Tag: opinion

Tkay Maidza’s Saggitarius Dream

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CHICAGO | Despite minor wardrobe malfunctions, Tkay Maidza’s concert at Lincoln Hall on February 16 was fun and light-hearted. The Zimbabwe-born, Australian-based artist blends rap, electronic and dance-pop seamlessly. With hit collaborations with JPEGMafia and Flume, Tkay furthered her unique and genre-bending sound in her 2023 album Sweet Justice.

As the sixth stop on the “Sweet Justice North American Tour,” Tkay Maidza proudly sported a Chicago-based designer, @rockytheshop, acknowledging the rich art history that continues to thrive in the city. She credited Chicago as a “hall of fame of music,” citing Westside-based rapper Saba as one of her current favorite artists. 

Touring with friend Pia Basilio, known for being a dancing DJ, helped energize the crowd during a varying setlist. Tkay Maidza’s concert started with high energy as she immediately led with a remix of her hit “24k” and Tag Team’s 1993 hit, “Whoomp! There It Is.” A flowery mic stand marked the transition to down-tempo, reflective songs. While addressing expectations to make “cute and bubbly” music early in her career, she mentions wanting to make music that sounded like “death.” “Awake” was the first song that actualized her ambitions, and her flow was incredible all night.

Tkay Maidza ferociously performed “Kim,” loosely inspired by an adventurous cartoon character with the same name. She closed the show by saying, “You guys are my besties,” emphasizing making her parents proud, breaking generational curses and growing her life ethos. Tkay Maidza left the stage after signing a fan’s vinyl record and taking a selfie on a fan’s phone, exuding a genuine appreciation for her fans. 

Her Rico Nasty-style rage matched with a Doja Cat-like stage presence inspired me to make a playlist mirroring her setlist. I included some of my favorite songs from her and similar artists, including Amaarae, Bree Runway and Tinashe. 

Stream Sweet Justice now and channel your inner dancing diva with Tkay Maidza-inspired tunes.  

All photos by Morgan McFadden

Roger Deakins and The Assassination of Jesse James by the Coward Robert Ford

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Hats off to DePaul University for managing to consistently get a myriad of incredible
guest lectures and workshops for students. They recently had arguably the greatest living
cinematographer Sir Roger Deakins come in with his collaborator James Deakins for their
podcast/company “Team Deakins” to teach College of Digital Media students the tricks of the
trade when it comes to being a filmmaker, culminating in a sold-out screening at The Music Box
Theater with a film of his choice that her worked on along with a post screening Q&A. While
you would expect a film from The Coen Brothers (“Fargo,” “No Country for Old Men”) or maybe
Denis Villeneuve (“Prisoner,” “Blade Runner 2049”), he instead chose his one-time
collaboration with the director Andrew Dominik in the western biopic “The Assassination of
Jesse James by the Coward Robert Ford.”

Jesse James, played by Brad Pitt, is the closest thing to a real cowboy in American
history. A legendary outlaw with a mythic status surrounding him; known as the fastest gun in
the West, he naturally had a cult status surrounding him – particularly from a young man named
Robert Ford, played by Casey Affleck. After joining Jesse’s gang (which also has Robert’s
quipster older brother played by Sam Rockwell in their crew), Robert manages to slowly pull
them apart to become the next Jesse James. However, once things progressively go wrong, he
kills James out of fear and spends the rest of his days peddling the idea had done it out of
heroism.

What makes the film work are the visual language and the performances, as every actor
plays to their strengths. Brad Pitt is charismatic and domineering, Casey Affleck is meek and
deeply deceptive and Sam Rockwell is… pretty funny. They have a natural chemistry that
apparently according to Deakins had some scenes completely improvised in performance.
Speaking of, the cinematography. Scenes with either saturated yellows or icy blues,
bring this period piece to life with the help of an almost dreamlike approach to visuals. The
opening train robbery scene is hidden under layers of smog with golden yellows and velvety
reds. There is also the implementation of “Deakin Eyes,” a type of camera lens that Team
Deakins developed that mixes elements of fisheye, vignette, and light refraction. When used
with narration and insert shots, the scenes develop a dreamlike feeling and although Deakins
wanted to use it more during the production, the studio hated it so he begrudgingly stopped. It
forms a cumulative visual style that makes this one of the best looking Westerns I’ve ever seen.
Despite it being based on real events, these techniques give the film a completely foreign feel
as fi the audience is watching a dream, unfold in real time.

