The Monthly: April 2021

April 2021

ART AND MIND: p.5 SIPS OF JOY: p.8 PATRON TO PRODUCER: p.10

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CONTENTS Staff of The Monthly Issue 36

Janea Wilson Monthly Editor Emma Ruck Meher Yeda Design Editors Angeli Mittal Hank Yang Designers Haley Fuller Isabelle Sarraf John Riker Rayna Song Rebecca Aizin Wilson Chapman Yonjoo Seo Writers

Cover photo courtesy of Robyn Jablonski

Art and Mind

5

Sips of Joy

8

Patron to Producer

10

Our Academy Presents

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Final Rose-Worthy?

14

Liner Notes

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Which Oscar-nominated Film Should You Watch?

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Letter from the

Editor:

I remember the first time I wrote a letter from the editor for my high school’s magazine. I was (and still am) nervous that I would sound too serious and not make profound enough statements, that I wouldn’t give people enough to talk about like those who wrote before me.

I’m very excited to be the new editor of The Monthly and thankful for the guidance I’ve gotten from previous editors. I hope to carry on the legacy of exciting and reliable content, but I’m also excited to blaze my own path for this desk.

If there’s anything that I’ve learned over the past year, it’s that living with a focus on the past is detrimental.

This time in 2020, I was patiently waiting for COVID-19 cases to go down, for lockdown to lift and for my trip back to campus so I could be with my friends and live my life the way I had planned. But as months went on and things only got worse, I realized that holding onto the hopes of going back to a pre-coronavirus life was making me sad and that I needed to adapt to the present.

I started to look at the world around me and enjoy the little things that I took for granted before — getting coffee with friends, listening to live music performances, being with my family and even spending time in the sun.

And even after returning to Evanston, there hasn’t been much to look forward to for months. I was stuck inside trying to escape the cold and COVID-19 while trying to create joy in my daily routine. But with the weather warming up and vaccines rolling out, I’m feeling more optimistic about the future. While I’m excited to be able to do more and take new risks (all while adhering to CDC guidelines!), I still want to continue to be grateful for the small things.

I’m very excited about the stories in this issue of The Monthly and I hope these stories will also give you some feelings of optimism. I hope you try to find small bits of joy in the world around you.

Janea Wilson

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ArT and Mind 5

, o i d u t s o g a c i s h r C o l t a a c e o r l c a e s t A eurodiver d community n ake art ann Chapman mWritten byy WEmilmsoa Ruck B d e n g i s e D

uring the early months of the pandemic, Cherylle Booker was in a difficult situation.

She was living with a family member she has a contentious relationship with, and being stuck in that environment was taking a toll on her mental health. Her primary outlet for therapy and self-expression is art, a lifelong interest that began from watching Bob Ross as a child. She specializes in creating beautiful, detailed ceramic masks inspired by anything from mythology to her internal feelings.

Lockdown made it difficult for her to create; she couldn’t attend her art therapy group, she found it stressful working at home, and her worsening depression made producing work increasingly hard.

Luckily, after a few months, Booker was able to find her own housing. She saved up money to move out by selling artwork through Project Onward, the studio she’s worked with since 2019.

Booker said she

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found the studio staff’s support for her as she was trying to improve her situation invaluable.

“When you’re in a tough situation, just that little bit of help and support, and people being there for you and understanding, It means a lot,” Booker said.

Project Onward is a Chicago studio that provides resources for local neurodivergent artists and helps exhibit and sell their work.

Currently, the program supports 49 local artists. Some of those artists, like Booker, have depression, anxiety or bipolar disorder, while others are on the autistic spectrum; all share a passion and talent for the visual arts. Creative Director Robyn Jablonski said the program aims to counteract popular stereotypes about neurodiverse artists, which tend to infantilize them and dismiss their work.

