Reimagine | Fall 2020

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ARTISTRY MAGAZINE

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2020

REIMAGINE

AR TI ST RY MA GA ZI NE

Letter from the

Editor-in-Chief

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ive from my childhood bedroom, it’s the Reimagine Issue of Artistry! I came in this semester as a new face to a new kind of Artistry. This semester and the pandemic have put quite a spin on the usual process, but the core of Artistry, the people, have stayed steady. With dedication and creativity, the Artistry team has put in hours and hours of their time collecting this selection of stories and we hope you have a good time.

Though it can feel like a time of separation, Artistry has impressively come up with new ways to connect even more, with the introduction of our monthly newsletters and playlists.

It has been amazing to watch as Artistry has adapted and conquered the challenges thrown at us this semester, and none of these moving parts would fit so perfectly if it weren’t for our President and Creative Director, Drefnie and Norman. Thank you two for the endless efforts and dedication put into everything you see in this issue, but also for balancing all the plates behind getting this issue out on time.

Thank you to our wonderful editorial team, Nora, Scout, Anna, Sanya, and Sully, for taking our theme and curating the most wonderful stories and working with the writers to showcase art in so many different ways. From coming up with the very ideas that make up our magazine to developing it to a full-fledged piece, you are so talented and I’m lucky to work with you.

A big thank you to the creative team, Cali, Lauren, Michelle, and Ruchi for the most astonishing visuals that get done at the fastest time frame I could ever imagine. There is so much creativity in each and every single one, and they add a whole new element to each article’s written content.

And finally, a thank you that I wish I could shout to our lovely communications team, Tara, Sasha, Patric, Isabel, and Lucas for being all hands on deck this semester.

You’ve effectively communicated the work that has been done this semester in the most accessible and beautiful way. You have gone above and beyond this semester, and it has not gone unnoticed.

This issue would not have been possible with all the wonderful people mentioned above, but also to our remarkable writers, designers, and photographers who have contributed to this issue. Anyone who has dropped in to our lovely Zoom calls, written, designed, or read these articles, thank you. You are the reason this issue is out.

Thank you all for reimagining with us.

Audrey, Editor-in-Chief

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Reimagine Fall 2020

PRESIDENT EDITOR-IN-CHIEF

Audrey Wang

CREATIVE DIRECTOR

Norman Zeng

ADMINISTRATIVE DIRECTOR

Tara Powell

COMMUNICATIONS ASSOCIATE

Patric Song

COMMUNICATIONS ASSOCIATE

Lucas Cooperman

COMMUNICATIONS ASSOCIATE

Isabel Gonzalez

ART EDITOR MUSIC EDITOR SCREEN EDITOR STAGE EDITOR

Sully Barrett Nora Holland Sanya Mittal Anna Tobin Scout Gullick

HEAD OF PHOTOGRAPHY

Cali Cardenas

CO-HEAD OF DESIGN

Lauren Aquino

CO-HEAD OF DESIGN

Michelle Musili

COLLATERAL DESIGNER

E-BOARD

Sasha Shrestha

COMMUNICATIONS DIRECTOR

MANAGING EDITOR

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Drefnie Limprevil

Ruchi Patel

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Reimagine Fall 2020

4

Existentialism on Microphones in 2020

08 Shipwreck: The Connection Between Theatre and Politics 10 Hidden in Plain Sight: Boston Street Art 12 Ruby Waters’ New EP Will Take You Down the Rabbit Hole

table of

CONTENTS

06 Phil Elverum Journeys through a Life of Art and

14 Wallows Defy Boundaries of Music Production in New

Remote EP

16 Student Showcase: Mona Sahney 18 Student Showcase: Justin Vega 20 Student Showcase: Eli Olson 22 Student Showcase: Calvary Dominique 24 REIMAGINE Photo Spread 26 How the Digital Release of Hamilton Has Revolutionized Theatre 28 Taylor Swift Unveils Her Most Raw Voice in folklore 30 lovelytheband Builds an Emotional Rollercoaster on conversations

with myself about you

32 Sibyl Distinguishes the Difference between Self and Reality 34 I’m Thinking of Ending Things: Pretentiousness Disguised

as Brilliance?

36 Lovecraft Country: A Strange Trip through America’s Terrifying History 38 How to Support Boston’s Independent Movie Theaters

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Reimagine Fall 2020

Phil Elverum Journeys through a Life of Art and Existentialism on

MICROPHONES

WRITTEN BY HARRIS BUBALO ILLUSTRATION BY DINA KUANYSHEVA DESIGNED BY LEIA CHAO

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n the 17 years that he has donned the Mount Eerie name, lo-fi indie legend Phil Elverum has encountered just about every existential struggle there is. His discography over the past two decades explores such challenges, existing less as music and more like a sonic diary outlining Elverum’s turbulent life and evolving philosophies. Chapters of this diary like 2012’s Clear Moon instill hopelessness by juxtaposing man against the vastness of nature, while the infamous A Crow Looked at Me — an album following the untimely death of Elverum’s wife, Geneviève Castrée — is a harrowing look at grieving and the art that can come out of it.

2020 becomes his most autobiographical work yet. The 45-minute behemoth of a song is Elverum at his rawest as he takes listeners on an emotional journey of his entire life thus far.

For his latest album, however, Elverum closes the book of Mount Eerie entirely and instead returns to his old moniker, The Microphones. In doing so, Microphones in

“The true state of all things.” Elverum pierces through the lyrical drought with a line that perfectly encapsulates the essence of his music. Both The Microphones and

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Longtime listeners of Elverum know that his music is all about motifs. Microphones in 2020 has motifs in spades, the first of which being the two acoustic chords that kick off the track. Played alternately and decorated with stereo panning, these melancholy chords are present for nearly the entire 45-minute runtime and are in fact the only presence before Elverum joins with his voice — eight minutes in.

Mount Eerie are experiments for Elverum, made in the ever-fruitless hope of inching towards self-fulfillment and understanding.

Microphones in 2020 is simply another installment in this search for truth, but this time, Elverum is much more thorough.

He examines every facet of his life, no matter how mundane or unimportant it may seem to the listener.

One moment sees him describe the formation of The Microphones, while the next has him express his love for the wuxia classic Crouching Tiger, Hidden Dragon. Without context, listeners may find Elverum’s tangents absurd, but fans will appreciate the insight into the finer details of his life and music.

IN 2020 As Elverum croons anecdote after anecdote, the instrumentation grows from right underneath him. While not quite as lo-fi and abrasive as his most celebrated album, The Glow Pt. 2, many of the same quirks that made that album a cult hit reappear here. The two chords we once had at the beginning of the track phase in and out of existence, now having to compete with the likes of distorted synthesizers and roaring electric guitar feedback. A drum beat rears its head here and there. A thumping bass line follows suit. Elverum is just as frantic and erratic with his use of instruments as he is with his storytelling.

One particularly frisson-inducing section comes after Elverum relives a hiking trip from his childhood. Caught up in the simplicity and innocence of the moment, he seems to fantasize about being reborn. With

this, an ethereal organ swells, enveloping the listener in a sonic womb and bringing them closer to this feeling of longing that Elverum experiences. When the organ finally dies down after two minutes of indescribable warmth, one cannot help but feel disappointed. Elverum’s struggle becomes our struggle. The two chords make their return and it is once again time to search for the truth of all things.

Moon-gazing, black metal appreciation, and the jump from The Microphones to Mount Eerie are just a few of the things Elverum discusses in the latter end of the track, and it all culminates in a rather pessimistic yet unsurprising end to his adventure: “Anyway, every song I’ve ever sung is about the same thing / Standing on the ground looking around, basically / And if there have to be words, they could just be: / ‘Now only’ / And

Images courtesy of P.W. Elverum & Sun

/ ‘There’s no end.’” Even with the return to The Microphones name and a search through every nook and cranny of his life, Elverum’s hunt for truth and self-affirmation is no more successful than when he was Mount Eerie. The exhausted recitation of “There’s no end,” a lyrical motif that dates back to older Microphones work, is merely the nihilistic cherry on top to one of the most existential albums in years.

It’s hard to call Microphones in 2020 an album, or a song, or anything traditionally used to describe music for that matter. Even some of Elverum’s most depressing and challenging work was still bite-sized enough to be somewhat accessible.

Microphones in 2020, in its 45 minutes of nonstop existentialism, is a commitment.

Listening to it is a feat, and doing so should not only act as a glimpse into Elverum’s struggle with uncertainty, but also as the inspiration to find meaning in martial arts movies, hiking trips, or whatever else you can cling to within the chaos.

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Reimagine Fall 2020

K P I C E H S WR

the connection between theatre and politics

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Written by Rachel Erwin Illustrated by Caroline Logue Designed by Norman Zeng

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heatre and politics seem to become more intertwined with every year that passes. With so much going on in the news cycle, especially the past four years, artists have a wealth of material to work with when writing plays. The question is, however, how much power does theatre really have?

Shipwreck, a play by Anne Washburn, tackles this idea. Directed by Rupert Goold, it premiered in 2019, before the pandemic, but is currently available for streaming as an audio play, directed by Saheem Ali, through the Public Theater and the Woolly Mammoth Theatre Company. It takes place in a converted farmhouse, where a group of white, liberal friends have gathered. As the night unfolds and a storm rages on outside, secrets are revealed and heated arguments about politics lead to fractured relationships.

What is particularly intriguing is that the play is subtitled “A History Play About 2017.” In the program note, the difficulty of presenting a play about current events is addressed. Shipwreck is a flashback to 2017, about six months after the 2016 election, because it is meant to be experienced in juxtaposition with what is happening now. Is art more effective when it uses history to comment on today’s world?