The only criticism of mine is the pacing. Deakins said that the first finished cut of this
two-hour and 40-minute film was a whopping four hours mentioning that most the cut material
was after Jesse James is actually killed, and boy does it feel like it. The first two hours are slow
and methodical to make the eventual betrayal hit harder, but the fallout of Ford’s actions is
played very fast and almost over relies on voiceover. The cuts feel particularly heavy when
everyone’s favorite “New Girl” Zooey Deschanel plays Ford’s future wife and is only given
maybe a minute and a half of screentime.

While the ending somewhat “jumps the shark,” the parable of Jesse James and Robert
Ford is nevertheless a gripping and entertaining film. Fingers crossed Deakins will do more
Westerns.

Asha Imuno Performs New Music from Upcoming Album for TNK Fest

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CHICAGO | A DJ setup sits upon an empty stage, all basked in red and blue lighting. Attendees trickled in as the night approached 10:30 p.m. After some waiting, the audience is finally introduced to the man of the hour: Asha Imuno.

The California native hosted a listening party earlier in the day for his debut album, “PIN AND NEEDLES,” at Classick Records. Imuno’s performance served as a secondary listening party as he performed various songs from his debut album and some of his hits.

Throughout the night, Imuno continuously spoke to the crowd in between songs — at one point, even  walking through the crowd at one point. 

Before stepping onto the stage at Sleeping Village, he stopped by iLLANOiZE Radio to speak about his new album and upcoming performance. During the interview, he describes how he can balance his artistic expression and personal experiences.

“I think a big part of it is not giving it too much thought, and trying to really capture the feeling,” Imuno said. “What’s organic tends to reflect the most reality.”

That sentiment rang true throughout his performance as he once introduced a song by asking the crowd if they had ever f—ked up before. He also poked fun at how cold the city was, quipping that he was performing in a coat. 

Imuno doesn’t shy away from the intimate setting and uses it to connect with the crowd; as the anticipation for the official release of his debut album can keep one on the edge of their seat, especially after his performance at Sleeping Village. Hopefully, it shines bright like the red and blue stage lighting.

All photos taken by Chinyere Ibeh.

Mali Velasquez Closes Out TNK Fest 2024 at Schubas

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CHICAGO | January is traditionally the slowest month in industries like restaurants and live music. Artists are touring less — as few albums are released in January — and travel becomes treacherous with snow and ice. Customers are trying to save money after big holiday purchases, not going out because they’re observing dry January, or simply, they’re cold. Chicago spent a frigid few days in subzero temperatures just days before Tomorrow Never Knows Fest — a festival dedicated to combating the “slow season” and continuing to bring quality live music to hungry fans since 2005.

Presented by Audiotree, TNK Fest is described on their website as having “proven for over a decade that music fans will brave the brutal Chicago cold for a good show.” The festival spans five days, and this year’s festival featured shows at Lincoln Hall, Schubas Tavern, Sleeping Village, and Gman Tavern. TNK has become a staple in the Chicago music scene, featuring up and coming local and touring acts that often hit it big soon after playing the fest. Notable past performers include Caroline Polachek, Snail Mail, Julien Baker, PUP, and many, many more. 

The final show of 2024’s TNK Fest featured a lineup of promising indie folk, rock and country acts at Schubas Tavern. Opening the night was Chicago native Minor Moon, the project of Sam Cantor. Cantor played accompanied by a band member on a pedal steel, and began the night with a warm, relaxed set — perfectly priming the audience for the styles of the upcoming bands.

Sluice, the folk project of North Carolina artist Justin Morris, took the stage second. The band featured additional members on bass, drums, and fiddle – which absolutely stole the show, adding a striking dimension to Sluice’s roving country inspired tunes. Similar to artists like Slaughter Beach, Dog and Christian Lee Hutson, Morris writes in a stream-of-consciousness style, weaving in and out of story specifics. His track “Fourth of July,” off of the recent release Radial Gate, feels like listening to someone try to piece together childhood memories while also trying to process their present reality. In a new unreleased song, a lyric that stood out to me was “my goal is to make it on Pitchfork” (which Sluice did, read the review of Radial Gate here.) It’s a perfect example of the trend in indie folk of hyper specific lyricism, its sincerity drawing audiences in and proving that songwriters don’t have to rely on big universal themes to be relatable. 

