MUSIC

Solar Power

ISN'T WHAT YOU THINK IT IS

One her third studio album, the pop star from New Zealand builds a castle of sand. | PEYTON TOUPS

Lorde’s long–awaited third studio album, Solar Power, is a patient record. No matter how many polarizing think pieces (including this one) try to tear it down, it is built to be tough and permanent like a castle. Except its castle is made of sand, and it’s surrounded by the crashing of beach waves and the clicking of cicadas.

This isn’t Melodrama 2.0, nor should it be. Its goals are entirely different. It’s Ella Marija Lani Yelich–O’Connor’s summation of New Zealand— her home and personal oasis from the perpetual hustle and bustle of the modern world. Solar Power is a small island where she is our sort of “cult leader” (her words). The synths, and ecstasy, and teen angst that marked her past releases are replaced with warm, bright swashes of acoustic guitar and the kind of calm maturity that one gains from being in the public eye. She’s not our savior. She admits it herself on the haunting opener. But she has quiet, valuable wisdom to offer to those who will listen.

“Oceanic Feeling” is the closest to any of the grandiose statements about being young and anxious from Melodrama. The longest track on the album, clocking in at six minutes, it is a treatise of where Yelich–O’Connor is at the moment. She ruminates on her past and her future, contemplating if she will ever have a daughter, as she muses about her father and the ocean licking her feet in the yellow Kiwi sands. Similarly, “Hold No Grudge,” which is arguably one of the best songs on Solar Power, despite it not even being on the standard streaming edition, sees the young pop star give up her resentment in favor of a wise bliss. Solar Power has a warranted lack of care from the girl who once made it a point of how much she cared.

Though Yelich–O’Connor's

advice to the world is sprinkled here and there on the record, it’s most plainly evident in the standout track “Secrets from a Girl (Who’s Seen it All)” (which has a surprise feature from Robyn) and the promotional single, “Stoned At the Nail Salon.” The former is like a to–do list to live your best life (“Everybody wants the best for you / but you’ve gotta want it for yourself”), while the latter is a fragile yet strangely frightening reminder of the importance of life’s little moments (“Spend all the evenings you can with people who raised you”). Both songs reflect Yelich–O’Connor’s simultaneous rejection and acceptance of her role as an idol to the current generation of young people.

But “Stoned At the Nail Salon,” while still a solid song in its own right, merits some of the critiques lobbied against it. Fans online noticed how similar the instrumental was to frequent collaborator Jack Antonoff’s previous work for fellow alt–pop icon Lana Del Rey. Yelich–O’Connor has directly spoken out against this “sexist” claim, yet she has still been unfairly lumped with artists like Del Rey simply for collaborating with Antonoff, another “mare in [his] stable.” This review would be dishonest if I did not mention my own piece on the controversial producer, in which I (half–satirically) attacked the man for his work with his close circle of women pop stars. In retrospect, I think I misjudged Antonoff as some sort of musical menace à la Phil Spector. The reality is that he simply digs deep into what he loves.

The past four years have been eventful for Yelich–O’Connor. She lost her dog, Pearl, to whom fan–favorite “Big Star” is dedicated. She toured Antarctica and published a book about her adventures there. She had a “bad acid trip” and decided her new record was instead “one of [her] great weed albums.” Yes, she spent her days getting high by the beach. What else would you do if you were one of the biggest names working in the pop music industry with two monumentally influential albums to your name? The sane thing would be to get your life together and get away from the glory and gore. Yelich–O’Connor, although she appears to be online while on promotion for this album, has made it abundantly clear that she would rather “throw [her] cellular device in the water.” Can you reach her? No, you can’t.

Fame is intoxicating. Compare the former pop prodigy, who has followed the sun as her source of inspiration, to someone like Kanye West, who generates controversy for controversy’s sake at seemingly any chance he can get. Lorde cultivates interest in herself and her brand with calm deliberation. Solar Power isn’t an album you can easily throw away. Its truths, while sometimes oblique at first glance, are wrought with care by a celebrity who doesn’t want to waste your time with cheap PR stunts. It’s a patient record, but only if you are willing to be patient yourself.