Are we more receptive to the message it is trying to convey when we are not currently experiencing its plot? After listening to this play, the answer is yes.

It begs the question, is it “profoundly awkward” for white people to talk about systemic racism?

As the play’s plot unfolds, we hear from a variety of city-dwelling liberals. Their discussions span a wide variety of topics, but it is the conversation about racism that is the most explosive, especially given today’s circumstances. Allie, one of the characters, is criticized by the others for claiming that white supremacy is a nuanced issue.

She talks about how being in the majority is a comfortable place to be and not necessarily a bad thing, and wonders if we are using white supremacy as a blanket term for things that should not fall under that umbrella. After her friends express discomfort about her using the phrase, “the Black people,” rather than “Black people,” she lashes out at their suggestion that she should tiptoe around the language she uses to discuss race, arguing that, since there are no Black people in the room, she should be free to explore the subject of racism in her own way. It begs the question, is it “profoundly awkward” for white people to talk about systemic racism?

Interestingly enough, this segment of the play would have taken on a different meaning if this play had been presented as it was in 2019. Originally, the play included Mark, a Black character. He spoke in long monologues directly to the audience, and the people in the farmhouse were actually meant to be projections of his imagination.

It was, in other words, his way of reflecting on racism.

Since then, the murders of George Floyd and countless other innocent Black people have plagued our nation. Washburn felt that, as a white playwright, she no longer had a right to present a play in which a Black man unpacks racism. She thought the audio version would no longer be possible, but Ali assured her that a version without Mark could be just as impactful. Washburn then adapted the script to what we are listening to today.

This change implicates the listener in a new way. Theatre often tries too hard to appear as though it is actually making a difference by producing shows that feature the activism of fictional characters. This may sound cynical but, at the end of the day, a play is still just a play. Theatre is finally being forced to confront this reality, as an industry-wide reckoning occurs as we speak. We, as theatre artists and audiences, are very quick to claim we are “woke” because we engaged with or participated in the production of a thoughtprovoking or political piece of art. Sure, we can listen to plays like Shipwreck and feel enlightened, but that does not equate to real action.

What we have to realize is that we are no better than the characters in this play if we simply listen and say “that was eyeopening” but do nothing about it. The fundamental issue with these characters is that they desire action but do not take it.

They spend the whole play preaching about the things they supposedly care about, but they are doing this from the comfort of their white privilege.

Sure, we can listen to plays like Shipwreck and feel enlightened, but that does not equate to real action.

It all comes down to the fact that words alone are not enough. “Language is the most dangerous substance on Earth,” the play asserts, but only when paired with an understanding of why change needs to happen and action to go along with it. Being able to express why something matters is a skill that theatre has, but it, like the rest of us, needs to do better by creating meaningful, lasting impact.

“Art cannot save us. Art isn’t a call to arms, it’s an elegy.”

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Reimagine Fall 2020

Hidden in Plain Sight:

Boston Street Art A

midst the recent coronavirus pandemic, there has been a decline surrounding the arts with museums, various exhibitions, and showbox theaters closing down or placing restrictions in response to socialdistancing rules. Although this poses limitations to places one can visit to experience art, it sheds light to alternate possibilities that are COVID-friendly. One of these alternatives can be found outside and accessible by anyone: street art.

Written by: Joanna Kwait Photos by: Norman Zeng Designed by: Michelle Musili

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Street art has been traditionally frowned upon as the craft has been stereotypically associated with vandalism; some of the earliest forms of expression are found in graffiti—usually by the hands of gangs in the 1920s and 1930s in New York. The culture of graffiti and street art in general expanded in the 70’s and 80’s during the hip-hop movement in opposition to a racist and classist society. Graffiti eventually made its way from New York to Boston through subway systems. Recently, Boston has started to create a space for this

Recently, Boston has started to create a space for this contrasting form of expressionism.

contrasting form of expressionism. One example of this new wave is a program that started in the fall of 2015 called Boston Artist-in-Residence (AIR), which allows artists and city employees to collaborate, bringing together creativity and various social issues to bolster city initiatives.

Nepali writing fused with calligraphy embodied with bright, bold complementary colors of blue and orange reach high into the sky on the side of brick walls. Sneha “IMAGINE” Shrestha was one of seven artists in the Boston area who was selected for AIR. According to her website, she is a Nepali artist who “meshes the aesthetics of Sanskrit scriptures with graffiti influences.”

Being the first artist to incorporate Nepali alphabets within American graffiti, Shrestha has showcased her work in several exhibitions, including her show “Mindful Mandalas” which was held in the Museum of Fine Arts (MFA). She has collaborated with her mentor, Caleb Neelon, who is wellknown in the graffiti scene for his signature colorful, vibrant array of dots such as his piece Domino Theory on 500 Lincoln St. in Allston. Their mural, which merges their distinct specialties can be seen on the side wall of Maurice J. Tobin School in Roxbury.

Another one of her many murals shares the space of an eight-acre underpass known as Underground at Ink Block.

Underground at Inkblock is a program Boston has put in place fairly recently.

Boston’s goal for the area between the South End and South Boston is to transform the underpass into an active park with one of their main attractions being street art. Their “Mural Project”, which started in 2017, organized by a creative agency called Street Theory, tries to elevate the highways through these colorful murals at the hands of both national and local talent.

One of the admirable characteristics of street art highlighted by the underpass is the ability to give exposure to artists. While many showcased artists in museums are homogeneous to white males, street art allows a diverse array of artists to tell their own stories either with the goal to initiate a cultural impact, or to simply inspire.

[Quiñonez] desires to empower his two daughters while simultaneously representing Boston’s diversity by focusing his pieces on a cultural celebration allowing viewers to be proud of their own backgrounds.

Victor Quiñonez, one of the founders of Street Theory who also goes by Marka27, aims to do both. A piece he worked on for Underground Inkblock in 2019 called Cranes in the Sky depicts an afrofuturistic woman’s face surrounded by teal and magenta with cranes overhead influenced by Solange Knowles. He desires to empower his two daughters while simultaneously representing Boston’s diversity by focusing his pieces on a cultural celebration allowing viewers to be proud of their own backgrounds. Earlier this year, he worked with Rob “ProBlak” Gibbs

in painting a mural for Underground that calls attention to the racial injustices that persist today. The piece is split by a raised Black fist for solidarity, and to the right is a blind woman reflecting the inequalities within our justice system while on the left is a young Black child draped in the American flag symbolizing hope for the future. The dominating red, black, and green colors are used to represent African roots.

Another place that brings many artists together is Graffiti Alley in Central Square, Cambridge. The wall started when restaurant owner Gary Strack and local artist Geoff Hargadon wanted to elevate the dull, beige wall on the side of Strack’s restaurant. This is the only legal wall in the Boston area where graffiti can be freely expressed as an art form without any repercussions. The wall is kinetic as it seems to move with the art installation’s ever-evolving group of artists from all around the globe who are able to spray paint above preexisting graffiti. It has drawn internationally-known artists such as Shepard Fairey, Michael De Feo, Judith Supine, and Matt Siren. Amateurs and those new to graffiti can also practice on the wall with the unspoken rule in mind that if you can’t make it better, leave it alone.

Graffiti Alley has also been a way to show significance to social issues with murals of the Black Lives Matter movement, along with paying respects to the deaths of recognized celebrities.

Furthermore, as you walk on the thousandfoot pier into Boston Harbor, you can find the “largest tattoo in the world” awaiting under your feet. Liz LaManche’s Connected by the Sea illustrates the multitude of cultural relations the local maritime has connected with by staining the concrete in motifs that allude to specific cultures.

Japanese waves, Maori designs from New Zealand, an Indian peacock, an

Irish interlace pattern, a Chinese dragon, and classic New England mermaid tattoo designs all assemble together.

Lastly, along with the many eateries that make up Boston’s Chinatown are the numerous works of art plastered on building walls that depict many traditional Chinese imagery. Located next to the Chinatown Paifang (gate) on Surface Road and Beach Street, is an enormous mural by various artists portraying Chinese folktales with softly-colored, but animated figures. A blown up copy recreated by artists Wen-ti Tsen and Yuan Zuo of historical Chinese landscapes from a painting by Wang Yun from the early Qing Dynasty named Travellers in an Autumn Landscape arises a small lot in the neighborhood. On Tyler Street, you can also encounter a huge mural depicting a vase that pays homage to Emperor Shun, who devised a legacy of porcelain pottery despite a troubled childhood. Bryan Beyung’s Tale of an Ancient Vase tells the emperor’s story through different designs, simultaneously creating a more vivid space in the surrounding neighborhood.

Street art can be found in many different neighborhoods within and around Boston.

Contrary to its past when people viewed it in a negative light, this modern art is receiving more recognition now as the city of Boston provides opportunities to incorporate street art all throughout. As it is displayed in public spaces, they are seen by the eyes of many allowing people to come together to share, express, and indulge in different stories and culture that make up the diversity here in Boston.

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Reimagine Fall 2020

N e w E P Wi l l Ta ke Yo u D o w n t he Rabbit Hole

R

uby Waters started with the guitar, inspired by her parents (both musicians), at eight-years-old.

Since then, with her debut album, Almost Naked, in 2019, she has had over 100,000 monthly listeners on Spotify and more than a million listens on her top songs, “Quantum Physics” and “Sweet Sublime”.

Now, Waters’ sophomore album, If It Comes Down to It, is on most streaming services worldwide. Many of the songs off of this seven-song journey are a product of her laid-back, late-night jam sessions touching upon a multitude of different feelings from being in love to battling addiction and substance abuse.

