Revive | Artistry Magazine

Artwork by Bianca Windemuth

Letters from the Masthead

REVIVE is a comeback of ingenuity, community love, and artistry. As we come together to restore our history and presence as Northeastern’s premium arts and culture magazine, Fall 2024 embodies an unstoppable moment for our club. In this issue, we’ve assembled a beautiful curation of pieces covering emerging themes across our world’s cultural landscape, from transformative street art around Boston to the bewitching jazz tunes of Laufey Lín Bing to the trending thrift movement challenging the environmental crisis, and much more. Artistry’s Select, a hand-picked series dedicated to spotlighting brilliant, innovative artists living and breathing among us on our campus, features the stories of a textile artist, a ballerina, and a writer/illustrator. Each of these pieces wields the power of movement, verve, and resurrection in their own unique way. REVIVE is the hour for Artistry.

This semester’s theme, REVIVE, has been a joy to bring to life. I’m endlessly grateful to our talented writers, whose energy shines through in each article, and to our Section Editors—Brynna, Nina, Mandy, and Deborah— who worked so hard to shape them. A special thanks to Valentina, our Managing Editor, whose support has been my literal anchor throughout this process.

I’m so proud of what we’ve created and can’t wait for the rest of the community to experience this issue. Enjoy!

Hailey Mahon Editor-In-Chief

Tula Singer President

Hello! I’d like to express heartfelt gratitude to everyone that worked so hard this past semester to bring this club closer together and to produce such an exceptional issue! Artistry has really embodied REVIVE this semester in the many ways we drew inspiration from our roots to breathe new life into the magazine. Thank you a million to Sasha, Anjana, Chloe, and Sanjana for making an incredible (and fun) team to work with in Comms, and I am so grateful for all of your help this semester! I hope everyone reading can take away a bit of inspiration from this issue! :)

Shrita Patel Director of Communications

This semester, each team within our club exemplified the theme REVIVE, with creativity and collaboration. With so many working parts, I am so proud of the results! I would like to highlight the hard work of my talented design team, without which we could not have this magazine. They adapted to new challenges and collaborated to bring a true sense of REVIVE to the magazine. I would also like to thank my Head of Design, Nicholas, whose reliability allowed us to grow as a team. While reading this issue, I hope you find the same sense of inspiration and rejuvenation that I feel from working with this team!

Annabelle Sun Creative Director

Artwork by Nicholas Zamboldi

How the Boston Museum of Fine Arts displays Impressionist artists

Written by Rufus Joos

Designed by Catherine Gore

How we perceive art is also how we experience art, and unfortunately, the Boston Museum of Fine Arts’ current display of Impressionist works is underwhelming to the general public.

Most people have heard of artists such as Van Gogh or Monet, but fewer have heard of Gaugin or Renoir despite their equal historical importance. In the Boston Museum of Fine Arts, they all share the same home in a fairly small room in the European wing of the museum. Still, there is one room with typical and some notso-typical Monet’s. There is nothing to critique in the “Monet Room.” In fact, it should earn praise. The typical Lilypad and Haystack paintings are neatly put together, and the more obscure paintings are spread throughout the room for the observer to glide by and look at gently.

When entering the French impressionist room, the first thing that catches one’s eye is the huge and world-famous Gaugin named “Where Do We Come From?.”

A truly stunning work of art, yet nobody takes a picture of it or even pays attention to it. The majority of the room is in the corner, staring at Van Gogh’s portrait of the Postman Joseph Roulin. This, too, is a magnificent work of art, but why are the people not just as astonished by the other artists in that room?

Obviously, Van Gogh withstands much more honor as a well known artist, but does this make him better?

No, it most certainly does not. This discrepancy in attention underscores the broader issue: the way the Boston Museum of Fine Arts presents its Impressionist collection does little to elevate the lesserknown but equally important figures of the movement.

A good way to rate a museum is to rate them like boxers. Some knock you out, some swing and miss, some land one good punch for every ten swings, and some are lightweights. One wants one’s eyes and senses to be battered by beauty.