It’s a patient record, but only if you are willing to be patient yourself.

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UPCOMING FILMS TO WATCH OUT FOR IN FALL '21

Slashers in Chicago, time traveling in London, worms in space … What else is hitting theaters this fall? | CAYLEN DAVID

It comes as no surprise that the entertainment industry was one of the hardest–hit industries throughout the COVID–19 pandemic. Worldwide shutdowns and theater closures forced filmmakers and studios to delay countless releases. While many utilized streaming services in their release models amidst the pandemic, others held out on releasing films until theatrical releases could be reintroduced to the general public.

Despite growing concerns over the Delta variant, a consistent movie release schedule has returned, and studios are pouring out new films for moviegoers to watch. With so many new releases just this fall alone, there’s a lot to navigate. Some of the best upcoming releases might even be ones that you've never heard of. From star–studded blockbusters to foreign–language indie films making waves at worldwide festivals, here are my picks of the most highly anticipated films of fall 2021.

CANDYMAN (IN THEATERS 8/27)

There’s a lot of promise behind Candyman (2021). This isn’t the first time that the urban legend of ‘The Candyman’ has been adapted for the big screen, but this is the first time that such an adaptation comes from the genius mind of Jordan Peele. Through his early horror films Get Out (2017) and Us (2019), Peele has proven that despite coming from a comedy background, he is capable of creating terrifying films that resonate on a deeper level than mere scare factor.

This film follows visual artist Anthony McCoy (Yahya Abdul–Mateen II), who has just moved to the infamous Cabrini–Green Chicago neighborhood, now gentrified beyond recognition. With his art career on the brink of plateau, Anthony develops a peculiar infatuation with the gruesome tragedy behind Cabrini’s Candyman urban legend—a story told to him by Cabrini–Green old–timer (Colman Domingo).

The film is being directed by rising filmmaker Nia DaCosta, who also co–wrote the screenplay with Peele and Win Rosenfeld. While Peele isn’t sitting in the director seat for his third film, early trailers show that DaCosta preserved Peele’s style of horror filmmaking, while also mixing in her own touches to give the film a more supernatural feel. Additionally, the film features a strong cast, including Tony Todd—the same actor who portrayed Candyman in the 1992 film. It is also exciting to see Colman Domingo—who has recently become a favorite actor through his performances in Zola (2021) and HBO’s Euphoria (2019)—in a supporting role.

Candyman is likely to be the horror film everyone is talking about this Halloween season. Luckily, you won’t have to wait until the jack–o–lanterns are out to see it. Candyman is set to hit theaters Friday, Aug. 27.

TITANE (IN THEATERS 10/1)

Foreign–language films are not always surefire hits at the United States box office, but after the worldwide success of Parasite (2019), Titane (2021) has the potential to cause a similar ripple effect. Titane is an upcoming French body–horror thriller, written and directed by Julia Ducournau. BBC Culture labeled Ducournau’s latest project as “the most shocking film of 2021,” as the film supposedly spares no grotesque detail or uncomfortable moment in its propulsive storytelling.

The film stars Agathe Rousselle, who plays a serial killer dancer with a titanium head implant and an intimate attraction to automobiles following a childhood car accident. Her debut film performance in Titane has garnered massive critical acclaim, with some even hinting at Rousselle as an early contender for Best Actress accolades come awards season. Her raw talent, shaped by Ducournau’s directorial vision, creates a powerful and controversial film that tackles gender, sexuality, and the body.

Though it has yet to be released worldwide, Titane has already found massive critical success from its film festival run. The film won the coveted Palme d’Or prize at the 2021 Cannes Film Festival, making Julia Ducournau the second–ever female director to win the festival’s top prize. This piece of extreme cinema will continue to make its festival run before debuting in U.S. theaters on Oct. 1.

