perfection. Violet’s narrative is a delineation of what many black girls are subjected to — being pressured by family and society to maintain a certain presentation, in order to reflect ideals of their femininity. The tension builds up until Violet reaches a breaking point, where she decides to shave her hair. This particular scene of her shaving is one of the most climactic and beautiful moments in the movie. Lathan proves to be a substantial actress. She looks into the camera as if she’s looking into her own reflection, and authentically mirrors the reality of a mental breakdown. She goes from crying hysterically, to laughing, to going completely numb, which is chilling. “To Build a Home” by The Cinematic Orchestra plays during this scene, which was an amazing choice. The song generates a heart-rending tone, and the movie’s soundtrack contained so many fitting songs to accentuate the story. Violet’s journey of self-discovery begins with her hair, and what it has represented for her. She is finally forced to give up on her vanity and instead focus on other parts of herself. Although predictable at times, this is a crucial film to watch. It sheds light on topics such as black female experiences, and it is truly gratifying to watch a film that teaches you that perfection is not a path toward a happy life, and that it’s perfectly OK to let your hair down.
By James Mercadante Staff Writer No parent wants to watch their worst nightmare unfold before their eyes, but “Searching” does not stray away from the anxieties of having a child gone missing as it encapsulates the panic, the unknowing and the determination a parent experiences under these circumstances. Directed by Aneesh Chaganty, the film is presented through a series of texts, emails, webcams, Facetime sessions, newscasts and internet browsing. Recent widower and loving father, David Kim (played by John Cho), is forced to unravel the obscurities behind the disappearance of his daughter Margot (played by Michelle La), as there have been alterations to the truth through dishonest people on the internet. With the film being entirely digital, it is evident that Chaganty is trying to promote the message that every aspect of an individual’s life can be visible on the internet, and how no one is safe with the excessive amount of information available online. As the plot thickens, the unconventionality of an internet-based film is no longer discernible as audiences are finding themselves invested in the story’s progression and John Cho’s authentic performance. The audience member can value the smooth process of using the internet as the film’s base while also appreciating the actors’ skills, like Debra Messing, who brought her character to life on screen as Detective Rosemary Vick, who works the case in the film. David Kim is forced to learn about the secret internet world his daughter has immersed herself in, which insinuates that his daughter has been hiding a part of herself from her father. The movie tosses the audience around with plot twists that lead to other plot twists, however, the final truth unveils itself in a matter of five minutes. The climax was the film’s strongest, yet weakest aspect. On one hand, it is a revelation that is unpredictable and staggering, yet it is also complicated. To reveal the truth in a short amount of time can be overwhelming and utterly confusing to audiences. Despite the confusion, “Searching” is a gripping thriller that successfully entertains with its suspense and clever script, and also possesses the ability to make the audience second guess how much of their personal information they make available on the internet.