In a brief conversation following the set, Morris also informed me that the band utilizes three different sources to achieve the droning effect throughout the set, which emboldened the sound of the four piece band. They utilized taped keys on a synthesizer, a bass pedal, and a shruti box — an Indian instrument with bellows, similar to an accordion or harmonium — which provided an organ-like sound. Sluice’s unique blend of country influences, indie folk songwriting technique and experimental choices reminded me of Goshen College’s radio station, The Globe’s coined musical genre: “culturally progressive.”

The final performance of the night, and of the 2024 TNK Fest, was Nashville-based artist Mali Velasquez. Velasquez released her debut I’m Green in October 2023, and she is, in fact, green — this was her first time playing in Chicago. Joined by guitar, bass, and drums, Velasquez captivated the Schubas Sunday night audience with her emotionally charged indie rock.

One of my favorite finds so far as Radio DePaul’s music director, Mali Velasquez pulls at your heartstrings with delicate vocal melodies juxtaposed with muted, fuzzy guitars and instrumentals. She vocalizes the thoughts that most of us choose not to share, such as on the album’s opening track, “Bobby,” where Velasquez explores grief and loss. She asks the hard hitting questions about a break up in “Shove” and “Death Grip”; “Do we still wake up every morning at the same time?” and “Why do we act like strangers afterwhile?”

Velasquez’s contemplative, vulnerable style of songwriting and emotive vocal timbre is sure to draw in any fan of heart wrenching indie, and proves yet again why Chicago’s Tomorrow Never Knows Fest is one of the greatest opportunities to catch the next big thing before they’re making headlines.

Photos taken by Nina Bertuca.

Sen Morimoto’s Diagnosis Tour Kicks off in Chicago

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CHICAGO | On November 25, Sen Morimoto came to Thalia Hall, kicking off his Diagnosis tour alongside Neptune’s Core and Angelica Garcia. The show was a call for communal warmth and musical celebration, as Morimoto made his live debut of Diagnosis, a conceptual, nuanced, Neo-Soul project released on November 3.

Opening on the bill with Morimoto was Neptune’s Core, a ridiculously talented and harmonically rich group out of Chicago. From the first chord, the audience was immediately captivated by their collective stage presence and catchy songs. The live mix from the sound engineers at Thalia Hall was impeccable during the entire night, but Neptune’s Core sounded especially crisp. The band blended a variety of sonic influences invoking Led Zeppelin, Lana Del Ray and My Bloody Valentine. I got to speak briefly with Jackie Cywinski (Guitar/vocals) after their set and found out that the band consisted of four high schoolers — two freshmen and two seniors. This is certainly a band to watch as their sound continues to evolve. My favorite track of the night was “Fated Star,” a luscious shoe-gaze banger with plentiful harmonies and twinkling guitar. 

Following Neptune’s Core was Angelica Garcia who defined herself as. “A One Woman Robot Orchestra.” I don’t know if a better combination of words could be used to describe Angelica and her immersive soundscapes. She stood alone in front of two microphones and a loop machine. It was incredible to watch Angelica build each song from the beginning using only her voice and some pre-recorded loops, including bass that sent the whole venue’s heart through its collective chest. I hadn’t heard Angelica’s music before the show, but I was mesmerized during her entire set. While Angelica’s intense art-pop stylings were a significant transition from Neptune’s Core, she did a phenomenal job getting the audience involved and showcasing her warm personality. Look out for Angelica Garcia’s new record set to be released sometime next year.

There was a palpable shift in energy as Sen Morimoto and his band of gifted musicians took the stage. This was the first full live performance of Sen Morimoto’s new LP Diagnosis, which offers a compelling and relatable take on modern technological and artistic evolution. The record and the performance were rightfully cynical regarding the overall devaluation of pure artistic motivation — as most artists in the social media era are forced to turn their creativity into content to feed the algorithms. While the topics of climate responsibility, existential dread, and political discomfort are prevalent in the material, it is hard to ignore how much fun everyone was having both on stage and in the pit. The feeling in the crowd was infectious — although the album had only been out for about a week — audience members were singing along and deeply impacted by the material. 