This sophomore album is more stripped down than her first. With an increase in instrumentation, and the intro and outro tracks, both called “Long Way Down,” this album has a sitting around the camp-fire

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writ t en by Niy a ti Pa r i kh des igned and i l l u str a te d

by Lauren A qu i n o

vibe. “Long Way Down (Intro)” sets the mood for the rest of the album, and the touching lyrics of “It’s a long way down / And one way up” strikes a nerve that resonates throughout the entire album.

This sophomore album is more stripped down than her first.

The second track, “Fox,” starts out with a simple acoustic guitar in the background but slowly weaves around a percussive beat with Waters’ belting her lyrics. At “Difficult,” the album picks up and strays away from the simple, stripped sound of her vocals to an empowering acoustic guitar with clear ramp-ups during the bridges into the chorus. The most striking part of this song is the long list of tasks that Waters’ presents in lyrical form. These are all mundane, ordinary tasks such as going to work, charging your phone, being productive, being proud of

what you create, etc... As the name of the song states, it is quite difficult and her way of showing us that she is navigating her own version of life no matter how hard it may be.

The two best songs close up the latter half of the album. Starting with “Rabbit Hole,” this track is raw and less electric with a more percussive beat on the drop of the chorus. It is a more introspective look into the music that Waters produces.

The song stays true to the folky, earthy, rock nature of the EP. While the song talks about substance abuse, the conflicting percussion and sounds make it upbeat.

This is visualized with the following lyrics: “And I fall into the rabbit hole again / And no one likes to drink alone / So come by my friend.” Waters is describing a feeling of losing herself again and again, with her only friends being alcohol and drugs.

Quantum Physics is about having flaws, being loved, and loving someone else despite the flaws we may have or may see in others.

“Quantum Physics” is the first song Waters wrote on a classical guitar. The guitar can be heard fingerpicked throughout the track.

Like “Rabbit Hole,” it has a similar laidback flamenco vibe. “Quantum Physics” is about having flaws, being loved, and loving someone else despite the flaws we may have or may see in others. It’s about asking someone to stay through the bad to see the good, “And I wonder if you’d stay / Through the crashing of the tides.”

If It Comes Down To It shows a great sense of variety and style, ranging from the slowly stripped vocals to a full percussive beat.

The catchy guitar rhythms will surely have everyone listening, yet also relating with the heavy-hitting lyrics. The album covers a variety of emotions such as being in love to battling the darkest of demons, and it is done with grace and amazing instrumentation. It surely will be played around a bonfire, with the warmth in your hands, and smoke in your eyes.

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Reimagine Fall 2020

Defy Boundaries of Music Production in New Remote EP Wrtiten by Luiza Loyo Illustrated and Designed by Norman Zeng

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n the wake of the release of their new EP, Wallows hosted a listening party on Zoom with 1000 lucky fans. While explaining the making of the album, drummer Cole Preston said, “We didn’t see each other once during the creation of this thing. This is how we made it. This Zoom call is a representation of how we made Remote.”

The band, made up of Cole Preston (drummer), Dylan Minnette (lead vocalist) and Braeden Lemasters (lead guitarist) recorded their vocals on their phones and produced the EP entirely from a distance, which gave it the self-explanatory title of Remote. Because of the group’s limitations, the new record is not as polished as their previous work but it accomplishes what it sets out to do— show that the band can take their music in different directions and bring some fun to fans in a stressful time.

The EP starts off with “Virtual Aerobics,” a mellow and colorful track that strays from the band’s grungy and indie-rock sound. The song has a clear pop influence which makes it catchy but also presents some undertones of 80’s music. It speaks of love and the feeling of wanting to impress someone, with lyrics such as “Wanna dress in what makes you like me / I’ll probably overwear these Nikes.” “Virtual Aerobics” was the first track released off the project and along with it, a music video of the band members dancing along to a retro virtual aerobics video, which seems to be a nod to the bit of 80’s

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influence the song has. With a green screen behind them, corny karaoke-like landscapes go by as the members try to dance along and copy the aerobics moves—a concept that reflects the simplicity and fun of a quarantine project.

The following track “Dig What You Dug” is the most similar to the sound of their debut album Nothing Happens which drew in most of their following; it is guitar-focused and contains elements of rock. The band had assistance from The Strokes guitarist Albert Hammond Jr. for the song, whose voice is featured at the end saying “I dig what you dug / And I dug what you dig.” Influence from The Strokes and similar bands can be heard throughout the whole album, like in “Wish Me Luck.” But in “Dig What You Dug,” it is paired with electronic music, giving it a unique edge.

The songs circle around relationships, love, and heartbreak without much depth or any memorable moments.

Lyrically, the EP does not present Wallows’ best material. The songs circle around relationships, love, and heartbreak without much depth or any memorable moments. It seems as if the focus of the project was not the writing but experimenting with different genres and breaking out of the indie-rock

box the band has been in since the start of their career.

The limitations of a global pandemic forced Wallows, as well as many other bands and artists, to push the boundaries of technology and produce an entire record away from the studio.

“Coastlines” is the highlight of the album, a vibrant track that approaches longdistance relationships and being away from a loved one. The lyrics say “I don’t wanna think about it / When we’re on different coastlines,” referencing the desperation of not knowing what your partner is thinking or feeling while you are apart. The theme of the song seems to resonate with all of the band members, but especially lead vocalist Dylan Minnette, whose current

girlfriend, Lydia Knight, is also in a band, The Regrettes. This means the couple deals with two different touring schedules and a lot of separation. This track drifts towards Wallows’ indie side with a more mellow tone and a big focus on vocals.

“Talk Like That” is another highlight, its highenergy and catchy chorus are guaranteed to have people dancing and singing at the top of their lungs. Then, “Nobody Gets Me (Like You)” is a cheesy love song that still manages to be sweet. It would be perfect for a drive with the windows down. Also noteworthy are the transitions in between tracks, so smooth at times you barely notice another song has started playing.

In between the last few songs, a crackling noise can be heard as if a person is switching through radio stations.

its context into consideration. It doesn’t live up to their previous album Nothing Happens and their first EP Spring, it was never meant to. The project symbolizes a break from the band’s usual sound, an opportunity for not only the fans to have fun in a stressful time, but the band as well.

Remote is a modern EP in many ways.

The limitations of a global pandemic forced Wallows, as well as many other bands and artists, to push the boundaries of technology and produce an entire record away from the studio. It is an impressive product if you take

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Reimagine Fall 2020

STUDENT SHOWCASE:

Mona Sahney

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How have you reimagined art?

Edited by Nora Holland Designed by Michelle Musili Photos by Cali Cardenas

M

ona Sahney is a first-year student at Northeastern. Although she is majoring in business with a concentration in marketing, she has had an intense passion for painting since she was little. After picking up painting as a serious hobby in 2017, Mona decided to expand her definition of art to those in need by raising money for charity with her work. She loves using acrylic paints on unconventional canvases such as CDs and clothing to create scenic, elegant works of art.

This interview has been edited and condensed for clarity, with editors notes added in [brackets] to provide context.

Tell me about your artistic career. When and how did you start?

I’ve always liked painting since I was very young, but I always pinpoint when I started really teaching myself how to paint December of 2017. I had nothing going on that whole summer, and I didn’t want to waste it by just sitting around. So I decided to actually do something with how passionate I was about art and try to learn the skills, structure, techniques, and everything. Every day, I sat down and painted one painting for the whole month.

It was interesting to see how it progressed; I think that’s when I combined passion and skills to actually create the foundation of what I do today.

I think when people think about art they think: ‘I go into an art studio, I draw something, I call it a day and I go back.’

I think for me I reimagine it in the way of what I paint on and also how I view going outside the art room. Even in school I would always think of new concepts in any class I took. When I left the studio art room I was still sketching in my notebooks; I literally created a sketchbook within my calculus notes - which is probably not good - but it was great for me to always be thinking about what I could do to experiment. In terms of what I was painting on, I experimented with a bunch of different materials: I painted on backpacks, CDs, jackets, water bottles… I want to do a computer case too. I think that’s my next project. My subject matter can get a little repetitive so I think that the way I keep it interesting is just trying to find different scales I can do, like painting small or painting big. The biggest painting I’ve made is almost the size of me because I was lucky enough to be in a really cool class senior year where it was just a few of us and we got all the materials we ever wanted and could do anything. So I got a huge canvas and tried to challenge myself by painting what I thought was a perfect representation of what my art style was on it.

What do you hope to accomplish as an artist by combining marketing and graphic design?

I think I want to keep art as a hobby and not my actual professional work, because art is a really big outlet for me. I also definitely don’t want to get lost in what I am doing so I think having graphic design as a minor combined with marketing can be a very visual part of business if you want it to be, with advertising and color schemes to get consumers’ attention. So I think it’s a good combination for me where I’m not turning exactly what I do with painting into something that’s more of a chore but instead incorporating the color theory that I learned from painting into what I can do for my professional career.

Even in school I would always think of new concepts in any class I took. When I left the studio art room I was still sketching in my notebooks.

What have you learned through incorporating art with your passion for community service?

I think you can turn anything into helping others. I’ve always had a passion for art so I decided to use my hobby to try to help benefit other people. I created an art charity fundraiser where I sold all my art for money and then any profits I made would go directly to a charity in India called Aasraa Trust. They basically get children off of the street and give them shelter, education, food, and whatever else they needed. I was actually able to go there the summer of 2019 and teach lessons to kids too, so I was also able to use art there to kind of raise their spirits a little bit. It really just shows that you can do that with anything. I did it for two years and raised over $1,000 in total.