“It used to be, ‘Oh that’s cute,’ ‘Oh look what they can do,’” Jablonski said, referring to how audiences often receive neurodiverse artists’ work. “The work speaks for itself, and the work next to any other Chicago artist, it stands parallel.”

Onward has its roots in a publicly funded Chicago organization, Gallery 37, according to Executive Director Nancy Gomez. The gallery offers programs operated

by Chicago’s Department of Cultural Affairs, including art classes to gifted juniors and seniors in Chicago Public Schools.

Onward was founded in 2004, Photos courtesy of Robyn Jablonski

aiming to continue support and education for neurodiverse Gallery 37 students after graduating high school.

The program moved to virtual operations last year following Chicago lockdown orders, but the studio and gallery is scheduled to reopen on May 12.

“As an organization, I’m hoping to become much bigger than we are right now, and I know we’re going to succeed,” Gomez said.

“If COVID didn’t take us down, nothing’s gonna take us down.”

The staff employs part-time volunteers, many of whom have backgrounds in art therapy or social work, to assist artists while working in their studio. Jablonski and Studio Manager Whitney Oliver both started working as interns and volunteers at Onward before they took on full-time. Onward itself doesn’t provide social work for its participants, but the staff does help connect artists to resources when they struggle with mental health or financial issues, Gomez said.

Onward isn’t intended to teach art to participants as the program mostly accepts people with an existing portfolio of work, and seeks artists who have a unique viewpoint and style they’re passionate about. The staff does provide guidance and constructive

criticism to artists, but Jablonski said this is focused more on helping them to execute their vision to the fullest extent rather than change their subject matter or structure.

“They support me in a way that they validate what my ideas and concepts are,” said John Behnke, an artist who has worked with Onward since 2011. “They never question anything that I was thinking about doing, and they give me an outlet for creative criticism, which I never got.”

During lockdown, Onward pivoted their strategy to remote operations. Jablonski and Oliver began hosting a weekly Zoom meeting with all of the artists to discuss their projects. Volunteers have also helped deliver supplies and pick up artwork from the artists.

The pandemic has altered the way many artists have produced artwork. Before the pandemic, Behnke would spend three to four months creating an individual painting — his work is brightly colored fluorescent portrayals of landscapes mixed with animals and fantasy creatures. He found that his emotions were constantly changing and every week felt like he had an entirely new perspective that made working on a long-term project impossible. As a result, he

has been working on drawings and smaller projects that he can finish within a week.

Behnke has anxiety, and since the pandemic began he has drawn constantly in order to alleviate it. He said Onward has been very supportive of him, calling to check in and giving him prompts and exhibitions to submit to so he can work. Although he is in a better place than he was in the beginning of the pandemic, it has been difficult for him and many artists like him.

“A lot of artists, they see things going on around them, and they’re always observing, they see all the negatives,” Behnke said.

“Even when everything is perfectly great, they see all the negatives.”

As the studio has been closed, Oliver has focused on expanding the website’s online store, and Onward started hosting monthly virtual exhibitions, including an ongoing exhibition for autism acceptance month called “The Feels” that began on April 16.

Oliver said the online store has become an entirely new source of revenue for Onward, one that has allowed them to reach a much wider audience.

According to Gomez, the store has been a huge boon for Onward, and has helped the organization weather the financial issues that have plagued businesses during the pandemic.

Onward gives 50 percent of their sales back to the original artists, and the program was able to financially assist artists who were unemployed during the pandemic.

Luke Shemroske, an artist who has been with Onward for two years, said he had limited opportunities to display his art or submit it to shows before he joined the

program. Onward helped him find a wider audience for his work by featuring him in exhibitions, and he has enjoyed sales of his pieces through the online store. Last year, Onward featured Shemroske’s art in the international Outsider Art Fairs in New York and Paris.

“They’ve been really helpful that way, there’s a lot of stuff I wouldn’t have sold if they didn’t come through and upsell them,” Shemroske said. “They’ve opened me up a lot of a lot of doors and kind of given me a lot of opportunities that I wouldn’t have had otherwise.”