DUNE (IN THEATERS / HBO MAX 10/22)

Denis Villeneuve has yet to make a bad film, and after directing gorgeous science–fiction pictures like Arrival (2016) and Blade Runner 2049 (2017), he's the perfect match for a Dune reboot. Based on the 1965 Frank Herbert novel of the same name, Dune (2021) is the first entry of a two–part series inspired by the original story. This film is led by Timothée Chalamet, who plays a young prince named Paul Atredis that must journey to one of the most dangerous planets to ensure the safety of his family and population.

The film’s trailer displays several trademarks of Villeneuve’s directorial style, most notably the attention to detail he implores within the worldbuilding of his films. Villeneuve often introduces his settings using wide establishing shots, complemented with towering visuals that scale up the spectacle of his films. Dune’s trailer delivers on these with beautiful visuals of massive deserts and towering sandworms, setting a massive precedent for the scale of this sci–fi epic. If Villeneuve in the director seat isn’t enough excitement for this film, the star–studded cast surely is. In addition to Chalamet in the lead, the film also stars Zendaya, Oscar Isaac, Rebecca Ferguson, Josh Brolin, and Jason Momoa, among others.

Fans have experienced an emotional roller coaster waiting for Dune, with the film suffering several release delays over the past year due to the pandemic. However, the wait will soon be over once Dune is released in theaters and streaming on HBO Max on Oct. 22.

LAST NIGHT IN SOHO (IN THEATERS 10/29)

This is the one I’m really waiting for. Since her award–winning performance in The Queen’s Gambit, Anya Taylor–Joy has become one of the most sought–after talents in Hollywood. Taylor–Joy’s next starring role will be in Last Night in SoHo, a psychological thriller directed by Edgar Wright. The film follows an aspiring fashion designer (Thomasin McKenzie) who is miraculously able to enter the 1960s, encountering a mysterious singer who inspires her in the present day. However, not everything is what it seems, and the lines separating '60s London from the contemporary world soon begin to blur in a dark fashion.

Psychological horror is surely something new for Edgar Wright. While he dipped his feet into the genre with the horror–comedy Shaun of the Dead (2004), Wright has never directed a full–fledged horror film. He's known for stylish comedies like Scott Pilgrim vs. the World (2010) or rhythmic action flicks like his most recent film Baby Driver (2017). Wright himself admits that Last Night in SoHo will have a very different tone than his previous films. The film draws inspiration from 1960s and '70s psychological thrillers, containing stylistic elements reminiscent of Alfred Hitchcock and David Lynch. Despite Wright’s inexperience in outright horror, this film looks chilling and beautiful. Ambient red light fills the frames, and the chaotic nature of the trailer implies that the leads will be in for a wild ride through time and their own minds.

I have high hopes for this film, and really hope that Wright can deliver on his promises. Last Night in SoHo is set to make its worldwide debut at the Venice Film Festival, and will hit U.S. theaters Oct. 29.

The upcoming fall has a whirlwind of fresh films in store for viewers, and it only gets better from there. There are tons of other highly–anticipated releases, but these four films have already drummed up a large amount of hype from early marketing campaigns and the festival circuits. As a fan of psychological thrillers, I'm personally most excited for Last Night in SoHo, but each of these films brings something new to the table.

AFGHANISTAN’S ARTIFACTS

What the Taliban takeover means for the country’s cultural heritage | JESSA GLASSMAN

After the resurgence of the Taliban in mid–August, Afghans around the country began to ee toward airports and borders in hope for an escape from the increasing human rights violations. e threat to human life, security, and freedom is immeasurable, and no freedom is too fundamental to be safe from the Taliban’s reign. Alongside the dangers faced by the Afghan people is the danger threatening the Afghan legacy, which is ensconced in archeological wonders, sculptural masterpieces, and other studied artifacts. Under the Taliban regime, in all its violence, fundamentalism, and totalitarianism, there’s an urgent and momentous danger facing the treasure trove of art and history that lives within Afghanistan’s borders.