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Reimagine Fall 2020

J JUSTIN VEGA Student Showcase

Edited by Scout Gullick Designed by Norman Zeng Photos by Cali Cardenas

ustin Vega is a third-year at Northeastern and Music Director of The Downbeats, an all-gender a cappella group on campus.

He is the group’s primary arranger, and is responsible for shaping the group’s musicality and artistic expression. Justin and a few members spearhead every step of the process: from learning music virtually to the final mix. When he’s not directing The Downbeats, he works on his productions as a singer-songwriter, crafting his lyrics and arrangements with a sense of sincerity and intention.

This interview has been edited and condensed for clarity, with editors notes added in [brackets] to provide context.

What has your a cappella journey at Northeastern been like?

In Fall 2018, I was a freshman, and I was very interested in a cappella. I think I was really inspired by groups such as Pentatonix, and I was really obsessed with this artist at the time, Jacob Collier. The things he did with his voice, I was like, I want to be part of a group that arranges for those voices so we can create something awesome. So I auditioned for three groups on campus. I had arranged before, but I was really bad and didn’t know much about arranging. It seems really funny looking back on it. I was like, “hey, I’m interested in arranging for your group, I’m a decent singer, and I want to be a part of an a

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cappella group.” I got an offer from The Downbeats, which is my current a cappella group, and I ran with it from there. I didn’t get arranging opportunities immediately, but I did find that The Downbeats were one of the only groups that arranged in house. We do all of our own arrangements; we don’t outsource from different people.

I found a sense of camaraderie between the people that knew how to arrange, and I wanted to learn as much as I could from these people, who happened to be seniors at the time. I really took that first year to learn more about arranging, more about the voice and because I had never been a part of a vocal ensemble.

As a physics and philosophy major, how do you bring your other disciplines into your music?

I chose my majors because I wanted to be very well-rounded. I was really interested in the technical aspects of physics and problem solving. And then philosophy is all about thinking, how the world works, and how we think as a society. Music recording is the creative endeavors of that, and I feel like it builds this pyramid in which they can all be connected. I see it all as interconnected, and I think they’re all necessary for me to be well-rounded and for me to survive. Physics and music is a very common pairing because music is built on physics, essentially. Western music is built on a certain kind of tuning system. It centers around pitches and how they’re related to each other, and the standard for that is for this one note, A, A4, on a piano to be 440 hertz. But what if you changed your tuning system and you just make everything a little bit flatter? How does that affect your music?

How does that affect the vibe you’re giving off? It has a darker quality to it, and I find that I do that often with my music: I tune down intentionally so that it can be a little bit darker and not run-of-the-mill to be more original I guess. I’ve always felt that way, even before I learned about all these relationships.

How do you reimagine art? What does reimagining art mean to you?

The idea of reimagining art is the cornerstone to all a cappella arrangements.

As an arranger writing for an eight-part ensemble, there are endless directions I could take the arrangement. At first glance, the idea sounds simple: adapt a popular song to fit different voices. However, so many elements come into play when crafting an a cappella arrangement—more than the usual components of a song, like melody, harmony, and rhythm. Common considerations that I take into account when crafting an arrangement include

balance between lower and upper voices, rhythmic textures for different sections, and the most fun: reharmonizations.

These choices ultimately reflect what the arrangement communicates to the audience, and how it makes them feel.

Is this section fun or moody? Is this the shining moment of the arrangement? With my arrangements, my goal is to make the audience experience a familiar song in a completely reimagined way.

How has the digital age of performances changed the way you interpret and produce music?

Well, it’s definitely a lot harder. Music directing is more than just teaching music and giving people music for them to learn, you have to teach the material and make sure everyone is okay with their parts. So, usually when the semester starts I make this huge plan addressing what we are going to accomplish and what arrangements we are thinking of doing. We normally have an end-of-the-semester showcase, so all of my planning is geared towards that one moment. But now, we agreed that we wanted to put out some virtual arrangements, and that requires a little bit of rehearsing. So what I’m doing now is I’m having group members send me videos back and forth, and I write down notes for them to keep in mind, and I’m like going through each part individually—something I haven’t normally done in an in-person semester. Usually we’re singing all together, and I don’t have time to nitpick everybody’s parts. But now I do! I have an assistant music director for help, and now it requires a lot more individual effort on the parts of group members. Hopefully we can come out with something pretty awesome at the end. We were definitely over-ambitious this semester, and we have to take steps back so that we can actually enjoy the process because that’s what we want to do. I can genuinely say the Downbeats like to see what kind of talent is at Northeastern, especially with the incoming class, and it was really disappointing to not be able to do that [auditions] because planning that virtually would’ve been a nightmare.

And we would’ve preferred to do it in person, but obviously that’s not safe right now, so ultimately we chose not to do virtual auditions.

inspiration there from artists like Gatch and Eli Olson. Seeing what other people are doing around Northeastern and knowing what kind of music they’re making inspires me to follow in their path and release my own music someday. And then I’d say more broadly, Jacob Collier. He kind of covers the whole gamut of music. He’s genre fluid; he does everything. Some other inspirations are Bill Evans and Herbie Hancock, really diving into what they’re doing with their jazz piano playing. I’ve experimented with that.

On the guitar side, artists like Hozier, The Lumineers, and Ed Sheeran.

You have a single in the works, right?

Yes! I’ve been working on this thing for so long, and I’m not sure when I’m going to release it. The project is a song called “Happy Place.” It’s a sad song in the guise of a happier song. I wrote it in fall of 2018, and I had big plans in my head about what it would sound like. I found that my music production skills were not up to par with what I had in my head. What I sing or play on piano or guitar is sometimes not the conception I have of it in my head. Whenever I have free time, I’ll work on it. I’ve been recording all these harmonies and trying to make it sound like the thing I have in my head, and I think it’s almost there. I’m sort of at the point where I need to just release it.

I need that stage in my life to be done, and I’ve had closure with it. I hope to release it sometime in the next couple months maybe.

I’m a recovering perfectionist!

Who are some of your biggest influences and how have they shaped your musical endeavors?

I find inspiration and influence with both local and well-known artists, so I can speak sort of on both ends. I’m part of a songwriter’s club on campus, and I draw

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Reimagine Fall 2020

edited by San y a Mit t a l pho tographs f rom Cal i C ar d en as des igned by L aure n Aq u i n o

This interview has been edited and condensed for clarity, with editors notes added in [brackets] to provide context.

Do you want to go into the music industry? Why do you want to go into the music industry?

I would love to be able to make a living off my music. I am wary when it comes to dealing with the music industry, however.

It’s a rough business that has a lot to do with luck, ability, and effort. You can improve two of these, but in the end, everyone who made it big got incredibly lucky at some point in their career.

How has music affected your life?

Music has always played a major role in my life, in several different aspects. It’s always one of the first ways I connect with people, whether we have similar tastes in music, they also play/write music, or (in very rare cases) they have already heard my music. It has also offered a consistent place to resort to whenever I needed someone to relate to, advice, a pick-me-up, etc. Really any situation I found myself in, there was some song or artist who already had me covered.

Just as well, it’s given me an outlet to share what I’m thinking and hopefully give other people something they can relate to, while still being something I love to do.

What are some musicians you listened to growing up? Do you think that affected the music you make now?

I was raised on a combination of classic rock and mainstream pop. My dad would always play us what he was listening to (which ranged from Cheap Trick to even Billie Holiday), and I eventually found my own footing in “alternative” music.

I’m not sure that counts as a real genre, but I remember constantly checking the Alternative Charts on iTunes for new singles or bands that I could obsessively listen to until something else rose to the top. This led me to get hooked on bands like Imagine Dragons (I know) and Twenty One Pilots (I know). My music has definitely always been rooted in alternative-pop, but I think my stylistic influences change pretty regularly with what I listen to these days.

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What is your favorite thing about making music?

I live for the moments when a song “clicks,” when a concept you weren’t sure was going to work actually comes together. There is always some point in a song’s life cycle where I either give up and don’t touch it for months, or I just find myself with an almost-finished track. When I step back and realize I’m onto something and that the pieces are falling into place, it’s euphoric.

I am also a sucker for the messages and texts I get about how people are relating to my work, especially seeing the variety of interpretations that never exactly line up with what was going on in my head.

If you could be an opener for any musician, who would it be?

I would love to open for Maggie Rogers.

I’m a huge fan of her myself, but the people I have met that are also fans of hers are some of the kindest, most genuine, and caring humans I know. I think it comes with the tone she sets in her music and with the way she interacts with her fans. I think I could really connect with a crowd full of people like that.

Same goes for Harry Styles.

Describe your songwriting process.

My process changes constantly, and I don’t think I’ve ever written two songs the same way. Sometimes, I’ll be messing around on my guitar, I’ll find a riff or some chords I like, and then I’ll let them sit for weeks. Eventually, I’ll find the words that fit that sound, and then I’ll combine the pieces (this also happens in the opposite order pretty frequently). Once I sit down and get writing, it’s possible I get on a roll and write a whole song in a matter of hours. Other times, I will mull over potential lyrics or sections for weeks, even months.

In what ways does the music you make represent you? How do you make your songs your own?

Any time I’m writing music, I’m just trying to create something that I would listen to. I’m just looking for these melodies or synths that I think sound sick. I try not to write to anybody else’s expectations, though that doesn’t mean I refuse any input or critique.

I just put a lot of focus into what makes my brain happy. As for lyrics, they’re pretty much always me spilling whatever’s been weighing on my mind, whatever it is I need to get out at that moment.