In addition to the professional opportunities, Onward acts as a support system and social network for many of the artists. Artists tend to stay with the program for a long time and develop long-lasting friendships with each other.

Prince Phillip. Holt began making these portraits in response to his personal loss of his father, mother and grandmother, as a way to show his “love and respect to all people.”

Holt said he’s very close with the staff and other artists at Onward, who he describes as a “alpha mega team” that has taught him how to work professionally as an artist. Onward has provided him personal support during difficult times; when his mother died in 2013, several artists and staff members attended her funeral.

“They have been an awesome blessing in my life,” Holt said. “If I ever need them, they are there for me.”

In the future, Gomez said she is aiming to expand Onward substantially, including moving to a larger space, hiring a full-time social worker or therapist, and

If COVID didn’ t take us down, nothing' s gonna take us dowN."

"

—

Nancy Gomez

Executive Director , Project Onward “We laugh all day in the studio, there’s always something funny going on,” Oliver said. “We are truly a community.”

Long-time member David Holt joined Onward in 2006 after taking classes at Gallery 37. Holt specializes in making “obituary portraits,” drawings of notable people who have passed on. Some recent subjects include Chadwick Boseman, Ruth Bader Ginsburg, and when he spoke with The Daily, he was working on a portrait of

getting artists featured in more outside museums and exhibitions such as EXPO Chicago. At this stage, however, she is focused on supporting her current staff and artists through the end of the pandemic.

Booker said working at Onward has helped her develop her voice as an artist, and has allowed her to advocate for other neurodiverse people or people dealing with mental illness. As she describes it, the image of mental illness for too many people is a “person in a straightjacket, in a padded room.”

Her art allows her to visualize her experiences in a way neurotypical people can understand, and helps her and other people with similar struggles feel validated.

“It’s given me a chance to kind of get on my soapbox and say, ‘Hey, you know, people with mental illnesses are human beings,’” Booker said. “Like we experience the same emotions as you do.

They just present themselves in a different way.” ◊

Written by Haley Fuller Designed by Angeli Mittal Coffee Lab builds community for Northwestern students and Evanston residents

I

knew that Coffee Lab & Roasters was a joyful place the first time I walked in on a gloomy Saturday morning, ordered a large cappuccino and was greeted with a smile and four shots of espresso in a 12oz cup. And while it’s the perfect place to go if you like your coffee strong and delicious, accompanied by delicious pastries and snacks, the shop on 910 Noyes St. is more than just a place for a caffeine fix.

Coffee Lab was founded in 2010 as an offshoot of Garrett-Evangelical Theological Seminary, but has since changed hands a few times and separated itself from the divinity school. In May 2019, couple Jay Kim and Daniel Aquino became Coffee

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Lab’s new owners. Aquino had worked there for a while under the previous ownership, and Kim is a Ph.D. student at Northwestern.

One of Kim and Aquino’s biggest goals is to create a space both Evanston residents and NU students can enjoy and call their own. Sometimes Coffee Lab can feel like an extension of campus, Kim said, as students studied at the coffee shop before the pandemic and even take on barista positions behind the counter.

Kaley Winegarner (Communication ‘19, SPS ‘20) has worked at Coffee Lab for nearly two years. When Winegarner would come in to do school work, she said she noticed the staff always seemed to be having fun together. Now, a full-time employee, she finds the camaraderie to live up to her expectations.

“All of the people on the

staff are very like-minded and have the same kind of sense of humor, so it’s very easy to get along and be comfortable enough to joke around with the staff members,” Winegarner said. “It’s a very playful environment, but we also get our work done. It’s a good balance.”

The community-building extends to their customers.

Over Winter Break, Kim and Aquino kept Coffee Lab open for the students who stayed back in Evanston due to the pandemic. And to bring new customers into the store and reach out to the broader Asian communities on campus and in the city, Aquino also started making the ube latte, now a signature item, as well as other Filipino, Korean and Japanese-inspired treats.