For example, the Louvre – while full of the greatest knockouts in the world – has far too much on the walls. The Boston Museum of Fine Arts could be a brutal pummeler. The museum has the potential to revive the recognition of all these artists, yet it would rather show a hierarchy that leaves brilliant minds like Gauguin, Renoir, and Cezanne

overshadowed by the more universally recognized Monet and Van Gogh.

To truly revive the Impressionist era, the museum must brush up on its curatorial approach. Instead of trapping these artists in a single cramped space, the museum could dedicate individual rooms or thematic sections to the artists. Doing so would allow visitors to appreciate the contributions each artist made to the movement, fostering a deeper understanding of how these painters worked in parallel.

The Boston Museum of Fine Arts has the resources and opportunity to offer a more balanced representation of Impressionism’s key artists, reviving the movement in its entirety—not just in fragments. By reimagining its approach, the museum could truly bring Impressionism back to life for all the museum’s visitors.

Photos by Damien Dipinto

Engaging with Tradition

to Create the Future

Written by Meg Cassidy

Designed by Bianca Windemuth

“

Isee the head!”

You think of a baby, and being born. You whip your head around the gallery, someone else must have heard that too.

You find your legs somehow working for themselves, backtracking towards the voice, blood red walls surrounding all sides of you. You get bumped into by people not thinking enough, (or thinking too much?) abruptly stepping back from the walls to get a better look.

Passing the pieces so fast, they look unreal—something imaginary; something put there to mess with you.

You turn a corner and come inches away from colliding with a young couple with beautiful, brightly dyed hair. Motionless in front of some piece, their heads together; their silence tangible. You feel that if you were to reach out and touch them, they’d fade away, revealing themselves as some kind of hologram.

Slave Market with the Disappearing Bust of Voltaire, you read from the placard. You had sped past this piece on your walkthrough; couldn’t even remember it

being there before. You position yourself behind the holograms, observing what you can from above their heads. It’s a busy piece, and at first, you can’t make out what anything is supposed to be.

Minutes pass, and pass. The couple is a solid thing; unmovable. And something funny happens.

Watching them watch this painting, their love slowly becomes your love.

And then, you see it: the head. The head!

This head—the easily missable, small and polite thing in the corner—hidden in plain sight. It was right in front of you the whole time, it’s laughable! Pay attention to the negative space of the piece, and all it becomes obvious. Now that you can see it, it becomes the most important thing. The only thing.

From his tiniest, more traditional still-lives to his colossal altarpiece, Ecumenical Council, every piece of Dali’s work throughout this exhibition is just like this one. You look and keep looking and then,

just when you think the looking is through, you look some more. Slowly, the painting reveals itself to you, like an old friend. And it’s not a struggle—this looking—it’s a familiarization, as if the piece is saying something you’ve always known to be true.

Salvador Dali (1904-1989) was a Spanish painter dedicated to the “elasticity of time and the subjectivity of memory;” in other words, the pursuit of Surrealism. His work is filled with bodies, with hazy clouds, with settings that feel immediately familiar but bizarre. He plays with expectations, hiding concepts within concepts within concepts, rewarding the people who truly look.

Dali thought the world should endure “more fantasy,” using art to break free of the limitations we set for ourselves: time, place, reality. He was fascinated with the boundaries we live within; both socially and institutionally as well as the inherent limitation of mortality. “I’ve been living with this death ever since I became aware I was breathing,” Dali remarked. “… this continual, stubborn, savage, terrible tension is the whole story of my quest.” This “death” is precisely what drove him to his outlandish, mythical—at times hilarious—imagery. His work, no matter how small, takes you to places you never

could’ve imagined. We are invited to explore, to get lost; a joy we are so rarely afforded. These pieces are the products of someone who understands this joy as well as how fleeting it is.

Looking at these unusual, eclectic pieces, you can see a glimpse of our real world beneath.

And paying attention to the gallery itself—the bold wall colors, the winding twists and turns, the gaps acting as portals to other rooms—it creates a completely surreal, completely unique environment to experience and absorb Dali’s surreal imagery.