According to experts, there’s already a likelihood

that the Taliban will loot historical sites to generate revenue and desecrate idols as a symbolic gesture—revealing that its promise to preserve them was nothing more than a lofty, rhetoric–masked lie. In a time of much chaos, inconsistent security at museums, lucrative excavation sites, and storage facilities may open a window for both Taliban–a liated and third–party thieves to snag, smuggle, and sell artifacts, or for looters to destroy them. Furthermore, bombs and other cross re threaten the integrity of the precious objects stored throughout the country.

Due to the swiftness of the Taliban’s takeover, museum sta and directors are scrambling to ensure precious collections stay safe. “We have great concerns for the safety of our sta and collections,” said Fahim Rahimi, director of the National Museum of Afghanistan. Government sources have claimed that there is no safe way to move the museum’s collection or any of the sta members out of the country due to the Taliban–controlled borders. With roughly 800,000 objects within its walls, the National Museum is full of the majority of Afghan stories, craft, and tradition through history that must be preserved through the tumult.

Taliban o cials have claimed they will protect sites of important historical heritage from destruction or sale, but many are unconvinced that the organization will keep the promise because of its unfavorable record. In 2001, the Taliban blew up the world's tallest known Buddha statues, the Bamiyan Buddhas, which were carved with exquisite detail into the side of a cli . e Taliban also destroyed artifacts from the National Museum in Kabul and pillaged ancient sites in a show of aggression and domination directed at pre–Islamic art. e Taliban government justi ed its actions by claiming the works were idols, making them “haram,” or forbidden, according to Islamic doctrine. e lack of respect for the artifacts, which were crafted long before Islam even existed, is disrespectful to the country’s history and legacy. It reveals that the Taliban is dangerously attempting to rewrite the past to t its narrative, domineering history much like it is the country. e destruction of these precious historical artifacts was condemned both nationally and internationally. Worldwide, people mourned the loss of the renowned emblems—distraught at the loss of historical culture and educational ancient artifacts. In the years since, the Afghan people have continued to hope for the protection of their birthright, which has been looted, destroyed, and disrespected over the last 40 years since the beginning of the civil war in 1978. It took years for conservators at the museum to repair and rebuild the sculptures, but the Buddhas are forever lost and the whereabouts of many valuable objects are still unknown. “We have a very glorious Islamic history that we are proud of, but we also have a rich pre–Islamic history [that] we must preserve,” said Rahimi. “It is important our youth learn about this history, this diversity, and their heritage.”

UNESCO has expressed concern over the potential damage to Afghanistan’s national heritage. In a statement released earlier this month, the organization implored the Taliban to agree to safeguard historical treasures: “Any damage or loss of cultural heritage will only have adverse consequences on the prospects for lasting peace and humanitarian relief for the people of Afghanistan.” Other organizations including the French Archeological Delegation in Afghanistan have commented on the uncertainty surrounding Afghanistan’s artifacts. Cheryl Benard, the director of the Alliance for the Restoration of Cultural Heritage in D.C., also expressed worry that the situation was growing increasingly volatile, claiming that “If [the Taliban] have bad intentions … it will become obvious down the road.”

Citizens worldwide must prioritize the crisis in Afghanistan. For art and history lovers especially, the potential loss of culture at stake should be another motivation to take action. e cultural heritage of Afghanistan is rich and should be respected, appreciated, and shared with the world—not destroyed.

WE HAVE A VERY GLORIOUS ISLAMIC HISTORY THAT WE ARE PROUD OF, BUT WE ALSO HAVE A RICH PRE–ISLAMIC HISTORY [THAT] WE MUST PRESERVE.