Kim and Aquino want to create a space where everyone is comfortable and accepted.

“As members of the LGBT community ourselves, we feel

like this is such an important thing to have for members of our community, where they can know that this is just a safe place to be and this is their place,” Kim said. “We just want to be a place for anyone to feel welcome.”

During the pandemic, Kim and Aquino have found new ways to bring joy to people’s lives. They turned the store into a community art gallery, displaying local artists’ work on the walls and in the windows.

Right now, the store is selling stickers, buttons, and more, with proceeds going to charities supporting Asian American and Pacific Islander mental health and safety due to the rise of hate crimes.

While this is Coffee Lab’s first public fundraiser, Kim said he’s looking forward to supporting similar initiatives in the future.

Even though the store is no longer packed with people

working or talking with their friends, it’s still a staple in people’s lives. Weinberg junior Julia Yoon started going there to visit friends who were employees. A year later, she’s still visiting to get the “best cold brew in Evanston,” as well as the specialty Asian pastries sold on Sundays.

“I like that it’s a small business and it’s Asianowned,” Yoon said. “I really like their cold brew, and I will stand by it because it is not too acidic and it is just so perfect.”

There’s something for everyone in the sun-filled coffee shop on Noyes. There are even drinks to suit any palette, from standard espresso drinks, a rotation of flavored lattes (The cinnamon roll hot latte is a personal favorite), various lemonades and other delicious drinks. No matter what you’re looking for at Coffee Lab, you’ll find plenty of caffeine and community. ◊

Photos by Hayley Fuller (left) and Janea Wilson (right)

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PATRON TO PRODUCER Written by Rayna Song Designed by Emma Ruck

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Bienen senior Arsen Tujian talks growing his own production company during the pandemic

This interview has been edited for brevity and clarity.

The Daily: Why did you decide to start a production company during a pandemic?

Tujian: I was back home in California, and Luke, who goes to the University of Oregon, was also in California. We are both musicians, so we love to play and listen to live music. We were really bummed that with COVID-19, there really wasn’t an opportunity to have live concerts anymore. So we decided to put on socially distanced live concerts. We reached out to local artists in the area and found a way through which we could have socially distanced bubbles.

Then, we sold spots where people with their quarantine groups could come and enjoy live concerts. We did two successful shows, and it was really fun.

The Daily: What changes has Empire Lake Productions made since its founding?

Tujian: Things were getting worse with COVID-19, so in August 2020 we decided to offer a backyard movie theatre service rather than concerts. We would set up the projector and the speakers, and we ended up doing about 100 backyard events in a month and a half. We were then thinking, “What

“

Calif.) with over 100 parking spots at the end of April.

The Daily: What are some challenges you have faced managing Empire Lakes Productions?

Tujian: I would say scaling has been a challenge. It took a lot of learning and growing, as both an individual and a business owner, to figure out how to scale our business, such as adding more crew members, more sets

We always knew that we were going to prioritize people’s health and safety, but it was hard to convince everyone at first that we would pull it off.

if we went bigger than this?” As words traveled, we got clubs, like YMCA and other membership-based organizations, and we would throw a drive-in movie event at their parking lot for their members. That was going really well, and the end goal was to have our own drive-in movie theatre location. In February, we established our own drive-in location (in La Cañada, Calif.). Now, because of the demand, we will be relocating to a larger parking lot (in Pasadena,

“

B

ienen senior Arsen Tujian has spent the past four years at Northwestern studying music composition and business. But outside of his studies, Tuijan is the co-founder and managing director of Empire Lakes Productions, a production company he and his friend Luke Bonham founded in June 2020. The Daily spoke with Tujian about his motivation for starting the company, the challenges his team encountered and his hopes for the future.

of equipment and increasing our service area radius while still enforcing quality control standards. We had to develop and streamline an approach to train crew members, to have an effective inventory management system, to have specific protocols for how to deal with things when things might go wrong. Another challenge is that starting a company that puts on live events during COVID-19, that was really hard to navigate. We always knew that we were going

to prioritize people’s health and safety, but it was hard to convince everyone at first — especially as a young company — that we would pull it off. It took a lot of cold calls, it took a lot of trial and error, until we were able to find the right partners and make the experiences happen.