STUDENT SHOWCASE

Eli Olson

E

li is a 21-year-old musician based out of Boston, MA. He’s a fourth-year at Northeastern, and is the current president of the NU Songwriting Club. He was raised on a farm in central Illinois, where his parents and donkeys still live. He began writing songs the summer before he went to college, and it has been a constant in his life ever since. His longterm goals include becoming an astronaut, becoming a rock star, and purchasing an espresso pot. He has a lot to learn before he can be a rock star, but I believe Eli can save the world.

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Reimagine Fall 2020

STUDENT SHOWCASE

Calvary Dominique

edited by anna tobin photographs from cali cardenas designed by lauren aquino

This interview has been edited and condensed for clarity, with editors notes added in [brackets] to provide context.

How do you reimagine art? What does reimagining art mean to you?

I am driven by wonder. I grew up on stories, and these stories are in my bones.

I’m a nostalgia junkie. I’m a product of my coming-of-age journey, and in so many ways, I’m still coming-of-age. My goal is to make relatable songs that other kids can relate to. I want to speak to how we actually feel inside, even if it’s dark or sad or scary or confusing or “weird.” Like most of Generation Z, I grew up on so many genres, and while the music I make is definitely hip hop-influenced, my desire is to create genre-bending music that incorporates a variety of sounds, and I love pulling from non-musical sources like film.

In addition to being nostalgic for the past, I’d say that I’m “future-sick” for all that the future has to offer.

C

alvary Dominique is a thirdyear media and screen studies and communication studies combined major and an aspiring music artist, writer, and filmmaker. Serving as both the Social Media Manager for the Songwriters Club and an EP for NUTV, he is always looking for ways to combine his creative passions. Over quarantine, he released an EP titled, Dance, the World is Ending! and his latest single (as of writing this) is, “My Skeletons Are Tipsy!” He loves finding clever humor in subtle places, exploring old bookstores, nerding out over cool cinema and underrated music, and the power of a well-crafted meme.

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I grew up on stories, and these stories are in my bones.

I want to write books. I want to make films. Eventually, I want to branch out into video games, virtual reality experiences, and even theme parks. Because it’s all connected! This brings me to my final point, which is “Sondervale.” The word sonder basically says that every random person you collide with each day is living a life as multi-faceted and vibrant as your own, with their own inherited craziness, in an epic story that spirals invisibly around you. That’s wild! That means there are so many stories to be told, so many people to be impacted. My mission as an artist is to create a valley where other broken souls across the planet can find each other and channel sonder’s energy.

Which of your projects are you most proud of? Is there anything you’re working on right now that you’re excited about?

Out of all the songs and projects I’ve officially released so far, I’d have to say the EP Dance, the World is Ending! that I dropped during quarantine is the one I’m most proud of. It consists of seven songs, and it experiments with a few different genres including punk on the first song, which I was also able to film a music video for. Having that much unstructured time away from classes or co-op gave me a lot of time to experiment with different sounds, samples, and plugins with significantly fewer distractions (other than my developing TikTok addiction). I grew so much as an artist during that sixth-month period, and I think the EP serves as a testament to this. It wrestles with relatable, coming-of-age themes including confusion, anxiety, loneliness, faith, and doubt.

In the third song, “NEON GREEN,” I talk about wanting to dye my hair neon green and channel “main character energy.” In the fourth song, “that’s so sad, alexa!” I talk about the social anxiety I experienced in high school. In the final song “Young Volcanoes,” I sing, “Not afraid to be larger than life cause the status quo is so meh, I’ll create my own reality.” I don’t think I’m alone in that feeling. In terms of upcoming songs, there are so many! There’s the common musician trope of starting a new file when you already have seventeen unfinished or semi-finished songs, and I find that to be quite accurate. But if I had to choose two unfinished songs to mention here, I’d choose my song “Practical Joke” or my song “Okay!” which is a ukuleledriven heartbreak song.

Who are your biggest creative influences?

I honestly think it’s more of a question of who isn’t one of my biggest creative influences. I have no problem wearing my influences on my sleeve. In terms of biggest lyrical influence, I’d probably have to say Tyler Joseph. Skeleton Clique for life!

Twenty One Pilots got me through so many dark, depressing periods in my life, and that’s a testament to how genuinely gifted and introspective Tyler is as a songwriter, putting words to emotions so many kids have but don’t always know how to express.

In terms of my biggest all-around creative influence, I’d honestly have to say Jon Bellion. That man is a walking master class in creativity! He doesn’t just make songs; he creates beautiful sonic paintings, and I’m just in awe. The Human Condition album was so meaningful in my life.

Then you have alternative, genre-bending rappers like Kid Cudi, Tyler, the Creator, Kevin Abstract, Jaden, etc. who aren’t afraid to be weird and true and different and beautiful. You have rappers like NF, who stand for real things in every line they spit.

You have alt pop/indie artists like Jeremy Zucker, Huron John, renforshort, Roy Blair, etc. I would have to say that Roy Blair’s Cat Heaven album is one of the most impactful projects I’ve ever heard. I’m also inspired by artists within the “lofi-hip hop community” like Powfu and SadBoyProlific. And so on and so on. And this is to say nothing of all the filmmakers, writers, producers, and actors who’ve influenced me!

How has your experience at Northeastern affected your artistic work and how you create?

One of the best things that happened to me was during the first few weeks of my freshman year. I made friends with this third-year student named Christien who loved music. He had a mini-studio set up in his apartment, a lot of records to sample from, and he regularly invited me, my friend, Aeris, and occasionally some others to create music. Honestly, a lot of the time we ended up getting sidetracked by deep conversations and didn’t complete anything. But right away, I had some sense that I was headed in the right direction even if I didn’t know how I’d get there.

I took Intro to Music Industry my freshman year, and I loved the assignment where we had to interview a music industry professional. I had the privilege of interviewing Kevin Hackett, a young creative who balances music and graphic design so effortlessly and who I’ve looked up to for the longest time. Through the Husky Songwriters Club, which I am now on the E-Board for, I’ve gotten a few opportunities to perform live, and I’ve gotten to grow alongside some wildly talented NEU musicians, and this has definitely sharpened my craft as an artist.

And then on the film side of things, I’ve gotten to take a bunch of production classes, serve as an EP for NUTV, and do a co-op with Boston City TV. Overall, I’ve really developed a desire to film music videos, and now that I have my own microphone set-up in my dorm room, I have more freedom to experiment and record songs whenever I’m inspired!

What are some goals you wish to achieve as a content creator?

I know I mentioned “Sondervale” in a previously, but I’ll mention it again. I don’t know exactly what it will look like, but I want to build Sondervale into a major tour-de-force and creative coalition. As it stands, Sondervale is more of an abstract concept and the independent label that I release all my music and videos under, but I want to grow it into a movement.

As a content creator, I want to keep creating songs and grow in my craft, and eventually, the dream definitely is to tour and perform live, making money doing what I love because there’s nothing more exhilarating than this. Like my hero Jon Bellion, I want to produce for other artists and help them flourish into who they’re meant to be as well.

On the filmmaking side, I want to create more YouTube videos, more music videos, more TikToks, and so much more. It is a huge dream of mine to direct films, and to write and produce a TV show (or three) one day. I also would like to create a play or musical at some point. I want to do graphic design work and fashion design. As you can see, I’m getting somewhat carried away. Who knows exactly what the future will hold! Visionaries like Donald Glover, Kanye, and Bo Burnham have paved the way for creatives like me to embark upon our own unique journeys. But ultimately, I just want to pursue music and creativity wherever I’m called and inspire those around me in the process!

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Reimagine Fall 2020

The Swing–Jean-Honoré Fragonard Michelle Musili

Kabuki Actor Ōtani Oniji III as Yakko Edobei in the Play The Colored Reins of a Loving Wife–Tōshūsai Sharaku Norman Zeng

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The Life Aquatic with Steve Zissou–Wes Anderson Cali Cardenas

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Reimagine Reimagine Fall 2020

How the Digital Release of

Has Revolutionized Theatre

Written by: Rachel Erwin Illustrated by: Michelle Musili Designed by: Danny Tran

T

he release of Hamilton on Disney+ has revolutionized the way we view theatre. Instead of fighting for tickets to see this smash hit, we can access it with the simple click of a button. We can watch it whenever and wherever we want. This seems to contradict the very essence of theatre, which is typically meant to be experienced as a fleeting, impermanent moment. However, if a global pandemic has taught us anything, it is that we must learn to adapt.

Overall, however, Hamilton retains its theatrical nature. Sweat, spit, and microphones are clearly visible.

Within the first 10 days of its July 3 premiere, Hamilton was streamed in about 2.7 million households. At the time, around 2.6 million people had seen the show on Broadway. Because the average U.S. household has 2.52 members, the number

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of Disney+ viewers may have matched or outpaced the number of Broadway audience members in just 10 days of streaming, setting an incredible record. People across the world are experiencing theatre in a way they never have before. In the past, theatre has often been criticized as exclusive and rather homogenous in the demographic it attracts. Due to high ticket prices, many people cannot afford to see live performances, especially Hamilton, which can cost audience members hundreds of dollars. Add on potential travel and hotel costs, and it becomes an incredible financial burden to see a Broadway show.

On the other hand, a Disney+ subscription can be purchased for only $6.99 a month.

This gives people who cannot afford to see Broadway theatre a chance to experience it in their own homes for a relatively low price. As a result, Hamilton has become accessible to a more socioeconomically diverse range of people.

More people are being exposed to theatre than ever before, which is never a bad thing.