FAHIM RAHIMI, DIRECTOR OF THE NATIONAL MUSEUM OF AFGHANISTAN

"I Want to Fly to the Universe" by Yayoi Kusama, 2021 / Photograph by Linda Laban for the Telegraph Laban for the Telegraph

Yayoi Kusama was born among owers. Her family owned and operated a plant nursery in Matsumoto, Japan that supplied the Nagano Prefecture with plants and seeds. is can be read from a placard in one of the galleries of Kusama’s new part–retrospective, part–exhibition, Cosmic Nature, at the Bronx Botanical Gardens. is particular viewing room was dedicated to Kusama’s early drawings: precise, diagrammatic sketches of tree peonies (Paeonia su ruticosa). Her dedication to realism and attention to detail at the precocious age of 16 recalls Picasso’s adage to “learn the rules like a pro, so you can break them like an artist.” e focal centerpieces of Cosmic Nature are far more abstract representations, but, in a way, are truer to life. Kusama’s early sketches look exactly like the objects of their depiction, but her sculptural work distills the attributes of the natural world that often go overlooked or unobserved.

Perhaps that can be attributed to my visit to the Botanical Gardens on a cloudy day in late July, when the polychromatic bloom of spring yielded to wilted owers and acres of green grass. Whether intentionally or otherwise, Kusama had chosen a venue that stood in stark contrast to the art on display. e gardens were manicured and peaceful—nature rendered in still life. Meanwhile, “Dancing Pumpkin” is an immense riot of color and movement.

In accord with Kusama’s goal to “call attention to the ... cycles of living things that are not always visible,” many of the pieces in Cosmic Nature capture the movement of plants which occurs too gradually to be detected by the human eye. Such moments of transition are depicted through iteration. e approach is best exempli ed by the soft sculptures "Flower E," "Flower F," and "Flower Bud Opening to the Heavens." ese oversized rambutan–esque growths in Kusama’s signature polka dots bloom into—or perhaps are overtaken by—tendrils that extend skywards. “Flower Obsession” is an interactive space wherein visitors plaster a greenhouse in oral stickers, in a clever inversion of plants growing unobserved. Relatedly, this installation’s oral network expands with every viewing. e theme of growth reaches its apex of excess in the displays that border on lovecraftian horror, which is apropos, given that the subgenre also known as “cosmic horror” emphasizes the horror of the unknowable. In the atrium of the Mertz Library Building Gallery there’s anuntitled cluster of tentacles, another Kusama trademark. Housed in the Haupt Conservatory Galleries, “My Soul Blooms Forever” and “Hymn of Life–Tulips” both feature oversized steel owers in bright colors. However, while the former’s blooms have an unimposing, inquisitive regard, the latter nds the same tulips twisted into ferocious shapes thatresemble Gerald Anthony Scarfe’s animation for Pink Floyd’s e Wall.

Cosmic Nature isn’t just a journey through the life cycles of plants—their growth, reproduction, and decay—it’s also time travel through Kusama’s storied career as an artist. e indoor galleries at the Botanical Gardens feature tributes to her “Walking Piece” and her In nity Nets series. “Narcissus Garden” is likewise an homage to an earlier piece, which Kusama originated in 1966. at rst installation featured 1,500 steel spheres sold to passers–by as a representation of their own narcissism. e new incarnation of “Narcissus Garden” is a tranquil and meditative experience, watching the re ective globes mingle with the ducks and reeds of an arti cial wetland.

At rst glance, Yayoi Kusama’s art seems like perfect Instagram fodder. Without the bene t of getting up close and personal with these sculptures and installations, it would be easy to write o her exhibit as a slideshow of pop art pumpkins. But the scale of these pieces and the way they’re in dialogue with their surroundings cannot be captured secondhand. Amidst the uncountable vegetation of the Botanical Gardens, Kusama succeeds, if momentarily, at transporting viewers back to her own childhood.

A PORTRAIT OF THE ARTIST AS A Young Plant

The Bronx Botanical Gardens serve as complement and contrast to Cosmic Nature an exhibition courtesy of Yayoi Kusama. | WALDEN GREEN

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