The Daily: What have been some of your favorite moments of running your company?

Tujian: When we pulled off our first show, that was just a great feeling. So much went into that: making the website, selling tickets, selling the concept, becoming an official corporation in California. Also, the reaction we get from our customers on a daily basis is awesome. Whether it’s a Yelp review or them telling you in person, how much they just loved either our drive-in or the backyard movie. Those are always great moments.

The Daily: What are you looking forward to in the future?

Tujian: I’m really excited by the rate at which the company has grown. As things get better and as people get vaccinated more, we hope to have bigger events, such as film festivals, where we would have food trucks and live bands. We also want to include independent filmmakers at our drive-in in the future, and we hope to collaborate with both LA-based and international filmmakers. ◊

Photo by Ben Chant

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Our Academy Presents The Monthly staff shares their thoughts on The Oscars Best Picture Nominees Written by Monthly staff Designed by Meher Yeda

The Trial of the Chicago 7 “The Trial of the Chicago 7” follows a group of seven anti-Vietnam War protesters charged with crossing state lines and inciting violence at the 1968 Democratic National Convention. Even though the movie was filmed in 2019, the subject matter seems to resonate with a 2020 audience.

The film touches on the state’s censorship of abolitionist and anti-war sentiments, with scenes depicting violence that eerily resembles police escalation at protests across the country from last summer.

But “Chicago 7” bothered me because of its distinct focus on Whiteness. For a movie about 1960’s radicalism,

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its most prominent Black characters were sidelined and underemployed. While the story is based on the real-life tale of the Chicago Seven, all of whom were White men, I found myself drawn to the subplots following Bobby Seale, Fred Hampton and the Black Panther Party. Yahya Abdul-Mateen II, who plays political activist and Black Panther Party founder Seale, only had a bit over 15 minutes of screen time, and I think he stole the show. But hey — maybe that’s why I preferred “Judas and the Black Messiah” over this one.

Much of the way “The Trial of the Chicago 7” was written

reminded me of “The West Wing” — and that isn’t a compliment. The American idealism of the film recycles tropes and word-for-word phrases from the director’s 20-year-old television show, which made me question whether choosing Aaron Sorkin and his notorious neoliberalism to write and direct “The Trial of the Chicago 7” was the best move. After a year of racial reckoning in this

country, I was hoping to see Sorkin’s take on the trial attempt to confront police violence and the prison-industrial complex, but that nuance was lost. Make no mistake: This is just another Aaron Sorkin production downplaying radical politics and centering that radicalism almost exclusively around White savior complexes.

— Isabelle Sarraf

Promising Young Woman Emerald Fennell’s “Promising Young Woman” tells the story of Cassie, a woman who has halted her life since experiencing the traumatic death of her best friend Nina in medical school. Played by Carey Mulligan, Cassie frequents clubs, where she pretends to be blackout drunk,with the hopes a man will make a move on her..

When the man reaches the point of near assault, she suddenly

rejuvenates, revealing her sobriety, and threatens him with a possible report. However, when Cassie meets medical school peer Ryan, played by Bo Burnham, her opinion on men starts to change, and she begins a crusade to bring down every person who was involved in the rape and death of her best friend, Nina.