It is true that this new digital format blurs the lines between theatre and film. Many theatre practitioners would argue over the very definition of theatre, but it is clear that any performance is better than nothing right now. Overall, however, Hamilton retains its theatrical nature.

Sweat, spit, and microphones are clearly visible.

However, if a global pandemic has taught us anything, it is that we must learn to adapt.

Set pieces move, and there is even an intermission. It is like being in the front row of a theater with the added bonus of some close-ups.

Theatre has always been available online.

YouTube is filled with poorly-recorded Broadway bootlegs that people have been watching for years. This is piracy, however, and will never be the true

theatrical experience. Hamilton, along with other shows released in a digital streaming format, like Newsies and Shrek: The Musical, takes this idea of a bootleg and turns it into something magical. You can say goodbye to shaky phone recordings, blurry faces, and obstructed views. Instead, you get to hear crystal-clear voices and see raw emotions on the actors’ faces.

What if we could use this format for other productions? COVID-19 has ensured that Broadway will not be back for at least another year, if not longer. Thousands of theatre artists are out of work, and millions of dollars have been lost. As the pandemic rages on, we are going to have to get used to the concept of digital theatre, even if it seems counterintuitive.

If it could be done safely, recording other Broadway shows and streaming them on platforms like Disney+ or Netflix could be a temporary solution for this lack of work.

Artists could be paid for their time, and Broadway could earn back some of the

money it has lost. People are in constant search of entertainment while we are still following social distancing guidelines, and this could be the new theatrical model for the time being.

Hamilton on Disney+ is paving the way for more accessible, inclusive, and sustainable theatre. Though many in the theatre community have criticized the decision to stream the show, how can we deny its benefits? The more people seeing theatre, the better.

“I think [Hamilton] was so impactful because in such a divided country, in such a divided world, there are few things that fit in that Venn diagram in the middle that sort of please everybody and bring us together rather than push us apart,” Bob Chapek, CEO of The Walt Disney Company, told The Verge. “The message of diversity that’s implicit in the production really gives us hope for a better, more unified tomorrow.”

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Reimagine Fall 2020

Taylor Swift

Unveils Her Most Raw Voice in

folklore

Written by Sarah Yi Illustration by Livia Lemgruber Designed by Annie Wolfond

I

t is safe to say that most of us fell into some kind of slump during the past couple of months in quarantine. So when Taylor Swift announced her new album only 12 hours before it was released in July, fans everywhere went into a frenzy.

Despite the low-energy caused by staying at home and isolating — or perhaps as a result of it — many people found themselves falling in love with the heart-wrenching stories told in folklore. Though it was a drastic change from her last pop album, Lover, this album wasn’t necessarily a return to her country roots, but rather a dip into something new.

The album opens up with “the 1,” the opening line being “I’m doing good I’m on some new shit.” This isn’t just a nod to her fans letting them know that she is doing well, but also that she is straying away from cleaner content and becoming more explicit.

Each of the 16 tracks (17 if you count the bonus track on the deluxe album) tells a different story. With the first piece, Swift reminisces on an old relationship (some fans speculate that it was written about the one and only Harry Styles), and she ponders what would have happened if they lasted.

It is a bittersweet song, and even though she is happy with Joe Alwyn, she writes about how her old love was apparently the greatest one, but could not happen. folklore is arguably one of the rawest albums Swift has released. Take this trilogy, for example. The storyline consists of “cardigan,” “august,” and “betty.” These three songs tell the same story but from a different perspective. The basic plotline is a love triangle between three teenagers: Betty, James, and August Girl. In the story, Betty and James were dating, but when James left for the summer, he cheated on Betty with “August

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Girl.” In the end, he leaves “August Girl” too, leaving both of the girls to deal with their own grief. “cardigan” is told from Betty’s point of view, and “betty” is from James’ point of view. Each piece expresses pain, heartbreak, and regret through the three teens’ distinct voices.

Betty’s heartache breaks through in the lyric “you drew stars around my scars / but now I’m bleeding,” James’ wrongdoing is shown through “I’m only seventeen / I don’t know anything / but I know I miss you,” and August Girl’s unrequited love in “So much for summer love / and saying ‘us’ / cause you weren’t mine to lose.”

Through these three tracks, Swift weaves a heart-aching love story that could be analyzed like a novel in English class. folklore pushes the boundaries and creativity of musicality and lyrical genius. Not all Swift’s tracks are heavy with loss and tragedy; “the last great american dynasty,” a historical rundown about her Rhode Island beach house, is still an interesting and unique song. Other tracks pull on your heartstrings, especially “exile,” which features Bon Iver. Let’s be real, anything sung by them can make people wallow for hours.

“folklore is arguably one of the rawest albums Swift has released.”

Swift also digs past romantic heartbreak into more personal experiences with the track “my tears ricochet.” This song is about Swift’s relationship with her past record label, Big Machine Records.

Swift alleges they took advantage of her young age and inexperience, signing her when she joined the music industry at 16 years old and then refusing to give Swift the rights to her masters when the contract was up. This song explores her feelings about leaving this label: disdain, anger, and great waves of grief. The song makes many references to funerals, such as the gospel-like background vocals that mimic those heard at a funeral, including the opening lyric “We gather here…”

This album broke down any expectations that critics and her fans had when she first announced it. Her sudden shift of genre into indie-folk surprised many listeners, but it also won over a lot of people who did not enjoy her music after she “went pop.” Aside from this dramatic change, the tracks are extremely detailed; the stories told through each song are clear enough to reach listeners but still open to interpretation and analysis.

With the release of folklore, Swift not only proved her adept skills in writing and producing music in a range of genres but also demonstrated her abilities as a female artist in mainstream media.

The music industry and music lovers have been known to look down on Swift and her music because of her focus on past lovers, even though that is what countless other artists write about. The sexism within the music industry ridicules Swift for writing about her exes, yet the same hateful energy isn’t put into criticizing artists like John Mayer or Sam Smith.

It became a popular trend to belittle her music, but time and time again she has risen above her haters. With this album, she has changed how others view her, and for the better.

The raw voice she presented on this album truly shows her musical abilities, and that even for a star like Swift, the best might be yet to come.

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Reimagine Fall 2020

lovelytheband Builds an Emotional Rollercoaster on conversations with myself about you

Written By: Niyati Parikh Illustrated By: Camile Schnaas Designed By: Grace McNamara

A

bout three years after their breakthrough hit “Broken,” lovelytheband, an indie-pop group consisting of Mitch Collins, Jordan Greenwald, and Sam Price, aim for the charts again with the release of their sophomore album, conversations with myself about you. Hailing from West Hollywood, the three took it upon themselves to go into isolation with nothing but each other and their ideas, and they vowed not to come out until they had a finished product for their fans.

Known for their definitive upbeat songs that contain deeper messages, lovelytheband juxtaposes the eclectic, blast-from-the-past 80’s techno beats with self-deprecating lyrics. While upon first review the songs may seem like the next upbeat, danceable hits of the summer, the underlying meaning of the lyrics hits where it hurts. This 14-track listing shows just how versatile lovelytheband’s sound truly is.

The title track introduces a dissonance of different voices saying the name of

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the album slowly and repeatedly to build tension as the song progresses. Due to the many contrasting voices talking at once, it instills a sense of chaos among the blissful backtrack of vocals of lead singer, Collins.

The second track, “waste,” exhibits a synth beat and shows an experimental side of lovelytheband using a saxophone for the first time in their music. The stark contrast of the music and the words is observed in this song as it involves an exhilarating beat along to the lyrics of “Stuck running in place / Maybe all I am’s a waste.”

One of the lead songs on the album, “loneliness for love,” depicts a situation that is all too familiar for most of us: the idea of being with someone out of loneliness instead of genuine interest. It dives deep into the normalcy of finding it difficult to break a cycle that is inherently bad for us.

Attesting to that statement within the bridge are the lyrics, “I say that I will / But I’ll never change / (But I’ll never change) / I’ve been here before / But I’m still the same.” This is a clear example of pure juxtaposition with

its catchy synth-pop beat when compared to the depreciatory sentiment of the accompanying lyrics.

And boy, do they do just that as the following song is fittingly named “i hate myself.” But hey, that’s what they’re known for, right?

Standing as a personal favorite off the album, “idwgtyp” is a refreshing change where the upbeat tempo perfectly matches the meaning of the lyrics. Ultimately, it is a song about a relationship that has taken a turn for the worse and knowing that it is time to leave and move on.

The second half of the album, starting with “silly” and “emo,” shifts to a more somber tone, ensuring that one does not always have to pretend that everything is fine. Gone are the synth beats and techno cadences, replaced with a simple, stripped guitar and drum backing. Ensuing

the interlude are two songs that long for a sense of closure in relationships. “love somebody else” is a masterpiece with powerful vocals matching equally to an emotional instrumental. It is made perfectly for an indie movie where the main character is driving around aimlessly at 3 a.m.

The finale, “your favorite one,” is an emotional ballad that strays from their usual iconic music style. The song speaks of a budding romance that slipped away, hoping everything felt during the relationship was real and not a figment of their imagination. This is exemplified in the chorus, “I never wanted to be a mistake if I was / Would I be your favorite one?” The final bridge of the song ends with Collins

singing the album’s title, which allows the project to cyclically come together and is the perfect ending to this emotional album. conversations with myself about you delivers a great range of music and feelings, making it easy to relate to any given song. From start to finish, the musical highs and the lyrical lows flow impeccably as it dives into analyzing past relationships and how they affect us. This album covers emotion with grace, self-deprecating charm, and it has a unique type of musicality that sets lovelytheband apart from any other alternative-pop artists.