The hand of the curators is not only present here, but is key to understanding Dali as an artist in a sea of artists. Putting Dali’s work side by side with his own inspirations—Diego Velázquez, El Greco, Johannes Vermeer—creates a portrait of an artist deeply invested in the world around him. Having received a traditional

art education (albeit minimal), Dali was equipped with the fundamentals which he utilized to unveil his own style. Through the studying of others’ voices, he found his own. This is an artist steeped in and indebted to tradition, who sought to use the traditional to create the untraditional; the never-before seen.

In this way, we come to understand Surrealism as an active pursuit of some other life, shaping a new future for yourself; one as limitless as your imagination.

The hallway structure of the exhibit pushes you in one direction, discouraging any direction of exploration besides forward. You find yourself wondering if the curators considered this, that in their efforts to introduce the surreal, in portraying an artist who defied limitation and

boundaries, they put walls up everywhere. Finding yourself confined to twodimensional travel, you find yourself asking Where am I going? And how do I want to get there? (questions Dali would probably be proud of you for asking).

You decide to do what Dali himself might’ve done and explore forwards, backwards, (upside down?) and forwards again, creating freedom for yourself where there was none. The paintings looking just as surreal as when you entered, you decide to lean into the confusion; finding yourself happy to be lost.

Exhibition photos courtesy of Paige Lieberman.

(Above) Old Age, Adolescence, Infancy (The Three Ages), Salvador Dalí. Oil on canvas, 1940. Courtesy of the Museum of Fine Arts, Boston.

(Left) Slave Market with the Disappearing Bust of Voltaire, Salvador Dalí. Oil on canvas, 1940. Courtesy of SpanishArt.us.

BEYOND THE

“Walls That Speak: the Evolution of Boston’s Urban Art Scene”

Written By Sierra Desai and Eli Erlich

Designed by Kenneth Grigoletto

Upon first laying eyes on Boston’s streets, visitors cannot miss the massive and vibrant artwork that covers buildings and walls around the city. However, this laborious form of artistic expression was for a long time not welcomed, perhaps due to the city being known as “the nation’s birthplace” with a strong linkage to its traditional look.

The City of Boston has only recently begun to shift its stance on public art, launching the Transformative Public Art Program to fund commissioned projects. This initiative provides muralists with a platform to showcase their work, which often spans themes of racial pride, love, and community celebration, fostering unity among Boston’s diverse neighborhoods.

Prominent muralist Silvia Lopez Chavez, known for her mural “JOY” at Ruggles station, shared her perspective, “I think Boston is becoming a lot more understanding and open to the ideas of creating street art,” she said, “People are starting to recognize its value… It lifts neighborhoods and brings international attention to beautiful street art. It is exposing local artists to national and international artists.”

With increased public acceptance of street art, muralists and activists around the city have united to bring their efforts to the public’s attention. Street art collectives such as Street Theory have curated new murals in Central Square, The South End, and the MFA. Their public art initiative, “Murals for the Movement,” dedicates itself to the amplification of BIPOC street artists in Boston and New York by featuring underrepresented voices.

After the Big Dig, the infrastructure project that tackled the issue of traffic in Boston in the late 20th century, public spaces and communities were completely transformed, emphasizing previously existing racial and socioeconomic disparities. Residents and businesses of select communities were displaced from their homes to make room for the new roads, raising concerns about

and open to the ideas of creating street art. “People are starting to recognize its value… It lifts neighborhoods and brings international attention to beautiful street art. It is exposing local artists to national and international artists.”

CANVAS

art form still faces much stigma, leading to works getting erased and painted over.

The street art we see today filling up the walls of ten-story buildings could not exist without graffiti opening the doors to a colorful cityscape. Many street artists even start their careers doing graffiti art. As Chavez explained, “Everyone painting on the streets, for the most part, knows

Photos by Devyn Rudnick

by muralists. “As a female artist of color working in Boston on the street level, you can imagine the additional challenges that could present,” said Chaves. “Early on as soon as I started working I realized how important it is not to be alone, to always have someone with me” Chavez continued, “Boston, in general, is [still divided] in many ways about art in public places, some people feel that this public space belongs

“Everyone painting on the streets, for the most part, knows each other, and I think it’s a beautiful community… graffiti has opened the doors and paved the way for a lot of public art to happen on the street level and it’s a voice that needs to be heard. It’s been a learning curve, but I think it’s beautiful that we can support each other in a lot of ways.”

to them, and sure, I mean public space belongs to everybody, but I do face a lot of challenges sometimes from people who are entitled and feel they have a say in what they feel I should be painting or not painting.”