The movie explores every facet of rape allegations, as Cassie goes

after administrators, bystanders and ultimately the lawyer who got the rapist off free. She attempts to restore justice in her own twisted ways, leading to a mental breakdown. While the movie can be graphic at times, it deals with the heavy and painful topic of rape culture in an extremely honest and accurate light. The title itself conveys the expectation society has for “promising women” to be

successful, despite the traumatic ordeals they experience. Perhaps the most controversial aspect of the film is the ending, since it veers into a direction that is completely unexpected and extraordinarily jarring. While some may argue the ending was unsatisfactory, it capsulated the ending Cassie was looking for: justice.

film’s exploration of perspective, with each character’s view pitted against the others but also coexisting in a wonderful, tangled web.

Family patriarch Jacob Yi, played by Best Actor in a Leading Role hopeful Steven Yeun, provides the narrative thrust of the film — he moves his family to Arkansas with aspirations of striking it rich farming.

Optimistic to a fault, he wants to prove to his wife and young children he can escape his life as a chicken sexer and achieve the American dream. The cinematography’s focus on the

gently swaying Arkansas grass and sunset vistas make Jacob’s vision seem valiant.

Jacob’s wife Monica is the pragmatist, one who fails to see how another reckless investment in a dream can improve their lives. While Jacob pursues his dream, she keeps her feet on the ground and sees the side of Arkansas life that is not so welcoming. When Monica’s elderly mother Soonja, played by Best Actress in a Supporting Role nominee Youn Yuh-Jung arrives, she adds a third element to the mix: vulnerability. These three well-defined perspectives

paint the film in master strokes, instilling tension characteristic of A24 films and crafting a genuinely touching narrative.

There’s one more perspective that separates “Minari” from the pack: child actor Alan S. Kim as David. Kim’s performance hits every emotional beat and mixes all three perspectives — wonder, fear and the preciousness of life — from the lens of a child. “Minari” understands what it means to live and offers that experience center stage.

— Rebecca Aizin

Minari The 2020 film “Minari” tells a down-to-earth story that chronicles the struggles of a Korean-American family as they acclimate to life in 1980s Arkansas. What “Minari” may lack in the intergalactic stakes of Hollywood’s typical fare, it more than compensates for in character depth and technical beauty. This richness comes across most clearly through the

— John Riker

Nomadland “Nomadland” has dominated this awards season, and it’s not hard to understand why.

The film is absolutely breathtaking, intimately capturing the lifestyles of modern-day nomads across America’s great outdoors.

“Nomadland” centers on Fern, played by Frances McDormand, a woman whose husband has died and hometown has shut down due to an economic collapse. Fern lives out of her van, working temporary jobs as she bounces from place to

place. Along the way, she meets other nomads and grapples with loss, self-fulfillment, and even the temptation to settle down.

Director and writer Chloé Zhao leaves no character undeveloped, even casting true nomads as themselves. But with a chance to display the harsh realities of America’s gig economy, the film falters.

Fern works at Amazon twice, but the film doesn’t seem to depict any of the company’s vast labor issues. She laughs alongside her

coworkers and describes the pay as “great” — Amazon even seems better than some of the other jobs she picks up.

There are many struggles to living a modern day nomadic lifestyle, and Zhao is honest about the experience. Many of the nomads Fern encounters, like herself, are those who have struggled to achieve the American dream, even losing their jobs and homes. But, to not criticize Amazon just seems inauthentic to the message of the

film itself. How can the problems nomads face to survive be glorified after many have already lost their whole lives?

But still, “Nomadland” isn’t just about nomads. It’s also about Fern staying true to her own values after a big life change. There’s much to learn about nomadic lifestyles that can be adapted by anyone, and that’s the true beauty of the film.

— Meher Yeda

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Final rose-worthy?

Where the last season of The Bachelor went wrong Written by Janea Wilson Designed by Hank Yang

I

’ve never been much of a fan of The Bachelor franchise, and hadn’t watched a full season until this past one. I had low expectations going in because the premise of the show still blows my mind. But points of this last season reached new lows that I didn’t see coming.

The most dramatic part of this season was unraveling as episodes were airing. Photos of contestant Rachael Kirkconnell at an antebellum party in 2018 went viral on social media midway through the season.