Ryan Person on drums was an absolute masterclass ripping tight fills and carrying the rhythm section through each song. Sen’s vocals and saxophone playing was captivating as well, and has always been a point of interest for me going back to his work as a rapper/producer for Massachusetts art collective, Dark World. Sen Morimoto’s artistic evolution is extremely satisfying as a fan, and the Diagnosis tour’s inaugural show certainly did the new record justice. 

Thanks so much to Sen Morimoto’s record label Sooper Records for sending me out to cover the show! Check out the Diagnosis tour in a city near you. 

All photos taken by Aden Van Hollander

The Dwarves, Live at Reggies; a Commanding Presence

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CHICAGO | Stepping into a dimly lit massive room with people surrounding you from all sides, the thump of the bass from the speakers is so intense you can feel it in your chest, like a ghost with two mallets is using you as a drum. The wail from the electric guitar is absolutely shredding and deafening but it’s so good you are forced to listen. A burly man with a massive beard and a leather studded jacket pushes you up to the front and you’re staring up at the band. 

The legendary bassist from The Dwarves and Queens of the Stone Age briefly makes eye contact with you in a way that says “hey, I’m glad you’re here.” But this moment is cut short when the singer Blag thrusts a mic into your face after screaming “Don’t wanna be your teacher, don’t wanna be your preacher, don’t wanna be your keeper” and looks at you expectantly. Almost on autopilot you reply with “I WANNA BE YOUR PIMP” since you knew all these songs by heart. A guy with a denim jacket wearing a Misfits t-shirt punches your shoulder and whoops, seeming proud of you. These are your people. You are home. 

Reggies is a punk rock icon in Chicago as many legends have played there, making  November 12 no different. The venue has a killer bar setup with expensive decorations and prices that would make you wish you pregamed before showing up. The first band that played was Direct Hit, another punk rock band from our neighbor Milwaukee that’s been around since 2007. The members are all a bit on the older side, which is good. After the anal retentiveness of their sound mixing the grizzled veterans put on a stellar show after a bit of a slow start. They really hit their groove halfway through and the fans couldn’t agree more. People were in the mosh pit slamming into each other with each drum crash and guitar lick and heads were banging so much it made the room start to spin. After what felt like five minutes the band finished their openers and stepped off the stage for the main event, The Dwarves. 

I talked with some folks after the show and they had nothing but great things to say about it. Some of the people I interviewed said that their stage presence was absolutely “commanding” and the energy of the room was absolutely incredible. I won’t lie, I came away from this pretty battered and sore from being in the mosh pit and screaming the lyrics to the songs — by the end I was covered in sweat and other people’s drinks but the fans truly make the show. Halfway through the show I noticed a  woman bending over with a crowd of people surrounding her. After asking I learned that she lost one of her earrings and everyone from the crowd stopped moshing and began to look for it. These are the kind of fans that make concerts truly magical. I was moshing with this large dude wearing a red studded leather jacket and we were screaming in each other’s faces during songs and slamming into each other, but when the show was over we high-fived and hugged and complemented each other on how we had so much fun and we were cool. I didn’t know his name, but that’s the kind of people you want at a concert. 

So when you’re on the street and you see long haired kids wearing all black and Megadeth or Avenged Sevenfold shirts, remember that these are the people who go to shows and concerts like this to have a great time and share music. It’s not about hating the world or the government sucks, it’s about a common shared love for some band you care about, and the Motley Crew of followers you meet along the way.

All photos taken by Fender Tavano

“The Taste of Things” Brings People Together 

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CHICAGO | Though Tran Anh Hung’s new masterpiece “The Taste of Things” (aka, “The Pot au Feu”) will not release officially in the United States until February, I can already tell that once it does, it will be even more beloved than it already has been in its initial releases. “The Taste of Things” recently continued its premiere at The Chicago International Film Festival in October, and it displayed a beautiful tale of cuisine’s power to bring lovers, friends, family and even mentors/apprentices together. Cooking and food were the primary topics of discussion and focus of the film, as well as the sparks of connection between people — especially for the characters of Eugénie (Juliette Binoche) and Dodin (Benoît Magimel); whose actors were real-life ex lovers challenged to bring such a breathtaking romance between their characters to life. 