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Sibyl

Distinguishes the Difference between Self and Reality

WRITTEN BY JOANNA KWIAT DESIGNED BY LEIA CHAO

ILLUSTRATIONS BY CAROLINE LOGUE

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ibyl, the latest from French director Justine Triet, won Best Film at the Seville European Film Festival and was nominated for the Palme d’Or at the Cannes Film Festival. The film explores the struggle between reality and fiction as a psychotherapist oversteps her boundaries for personal gain.

Sibyl (Virgine Efria) is a psychologist who drops all but a couple patients as she decides to return to her writing career to begin a new novel. Struggling with the consequences of an excess amount of time while trying to figure out how to

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begin her new work, Sibyl’s frustration comes to an end with an unexpected call from a desperate actress. Margot (Adele Exarchopoulos) reaches out to Sibyl not looking for therapy, but to receive an external point of view towards a life-changing decision. Pregnant with her co-star Igor’s (Garpard Ulliel) child, she fears that if she chooses to abort the baby, her career may be jeopardized since he was the one who landed her the role. The situation becomes more dire as we find out that Igor is dating the movie director Mikaela (Sandra Hüller). Using this complicated story as inspiration for her

therapist, and participating in a passionate yet destructive romance with Gabriel (Niels Schneider). Balancing the various characters she has within herself, while distinguishing from the characters in her new story, becomes even more difficult as she entangles herself further into the life of her patient when she follows Margot to an island shoot amid Margot’s breakdown.

Tensions arise on- and off-set as Margot refuses to listen to, or converse with anyone unless through Sibyl. With a rising exasperation stirring in Mika as her actors are unable to elicit passion on screen, she eventually jumps out the boat plummeting into the water. Sibyl seamlessly takes form as the director, bringing her perverse fixation on her “characters” into reality by guiding them through the scene, unable to distinguish between storytelling and actual human interactions.

novel, Sibyl finds herself wrapped up in her patient’s life and begins to record their sessions privately.

Along with being a therapist, Sibyl is also a recovering alcoholic who spends time attending group recovery meetings. She states her recovery is going well as she compares being drunk to the intoxication she feels when writing, mentioning that the latter is safe because “words are the drug.” This early scene foreshadows what’s soon to come: the consequences of her writing have just as much of a debilitating, destructive effect on her life. Gradually she projects her addictive temperament onto her novel, becoming more and more obsessed with Margot’s life.

Through flashbacks of Sibyl’s past, Treit highlights the utter complexities of life and identity. By delving into her backstory, the viewer is able to understand more of who she was and how far along (or not) she has come from a rocky relationship with her sister, arguments with her own

The film stems from manipulation – how every person manipulates and, in turn, is manipulated by those around them.

Sibyl makes you reflect on your own self and the multitude of relationships we encounter, wondering which, if any, is a fabrication from the realities of our world. Treit alludes to the theme in two separate scenes where both Margot and Igor mention the masking and unmasking of themselves. Everyone plays the role of an actor within our own fictional lives, whether we realize or not, wearing different personas depending on our audience.

Efria conveys the multitude of personalities Sibyl carries throughout the film through subtle yet powerful changes in expression, engaging the audience by allowing them to question her thoughts and motives.

Blue and red are the two primary colors that dominate most scenes in Sibyl. The usual symbolism in blue to indicate tranquility, stability, and harmony contrasts the many heated arguments and moments of passion displayed simultaneously by the red. Red also elicits the power and control Sibyl possesses over her characters which

bleeds out into Margot’s reality, emphasized when she takes on the role of director.

Blue is also associated with introspection which is contradictory to Sibyl’s inability to reflect on her own. “Stop analyzing her,” says her own psychiatrist. “You can’t even analyze yourself.”

Although the overwhelming – and sometimes cliché – subplots can deviate from the main storyline, the seemingly chaotic and random insertion of asides reflect our own human brain and emotions.

Sibyl illustrates that our own thought processes are rarely linear, and through her turmoil we are able to encounter the mess we call our lives.

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I’m Thinking of Ending Things PRETENTIOUSNESS DISGUISED AS BRILLIANCE? w ri t t e n b y L u i z a L o y o illu s t r a t e d b y Vi o le t L in g e n fe l te r d e s i g n e d b y L a u re n A q u in o

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harlie Kaufman’s new film I’m Thinking of Ending Things might aim to be a sophisticated brain twister that leaves its audience flabbergasted for days. However, it proves itself to be an overly complicated and aggravating watch with a narrative that hasn’t much to say.

The story centers around Jake (Jesse Plemons) and his girlfriend (Jessie Buckley) who might be named Lucy, Lucia, Louisa, or Ames. The two are on a snow-ridden road trip to meet Jake’s parents, and our mysterious leading lady is thinking of ending things with him.

The film has an uneasiness to it. Even in the first seemingly mundane moments, the audience feels there is something not right, something yet to be revealed. Once the couple arrives at Jake’s parents’ farmhouse, strange events unfold. What starts as an awkward date with the in-laws (Toni Collette and David Thewlis) soon turns into a mindbending and time-defying nightmare.

Lucy (Lucia, Louisa, or Ames) is said to be a painter, a waitress, a physics student in college, and a poet. Jake’s parents appear to be in their late 50s, then shockingly old and sick with dementia, then young again.

The entire sequence feels like a fever dream, suggesting a thousand different things about these characters and jumping back and forth through the stages of their lives.

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The complex happenings at the farmhouse are paralleled with shots of a high school janitor’s ordinary life. The audience follows him as he sweeps the floors, catches demeaning looks from students, and seems burdened by an uneventful routine. Slowly, through the timing and juxtaposition of these shots with the other storyline, the viewers realize the janitor is Jake, at another point in time.

Even in the first seemingly mundane moments, the audience feels there is something not right, something yet to be revealed.

I’m Thinking of Ending Things grabs your attention at first: it’s fun to speculate what it all means, similar to Kaufman’s widely beloved and equally complex film Eternal Sunshine of the Spotless Mind. However, where Eternal Sunshine succeeds in being a beautifully complicated and deeply meaningful film the audience enjoys pondering over, I’m Thinking of Ending Things falls short.

Half of the story is spent inside Jake’s car, where he and Lucy have various conversations and debates. The dialogue jumps between references of Wordsworth poems and incredibly specific old films, which turn the film—already difficult to comprehend—into a completely inaccessible ball of pretentiousness.

A lot of philosophical ideas are introduced through long pieces of dialogue and borderline hallucinogenic events, but none of them expand further than that. It is almost as if the author of the book it was based on, Iain Reid, wrote down his stream of consciousness and force-fed it to us as psychodramatic literature.

The performances are the highlight of the movie. Buckley and Plemons play well off of each other, and Collette, even in her limited amount of screen time, does not fail to show her endless range and talent.

However, for being the acting force that she is, Colette was brutally underutilized, only appearing briefly in the first half of the film.

Near its ending, the true meaning of the film becomes a little less foggy. Although

no interpretation can be confirmed as the full truth, Kaufman insinuates that Jake has created Lucy in his mind and the entire story has been an imagination of what his life could have been like if he had taken more risks. The viewer finds out he never dated Lucy, but that he saw her at a bar once and only stared at her from afar, too afraid to approach her. At another point in the movie, it is also revealed he had a passion for painting and the arts but never pursued those interests. Jake creates a scenario in his head of what he could have experienced had he not settled for the monotonous and lonely life he leads as a janitor. In fewer words, “It was all a dream.”

Jake’s sad fate reveals itself through an

abrupt dance sequence that mirrors all of the things he had dreamed of, a tactic that only added to the film’s pretentious tone.

Followed by a scene of old Jake walking completely naked behind an animated cartoon pig, clearly a symbol for himself, it seems as if the director keeps coming up with the weirdest and most uncomfortable ways to make a simple point.

However, films never need to be 100% clear and satisfying to the audience.

Coming up with individual interpretations and wondering what a story meant long after it is over is one of the joys of watching a film. Yet, I’m Thinking of Ending Things is frustrating in its storytelling and seems

overly complicated for a film that, in the end, simply tells the story of a man’s sorrow.

Yet, I’m Thinking of Ending Things is frustrating in its storytelling and seems overly complicated for a film that, in the end, simply tells the story of a man’s sorrow.

Despite all of this, Kaufman’s latest will have its fair share of admirers. After all, this might be just the movie people need right now—it is every bit as messy and chaotic as 2020.

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Lovecraft Country: A Strange Trip through America’s Terrifying History Written, illustrated, and designed by Michelle Musili

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lack horror is having quite a moment right now. The genre was virtually non-existent (save for an occasional Candyman), until 2017 rolled around and Jordan Peele gave us the game-changing Get Out. Since the smash hit, studios have been investing more into horror stories that parallel the horror of racism in America. One such endeavor is HBO’s Lovecraft Country.

But is this a genre that retraumatizes Black audiences rather than giving them solace?

Created by Misha Gren and produced by Jordan Peele, Lovecraft Country follows the story of Atticus “Tic” Freeman as he joins his friend Letitia and his Uncle George to embark on a road trip across 1950s Jim Crow America in search of his missing father. The show contends with Lovecraftian monsters and the equally horrifying past of this country. Tic’s journey takes them through multiple magical, high fantasy, and historical detours on its path to Lovecraft county, in central Massachusetts.

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Lovecraft Country’s structure is a mix of serialized and episodic. The main plot revolves around Tic discovering his magical lineage and the consequences of it, while the characters around him are also dealing with unique and terrifying encounters with magic. Along with that, there are several episodes where the main plot is completely absent, and the audience gets time with a different character.