An antebellum party celebrates the pre-Civil War South, when slavery was still legal.

They often take place on old slave plantations and romanticize America’s racist past, so people were shocked to see she attended this party. Like many who are caught in racist acts, she claimed when the picture was taken, she had no clue she was participating in a racist trope.

This situation takes an even worse turn when the show’s longtime host, Chris Harrison, made comments on a podcast defending her actions. On the show, he suggested Kirkconnell’s attendance at an antebellum party could have been acceptable in 2018, but isn’t a good look in 2021.

Fans and former Bachelor and Bachelorette stars spoke out against Harrison’s comments almost immediately.

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Craig Sjodin/ABC/TNS

Later on, Harrison apologized and stepped down as the show’s host. But who’s to say if he truly understands why what he said was wrong?

While this was revealed mid-season, fans anxiously waited for Kirkconnell to be eliminated. But episode after episode, she kept receiving roses, until she was the last contestant left on the show which made for an awkward season finale.

The worst part is that James unknowingly picked a woman with a terrible understanding of racism as his future bride.

“The Bachelor: After the Final Rose” was presented in a way that was clearly intended to mediate the situation and trivialize Kirkconnell’s actions.

Since Harrison stepped down, Emmanuel Acho, a Black author and former NFL player, was brought in as a temporary host.

Kirkconnell was again given the platform to defend herself and paint herself in a positive light. The entire special was incredibly surface-level, clearly presenting the viewpoint of a person who doesn’t understand racism in the United States.

However, this was at odds with Acho as a host, because he clearly understands racism as a Black man.

During the entire episode, producers and hosts avoided the use of the word racist, swap-

ping in terms like “inappropriate” and “offensive.” This hesitancy to name Kirkconnell and Harrison’s harmful actions highlighted the ways that, much like in any institution, the show’s inclusion of Black people and people of color doesn’t fix systemic issues.

Even throughout the season, race is barely a topic of conversation between James and the women on the show — a detail that’s hard to believe, as he’s exploring the potential of a committed relationship with the women he meets.

For so long, The Bachelor has been completely White — but adding cast members who break that barrier has only placed them in situations where they are not adequately supported, and many times are forced to compromise their identities.

Shows like The Bachelor present a version of the world that is simultaneously idealized and unrealistic. When social ills make their way into these shows and the biases facing reality stars are revealed, it unravels the facade the show puts up.

Season 16 Bach-

elorette Tayshia Adams and season 19 Bachelor contestant Kaitlyn Bristowe will take over Harrison’s role for the franchise’s next season. As they shape the future of the show, I can only hope they are prepared for the possibility of more conversations about race.

◊

Liner Notes Demi Lovato’s living her truth in “Dancing With The Devil...The Art of Starting Over”

by Yonjoo Seo Content warning: This story contains mentions of drug and alcohol addiction.

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emi Lovato’s seventh studio album, “Dancing With The Devil…The Art of Starting Over,” centers around her nearly fatal drug overdose in 2018 and her path to recovery.

The 19 song collection tells a larger story of addiction, one that candidly captures the stumbles and triumphs of a difficult recovery.

Lovato has been a longtime advocate for mental health awareness and substance abuse but she is less reserved and more honest than ever before, both in her album and YouTube docuseries, “Demi Lovato: Dancing with the Devil,” which accompanied the album’s release.

The lyrics themselves hold paramount significance

in the album.

Lovato chronicles her journey through prose carefully chosen to ref lect her experiences. The specificity makes the songs accessible, and invites listeners to momentarily step into her story, sparing them the need to constantly read between the lines.

Lovato wrote the album opener, “Anyone,” just days before her overdose. In a desperate plea for

help, Lovato sings, “Anyone, please send me anyone/Lord, is there anyone?” She describes how she felt alone, and how this made her turn to alcohol — “I tried to talk to my piano/I tried to talk to my guitar/ Talked to my imagination/Confided into alcohol.” The simplicity of the piano instrumental pairs perfectly with Lovato’s powerful voice, allowing the song to focus on her dealing with her grief alone.