This was a fascinating picture not only for its themes, but also for its cinematography; as the first 20 minutes of this movie were spent showing, in-depth, how a meal was being prepared, with little to no dialogue. It truly piqued my own interest in technological advancements in the kitchen during the Belle Epoque era. I also found myself reflecting upon how lucky we are today to have gas stoves, ovens that automatically emit heat, etc; since I found myself trying to uncover how exactly ovens of that time worked and how long it might have taken to even just boil water. All of that aside, the soundtrack of this film was the simmering of the sauces and the clinks of pots and pans rather than a traditional musical score, making the sounds of the kitchen come to life as its own orchestra underscoring the tale of the two lovers, Eugénie and Dodin — though she refuses to formally marry him after they have been together for twenty years, and she is unknowingly dying. In an attempt to sway her to marry him (to which, he succeeds — and don’t worry, these are not spoilers), he cooks her personal and intricate meals every night, leading her to  eventually say yes. All the while, Eugénie mourns the wasted potential of Pauline, a young girl who already seems to excel in a kitchen setting. Once Eugénie succumbs to her illness, Dodin once again recruits Pauline to work together to improve her skills in the kitchen in order to continue Eugénie’s legacy and to eventually make pot au feu; a simple-seeming stew that actually is breathtakingly delicious and beautiful. This dish becomes rather significant throughout the film, especially in justifying the film’s simple nature, yet complex themes, relationships and conversations. 

“The Taste of Things” was poignant and innovative–it challenged the bounds of the sort of film structures we may be used to, which could make this story hard to digest at first — but I invite you to take a bite of it and see if you like the taste after all (here is a spoiler alert: I highly believe you will.)

Laugh Your D*ck Off 

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“D*cks: The Musical” is a musical comedy film created by Josh Sharp and Aaron Jackson, based on their off-Broadway musical “F*cking Identical Twins.” The film was directed by Larry Charles (“Seinfeld,” “Borat”) and released through A24, as their first movie-musical. The film stars Sharp and Jackson alongside Nathan Lane (“The Birdcage,” “The Producers”), Megan Mullaly (“Will and Grace”), Bowen Yang (“Saturday Night Live”), and Megan Thee Stallion. The music was written by Sharp, Jackson, and Karl Saint Lucy along with scoring by Karl Saint Lucy and Marius de Vries. Alongside the release of the film, a cast album was subsequently released, which is able to stand alone apart from the film and still manages to convey the satirical and completely over-the-top raunchiness of the movie musical. 

The opening song “I’ll Always Be On Top,” establishes the tone of the musical right away. The first lyric sung by Trevor Brock (Jackson) is “My c*ck is f*ckin’ massive, it always makes the ladies sore.” Listeners know they are about to be in for a hilarious, raunchy, and wild ride. “I’ll Always Be On Top” musically has the sound of a classic broadway opening number; with an uptempo beat full of big brassy instruments and a compelling drum beat. 

You know this is not going to be some kind of family friendly golden age musical despite the musical sound as main characters Trevor Brock and Craig Tiddle are established within the first minute of the opening number as sleazy cishet white men who only care aboutchicks and making money. They also like to “talk a lot about their d*cks” hence the title of the musical. “D*cks: The Musical,” lets audiences know what it is right away: it is not for those who cannot find a joke and absurdity in everything, and certainly not for those who can’t handle a whole lot of vulgarity. 

Mullaly and Lane give phenomenal performances as Evelyn and Harris, the divorced parents of

Trevor and Craig who separated them at birth in the style of “The Parent Trap.” Mullaly

has transformed herself fully, and portrays the character of Evelyn superbly through her voice alone. She really shines comedically from her first appearance in “Evelyn’s Song” to stealing the final line in “All Love is Love.” Lane delivers a wonderful performance as always in what may somehow be his most wild role yet. While his solo song “Gay Old Life” may be one of the less memorable from the album, he still delivers a brilliant comedic performance as the straight and gay father of the twins. 

“You Can’t Give Up” may be the best example of the excellent satirical lyricism and overall tone of the musical. With lyrics like “they also think that no means no but really no means yes” listeners are able to laugh at a mindset that is unfortunately true to many cishet white men who hold a lot of power. Craig and Trevor are such over the top caricatures of straight men that you can’t help but howl at their idiocy, which never lets up through the course of “D*cks: The Musical.” “You Can’t Give Up” plays like a classic musical theater inspiration song in the vein of “I Have Confidence” from “The Sound of Music,” while inspiring a comically terrible message. The complete absurdity of Craig and Trevors actions throughout the lyrics of the song is demonstrative of satire with a clear and focused point, that point being that straight white guys are absolute idiots. 