While this allows for interesting and more complex characterization, it comes at the price of pacing. The show’s pace and tone feel as though they vary wildly, and the audience walks into every episode not knowing what’s in store. This can be a fun experience, but it is ultimately frustrating. The finale ends the plot on a somewhat satisfying note, however, the show takes a long and convoluted road to get there.

The show focuses the most on Tic (Jonathan Majors), Letitia (Jurnee Smollett Bell), and Tic’s father, Montrose (Michael K. Williams).

The show’s pace and tone feel as though they vary wildly, and the audience walks into every episode not knowing what’s in store.

Majors does an incredible job as the stoic Tic, even though his character’s writing lacks the depth the other characters get. Smollett Bell is equally stunning as the badass Letitia, a character whose fierceness is complicated by her selfish and secretive nature. Montrose is a conflicted, formerly abusive character and the relationship between him and Tic is a strong dramatic element in this show. Secondary characters such as Hippolyta, Ruby, Ji-Ah, and Dee are all given interesting arcs and episodes that focus more on their struggles

and experiences. Yet, despite how strong the cast of characters is, the plot does not leave enough space for their arcs to be completed in a satisfying way.

The show is set in the Jim Crow era and features fantastic 1950s fashion and set dressing. The outfits and setting are clearly made with incredible care and make the show’s visual language distinct and beautiful. The time period appropriate music

In a time like 2020, the vivid depictions of Black people being killed in racist shows of power are not necessary, even if fictionalized or historical.

choices also gel beautifully with the setting and emotional beats of the scenes they’re featured in. However, the show makes the choice to occasionally feature anachronistic music choices from current artists like Tierra Whack and Solange. While the song choices themselves aren’t bad, they shake the audience’s immersion and often feel unfit for the scene.

As both high-fantasy and horror, Lovecraft Country features many magical elements. The special effects are done well, if not cheesy every now and then. The show has horrifyingly well-done gore work, sometimes even steering into too much. While this is appropriate for a fantasy horror series, much of the violence isn’t magic related, but historical. The audience is treated to graphic depictions of racial violence, seeing sickening deaths from the Tulsa

massacre. While it is important that history reflects the incredible violence that plagues the United States’ history, these graphic depictions can retraumatize Black audiences. In a time like 2020, the vivid depictions of Black people being killed in racist shows of power are not necessary, even if fictionalized or historical.

Lovecraft Country is a show with big ideas and a distinct voice. The final assembly of these elements is messy and violent, but still shows a lot of heart and care.

Lovecraft Country is a show with big ideas and a distinct voice. The final assembly of these elements is messy and violent, but still shows a lot of heart and care. The show has done well critically, which means good things for the future of media centered around people of color, with people of color behind the camera as well. Hopefully, as the genre progresses, Black horror can be interesting and scary but still a place of catharsis and relief rather than retraumatizing audiences searching for solace.

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How to Support Boston’s Independent Movie Theaters Written By: Devon Whitney Illustrated By: Lexie Maloy Designed By: Caroline Logue

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miss going to the movies. I miss ordering a huge, shareable soda and turning off my phone. I miss the previews, the anticipation, the art! I miss the reemergence into the shocking daylight, or the chilly winter night air, and running to the car to discuss. The movies are a place where we can come together and focus on just the story unfolding before us— moments that are harder to find lately.

in place, independent movie theaters in the Boston area have faced their own challenges with reopening.

While some chain movie theaters (AMC and Landmark) are open for live screenings in limited capacity with COVID precautions

Until then, the staff of these theaters have created some fun and innovative ways to support them.

These theaters are located in the sweetest areas to walk around, grab a bite, and make a day or an evening of going to the movies, and hopefully we get the chance to do those things again soon.

Coolidge Corner Theater

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Coolidge Corner Theater, situated in (you guessed it) Coolidge Corner of Brookline, is a nonprofit, independent cinema that’s been going strong since 1933. I can’t stress enough how excited I am to visit them again when they reopen, but until then: Check out their virtual screening room, where you can rent films curated by Coolidge staff that can be watched at any time of day. (If you have a projector, or perhaps a friend in your distancing bubble does… you know what to do).

Attend an outdoor screening! Go see this (frankly, terrifying) showing of Friday the 13th and its sequel, on Friday the 13th, in the woods. This double feature event will be held in the Rocky Woods nature preserve in Medfield, about 30 minutes outside of Boston, and tickets are going for $60 a seat. Or, check out this 6pm drive-in showing of Knives Out, on Friday, Nov. 20 and Saturday, Nov. 21 near Medfield State Hospital where parts of the movie were filmed. There will be, and I repeat, an ice cream truck. Tickets are sold at $60 per vehicle. Click the links for more info and secure your tickets!

Buy a limited-edition T-Shirt!

The holidays are coming, and a perfect gift to give may be a Coolidge Curated movie list! Coolidge staff will curate a list of three movies just for you on your streaming service of choice!

Make a one-time donation, become a monthly donor, or even create your own fundraiser for Coolidge Corner Theater.

Lastly, you could even rent the movie theater for up to 24 of your friends to enjoy a private screening, with masks, of course.

If you choose to do this, make sure to follow their guidelines and be conscious of COVID safety!

The Brattle Theatre

The Somerville Theatre

The Brattle Theatre is located in a quaint brick building in Cambridge near Harvard Square, dedicated to the “[celebration of] film as a popular and fine art form” and the showing of essential, independent films that can’t be found at huge chain movie theaters. While they are preparing to reopen in a very limited capacity, there are other ways to support them in the meantime. Like Coolidge, the Brattle has a virtual screening room with an exciting selection of films that we won’t find on Netflix.

The Somerville Theatre in Davis Square boasts 2 stages, for both live performances and great films. On their website, you can find their virtual cinema of independent films, or buy a gift card for your movie loving relative.

Purchase gift cards and merchandise here, or make a donation here, or even rent the Brattle here. With a group of up to 20 people, though if you bring more than 10, you will be required to sit apart from one another in the theater, you can host a private screening for $350, and even preorder concessions to be waiting for you when you arrive. If you’re staying in Boston over Thanksgiving break, maybe you can splurge on a small, safe, Friendsgiving movie date at the Brattle Theatre.

Art can be a necessary escape from, or way to process the state of the world, which may seem very weighty and scary right now.

I have loved holing up with my family and friends watching movies at home with some stove-popped popcorn, but I can’t wait to go back to the movies. When it’s safe and possible for them to reopen, these local, independent theaters should still be standing. So the next time you go to browse Netflix or Amazon Prime for a movie, perhaps explore one of these three virtual screening rooms instead!

Oh! And for the film lovers out there, the Brattle has a podcast!

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Down Released online and revolutionized theatre Founder of Street Theory Theatre in Boston Main theme of Shipwreck Wallow’s newest album Final song of the trilogy inside Taylor’s Swift’s new album Across Song that journeys through a life of art and existentialism Quantum Physics‘ artist’s debut album Sibyl’s patient Town within the world of I’m Thinking of Ending Things

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WATCH LIST TOP THREE MOVIES Mank Netflix Original coming Dec. 4 1930s Hollywood is reevaluated through the eyes of scathing wit and alcoholic screenwriter Herman J. Mankiewicz as he races to finish “Citizen Kane.”

Castle in the Sky Streaming on HBO Max From legendary director Hayao Mayazaki, the adventures of a young boy and girl in the late 19th century attempting to keep a magic crystal from a group of military agents, while searching for a legendary floating castle.

Sorry to Bother You Streaming on Hulu In an alternate reality of present-day Oakland, California, telemarketer Cassius Green finds himself in a macabre universe after he discovers a magical key that leads to material glory.

Harley Quinn Streaming on HBO Max The newly single Harley Quinn sets off to make it on her own as the criminal queenpin in Gotham City in this raunchy animated superhero comedy.

Chappelle’s Show Streaming on Netflix Considered by many to be one of the greatest sketch comedy acts of all time, race, contemporary issues and laughter defined this revolutionary show from Dave Chappelle.

TOP THREE TV SHOWS The Queen’s Gambit Netflix Original Set during the Cold War era, orphaned chess prodigy Beth Harmon struggles with addiction in a quest to become the greatest chess player in the world.

SPOTIFY PLAYLIST We made a playlist to go with the theme of this magazine. We hope you enjoy!

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Do You Realize?? – The Flaming Lips Risk – FKJ, Bas 1539 N. Calvert – JPEGMAFIA rangerover - Bonus Track – Porches You’re Not Good Enough – Blood Orange BTSTU - Demo – Jai Paul

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All the Time – Souly Had, Alanna Aguiar C U Girl – Steve Lacy NO HALO – BROCKHAMPTON Mansions – Matt Champion Kids Turned Out Fine – A$AP Rocky Wurli – Dominic Fike

Want more Artistry?

Check out additional articles on our website!

An Austen Classic Gets a Witty New Rendition Writer: Lily Elwood Illustrator: Nadia Naeem

Illiterate Light and Camp Howard at Great Scott Writer: Cali Cardenas Photographer: Cali Cardenas

Broadway’s Finest Villains on This Hallow’s Eve Writer: Rachel Erwin Illustrator: Norman Zeng

Teens Take the Floor in Black Histories, Black Futures Writer: Drefnie Limprevil Photographer: Cali Cardenas

Game Changers at the MAAM Writer: Lauren Aquino Photographer: Levi Kaplan

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We are always looking for students with a passion for the arts to contribute to our publication!

Whether you’re a writer, designer, illustrator, or photographer, we want YOU to help us share our story!

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REIMAGINE ARTISTRY MAGAZINE