The theme of vulnerability continues in the title song and second track “Dancing with the Devil.” Lovato shares her initial thought process, “It’s just a little red wine, I’ll be fine,” which advances in the second verse, “But soon, that little white line is a little glass pipe/Tinfoil remedy, almost got the best of me.” Each seemingly harmless encounter led to another until she was tumbling toward addiction.

The next track, “ICU (Madison’s Lullabye),” is a heartfelt tribute dedicated to Lovato’s younger sister, who she wasn’t able to see when she woke up in the hospital with brain damage that left her legally blind. “I promise I’ll be there, don’t worry/’Cause I was blind, but now I see clearly” reflects Lovato’s dedication to being present for her sister, who felt the impact of her near-fatal overdose.

The songs about her recovery are where listeners can most hear the reflection and hints of optimism to foreshadow what is to come. In “The Art of Starting Over,” Lovato sings about having started over so many times she has mastered the process.

“Give me a pen, I’m rewriting another ending/It didn’t turn out the way that I wanted.” She prepares a new

trajectory for her story, one that involves finding restoration and clarity.

Alongside tracks directly addressing Lovato’s experience with substance abuse, the album also includes duets featuring Ariana Grande in “Met Him Last Night,” a throwback to their Nickelodeon and Disney days, and “What Other People Say,” featuring Australian singer Sam Fischer, about quite literally not caring about what other people say.

Lovato embraces all parts of her identity in the album, including her fluid sexuality in “The Kind of Lover I Am.” In the song she addresses her future partner saying, “Doesn’t matter, you’re a woman or a man/That’s the kind of lover I am . . . I’ll hold you, console you, really get to know you.”

She revealed in the album’s docuseries that she cut her hair short to break the gender norms placed on her since she was a child. This song brought another layer of Lovato’s identity to the forefront of her story.

In “California Sober,” Lovato shares her experience finding a healing process unique to herself, one that involves her drinking in moderation.

She sings, “It doesn’t have to mean the growin’ part is over/No, it ain’t black or white, it’s all of the colors,” emphasizing her story is still changing, and her experience is bound to look different than that of others.

The sheer vulnerability of Lovato’s latest album reveals her journey is far from over, and she will continue to rise out of the most unlikely circumstances. ◊

15

Which Oscar-nominated Film Should You Watch?

Designed by Meher Yeda

What excites you most about an upcoming movie?

A director

The storyline

What is your favorite film adaptation?

Pick an actor Sandra Oh

Sacha Baron Cohen

Hidden Figures

What do you like to do when you have a hard day?

Watch TV

The Hunger Games

What show are you most likely to binge watch?

Schitts Creek

Go to the gym

The Crown

What cliches do you hate in movies?

Villian doesn’t die the first time

The Man Who Sold His Skin This is nominated for best international film that follows a Syrian refugee who lets a tattooist turn his back into an art canvas in exchange for travel to Europe.

This film simultaneously pokes fun at the elitist art circles while critiquing the global refugee crisis.

The best friend has a crush on the main character

Minari

The United States Vs. Billie Holiday

Soul

In the Best Picture nominee about a Korean family trying to start a farm in Arkansas in the 1980s. This is a story of perseverance, chasing dreams and full of characters anyone can get attached to.

In following a FBI sting operation against legendary jazz singer Billie Holiday, this film depicts the racism and violence that Holiday experienced in her career. This is Andra Day’s first leading role and her performance, vocal and acting, are worthy of recognition.

In this Pixar feature, a teacher and promising jazz pianist Joe Gardner is faced with an extraordinary crisis when he dies hours before the concert that could make his career take off. The best animated film nominee, follows his journey to reconnect with his body and find his spark in life.