The only break from complete insanity and outrageous stupidity in the album is Megan Thee Stallion’s “Out Alpha the Alpha.” This song puts the power in a woman’s hand who really hammers in how stupid Trevor, Craig and all men like them are. The song is a fabulously catchy and  brilliant performance by Megan Thee Stallion. While the song was written new for the film and is in sharp contrast to the rest of the songs by not being satirical or ironic in any sense, the message of the song is still in alignment with the rest of the film, only in a direct sense this time. “Out Alpha the Alpha” is the song that audiences will have on repeat from the album. 

Overall, “D*cks: The Musical” is a hilarious and raunchy musical for queer audiences who simply don’t give a f*ck. It is sure to be a cult classic, like if John Waters films were made for musical theater nerds. Give it a listen if you’re ready to be left in a state of absolute shock and laughing your pants off.

Beyond Words: A Love Letter to “True Blue” by boygenius

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In late January, grammy-nominated band Boygenius (officially spelled as boygenius) announced their debut album, which was recorded four years after the band formed and released their self-titled EP. Band members Phoebe Bridgers, Lucy Dacus and Julien Baker announced the new music together with three singles: “$20,” “Emily I’m Sorry” and “True Blue.” 

During this same time, I was submitting my final college applications and deciding that I was going to move to Chicago to study comedy. 

These two events mixed with Lucy Dacus’ incredible songwriting, my obsessive attachment to female musicians and a singular line about moving to Chicago, the song “True Blue” by Boygenius quickly became one of my favorite songs in the whole world. Thus, I would like to publicly document my all consuming affection for this 4 minute and 56 second track. 

There are two main elements of this song that I think make it so good; specificity and a focus on platonic love. 

Specificity

Something I love in songwriting is telling the exact truth. I think songs are made so much more meaningful when they are specific, rather than being purposefully vague in the name of relatability. I personally find it much more impactful to hear raw personal experience and find emotion within it to relate to, than just hearing a feeling described. It’s like in elementary school when you learn narrative writing; I want to be shown, not told, how you’re feeling.

“Now you’re moving in, breaking a sweat on your upper lip / And getting pissed about humanity and the leaky faucet / You already hurt my feelings three times / In the way only you could.” This is specific to Lucy’s lived experience, but that doesn’t make it any less universal. Moving in is something that’s understood to be laborious and stressful, found to be a situation where tensions get high. That’s a widely understood truth, just look at the “PIVOT” scene in Friends; Ross yelling at Rachel and Chandler, his best friends, to find a way to make the couch fit up the stairs, is the epitome of escalating stress and anxiety over something little. So, when she goes on to talk about this person hurting her feelings we understand the emotion. We understand that it wasn’t a terrible offense but rather, it was probably some off handed comments that came up in the heat of the moment. 

As a listener, hearing the situation and putting ourselves within the scene she’s describing we are able to feel the emotion, and relate it to ourselves in a much deeper way than if she just said “Tensions were high and you said things that hurt my feelings.”

One of the main reasons this song is so special to me is the fact that she name-drops Chicago. While she could have just said “moved to the city” and in theory made the same point, the specificity makes it feel more honest. More vulnerable. I know for myself — and I assume many others — vulnerability is going to draw more people in than if you keep yourself distant from your work. I think that’s true of any art form.

Platonic Love

This is something that Lucy Dacus specifically, in both her work with boygenius and her solo discography, communicates better than any artist I’ve heard. Maybe it has some sort of link to growing up queer, or in a body that is not seen as “conventionally attractive” (two things Dacus also writes about in a way that melts my heart) that makes me more drawn to platonic devotion than romantic, but regardless it is something I value above everything else. 

The chorus: “But it feels good to be known so well / I can’t hide from you like I hide from myself / I remember who I am when I’m with you / Your love is tough, your love is tried and true blue.” This line specifically conveys such a strong connection and emotion. When I hear this I think of my best friend, and I think of my little sister. I think of sitting in comfortable silence with them, not having to worry about keeping them entertained with conversation. I think about not being afraid to gush about how much I love a Taylor Swift song, or asking them to dress up in costumes when we see our favorite artist in concert. There is a certain longevity in the connection of friendship that isn’t present in romance. Even if I’m in Chicago and they are back home, or we have a blowout fight and don’t speak for weeks, they are always there. They know you so deeply that no matter how much time or distance divides you, they are gonna see through any act or fib you try to pull on them. Their love is tried. Their love is true. It’s TRUE BLUE. 