By James Mercadante Staff Writer At the seventh annual Mayo Business Plan Competition Finals on the evening of April 4, three teams competed for the $30,000 grand prize. As the audience sat on the edge of their seats in Mayo Concert Hall, William Keep, dean of the School of Business, described how the competition started when Herbert B. Mayo handed him a check seven years ago, asking Keep to create a business plan competition. Ryan Chiu, a junior accounting major, and Jacob Boyle, a junior mechanical engineering major, came in first place for their invention of MARCo, a therapeutic robotic device designed to assist individuals with illnesses including depression, anxiety and bipolar disorder. MARCo Technologies, LLC strives to provide a line of compassionate robotic companions for individuals suffering from a broad range of mental illnesses in order to encourage wider access to mental health care and reduce the burdens placed on caregivers, according to Boyle. The charming royal-blue robot looked out at the audience and said, “Nobody should ever be alone in their suffering and I am here to make sure nobody ever will be.” The treatment that MARCo provides is broken up into five divisions of care — companionship and social interaction, instructive and stimulating guided meditation, cognitive behavioral treatment, bio-feedback and external outreach in a high-risk situation, according to Boyle. Chiu added that his team developed a treatment plan after consulting with the College’s Counseling and Psychological Services. The idea of MARCo was inspired by Chiu and Boyle’s personal experiences with their own loved ones who suffer from some form of mental illness. Both members of the team noticed a gap between those who are mentally ill and those who receive treatment, and sought to make an effort to relieve this imbalance. Our Tsunami placed second in the competition, winning $20,000, for its creation of board-shorts that are equipped to be a more sustainable, durable and affordable garment for lifeguards. The team was composed of four students: Neil Desai, a junior finance major, Erika Hausheer, a junior finance major, Sung Min Kwon, a senior marketing major and Dennis Tuohy, a junior political science and economics double major. These students all shared a passion to bring a wave of change in the lifeguard community, according to Tuohy. The team saw a need for a standard quality uniform for lifeguards, similar to that of police officers and firefighters, that would increase rescue response times. “We are proud of our product,” Hausheer said. “It took us a long time, but we’ve made it this far.” Sneaker Creatures placed third in the competition, winning a $10,000 prize. Sneaker Creatures is the third all-freshman team to compete in the Mayo Business Plan finals in seven years, according to Keep. Benjamin Cutler, a freshman economics major, and Jon Lugo, a freshman management major, both stood on stage with a display table filled with multiple pairs of sneakers, and presented their idea of buying and selling high-end sneakers — that are mostly used — online for lower prices. “We created a website with the goal of becoming a marketplace where people can browse through high-quality sneakers,” Cutler said. “This will save customers time because they will have a place to browse a variety of used sneakers — without our website, they have to hunt on websites like Ebay for a specific shoe.”
By James Mercadante Staff Writer The shunned, tucked away film that Hollywood has declined to produce for so long — a film that introduces a LGBTQ+ character at the center of a love story and deviates from complying with the stereotypes of a “gay movie” — finally hit theaters on March 16. Based on Becky Albertalli’s 2015 novel, “Simon vs. the Homo Sapiens Agenda,” “Love, Simon” is a coming-of-age story about Simon Spier, a student who struggles to come to terms with his closeted sexuality, and is willing to do whatever it takes to not be outed by another student who knows about his attraction to men. The film proves to be significant for several reasons, including the representation it provides. The cast of the film is diverse, as half of Simon’s friends are people of color, which gives a more authentic presentation, as they promote variety and equal opportunity to be on the screen. The movie also focuses on giving more LGBTQ+ representation, as gay audiences rarely have a chance to witness a love story that represents them. The film successfully normalizes LGBTQ+ romance for those who do not identify with the community. “Love, Simon” diverts from being classified as a “gay movie,” as the film appeals to all audiences. Simon, portrayed by Nick Robinson, is a flawed, quirky and hilarious character that many people can relate to. The movie encourages audience members to connect with Simon by including issues in the plot that nearly anyone can relate to. Simon fears he will no longer be liked due to who he truly is, and feels alienated from his peers. Anyone, regardless of their sexuality or gender, can relate to the universal and constant search for genuine human connection. The film contains other authentic and applicable elements, like family. Jennifer Garner, who portrays Simon’s mother, conveys a raw performance as a nurturing parent who feels the pain of her child, who is grappling with his seuxal identity. She steals the whole movie in one scene in which she articulates to her son that he is beautiful and is worthy of love — something every child should hear from their parent. The audience was tremendously vocal in their reactions to the movie, as people loudly cheered for the romance and shed tears for Simon’s pain. Children, especially those of the LGBTQ+ community, are going to be taking their parents to see this film because of its potential to open up minds of people who are not familiar with the idea of homosexuality. The movie normalizes homosexual romance and provides a happy ending for those who have doubts — which gives hope to anyone who can relate to Simon’s story and fears to share their true identity with the public. “Love, Simon” is definitely worth going to see in theaters. The appealing and emotional film may not be Academy Award material, but it captures difficult adolescent moments, and it’s definitely something Hollywood needed.