When this song came out, I listened to it only hoping my life would be exactly like it. I’d be living in Chicago, happily discovering myself without losing the connections with the people I hold near and dear. Now that I’m here, I listen to it when I am feeling down, or homesick, or questioning why I went so far away from home. I use it to remind myself I have to “spin out” in order to get to the “calling from the train water freezing in my eyes.” Despite the fact that I am overly dramatic, obsessed with sountracking my life, and the fact that I’ve only been here 10 weeks, I feel pretty confident that I was right to take this song as a sign, and am excited to grow into the truest, bluest version of myself. 

Thank you “True Blue.” I love you. 

The Holdovers is a Christmas Classic in the Making.

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With the holiday season in full swing, the question in my family is always, “What Christmas movie are we gonna watch?” after we finish eating. It mostly revolves around the films that my parents grew up with that carry a large amount of nostalgia. While “The Holdovers” isn’t a classic yet-it definitely tries to be, and I think it will become one in the future. 

In the stuffy New England private school of Barton, the boys are preparing to go home to spend vacation back with their wealthy families. However, for one reason or another, some students don’t go home, the holdovers. Every year, one faculty member must spend the break at the school to supervise, and this year, it’s the callous history teacher Paul Hunham (Paul Giamatti). Amongst the numerous delinquents, the one that ends up sticking around the entire time is the irritating but quietly clever Angus Tully (Dominic Sessa). Meanwhile, the entire time the head chef Mary Lamb (Da’Vine Joy Randolph) stays while grieving the death of her recently deceased son. 

The entire film goes for a 1970s film aesthetic, shown through its time setting, soundtrack, editing style, production design and shot composition. Normally this approach of nostalgia goggle filmmaking comes off as lazy to me, but I don’t know, seeing it in a 35mm projection made me feel nice and cozy like I’m back home on my couch after Thanksgiving. What made this feeling even stronger is how funny it was. The great bits of physical comedy and performances are incredibly entertaining, but what I and the rest of the audience found the funniest was the nearly Shakespearian approach to verbal insults (never in my life did I think that Paul Giamatti would ever call someone “Penis Cancer.”)

Below the fun for the whole family aspect lies a dramatic story about the three loneliest people on earth. What makes them so interesting is how all their sadness is different but yet they still manage to relate to each other.

Hunham is the definition of “that one hard ass teacher you had in high school”; constantly quoting every philosopher and historian to prove his moral superiority over the kids he considers having been born with a silver spoon stuck up their butt. While it’s more of a caricature of a teacher than anything, I can’t deny how entertaining he is. Giamatti has mastered playing little weirdos with receding hairlines, so while he isn’t necessarily breaking new ground, he is nevertheless a great lead actor for a film that knows how to use him. 

Although this is Sessa’s debut film, he has proven his acting skills are wide. While resting at a quick witted and sarcastic tone, he can easily express anger, passion, empathy and tenderness if the scene demands it. We slowly start to find out how tumultuous his at home life is with the complicated relationship with his parents and it allows his juxtaposed relationship to Hunham develop into a mutual appreciation. 

What anchors the film when it comes to characters is Mary Lamb, who has easily gone through the most pain of the three. Her fiancé died shortly after she became pregnant, making her have to raise her son on her own. To make sure he would have a good education, she became the head of Barton’s dining service allowing him to go. Despite being so smart, she didn’t have the money to put him through college, causing him to enlist and was sent to Vietnam, dying a year later when the film is set. Randolph, who seems to have a half-smoked cigarette locked between her fingers for the majority of the film, provides a beautiful balance of maternal compassion and sarcastic sass, which Giamatti and Sessa get to bounce off of in both the comedic and dramatic moments. 

Nowadays, you don’t really see anyone put in the effort to make a good Christmas movie, but writer/director Alexander Payne does what the endless Hallmark movies can’t. It’s a film that will make you laugh hysterically while also kicking you in the gut, balancing these tones effectively. My aunt has already been asking about what movie we are going to see after Thanksgiving, and while I kind of want to go see “Napoleon” with my dad, I would happily go see “The Holdovers” again.