Despite these challenges, Boston is turning a corner in its embrace of public art. Day by day, the city’s streets are becoming increasingly vibrant, as more people recognize the importance of street art in celebrating culture, shedding light on overlooked topics, and simply adding color to bland city blocks. Whether it’s the graffiti that covers the underbelly of Boston or the commissioned murals that brighten its facades, public art holds profound significance for the community. As the city continues to support public art initiatives, residents can look forward to discovering new artworks in their neighborhoods.

Written by Amandine Alexander

Designed by Bianca Windemuth

Ileaped across the screen to the powerful, pulsing beat of “Playground” by Bea Miller.

Its presence was immediately so large that the Netflix Top 1 banner felt superfluous tacked onto its header. It didn’t matter that I had no idea what the show was about — I was sold instantly.

At its most basic level, Arcane is a show that expands on the League of Legends video game universe, with a central focus on siblings (and League champions) Jinx and Vi. Upon first viewing, though, it becomes apparent that the show goes much deeper into its world-building than the premise suggests. Each conflict is interwoven into the underlying sociopolitical themes of the show; for Arcane’s writers, there is no such thing as an isolated plot point.

I could talk about the expansiveness, depth, and sheer quality of Arcane’s writing for twenty pages and not run out of material. I could go on about Arcane as a love letter to the animation industry — where in an environment fraught with failing studios and triggerhappy executives, Arcane stands proudly as a bastion of success. With its 100 percent Rotten Tomatoes rating and four Emmy awards, Arcane proves that mature animation has both artistic and monetary value.

From what we’ve seen, the second season is shaping up to punch its way free of the immense shadow of its predecessor. Literally — there’s a whole teaser of an

arc where Vi becomes an underground pit fighter, throwing her bloodied fist into the air to the wild cheers of the crowd.

Christian Linke, one of the co-creators of the show, said to Tudum about season two:

“I think a lot of characters are the goody-two-shoes of Season One, trying to avoid the open conflict between the two cities.

And then, at the end of Season One, it’s no longer possible to avoid that confrontation. And so, Season Two really explores the dark sides of the characters.”

The quality of the first season inclines me to trust Linke’s words here, vague as they are. In my opinion, the writers of Arcane have never fallen into the issues that many fast-paced shows face as they speed through character development: the rationale behind any individual’s decisions is always transparent, nonsensical as they may seem to be. And I am so

excited to see how Fortiche (the French animation studio responsible for the visuals of Arcane) has refined its techniques in season two. From the trailers, it’s clear that they’ve elevated their visuals to a point beyond what I thought was possible in TV animation, even beyond each wallpaperworthy frame of season one.

I know nothing about League of Legends, nor do I care to. But I love animation, and I love screenwriting, and I love Arcane for what it is on its own. This show doesn’t feel like an adaptation — it holds its own against the works of legacy animation studios like Disney and Pixar, particularly when their creative pipelines are being choked by bureaucracy.

Arcane stands alone by design: Riot Games, the studio behind League of Legends, gave the show an identity beyond its source material. In other words, Arcane was granted a heart of its own, which any viewer of the show can appreciate. At the time of this article’s creation, Arcane’s final season has yet to be released. But by the time this article is published, all three acts of season two will have been out for several weeks. I can only hope its conclusion turns out to be a knockout success.

Arcane promotional material courtesy of Netflix and Arcane’s social media.

Written by Nicholas Zamboldi

Designed by Olivia Champagne

The role of museums in Boston’s cultural landscape is transforming.

When the Museum of Fine Arts (MFA) and Isabella Stewart Gardner Museum were built in the early 20th century, museums were considered formal spaces solely intended to display great works of art.

Over 100 years later, these institutions, and new ones like the Institute of Contemporary Art (ICA), have become increasingly important as cultural and artistic hubs for the Boston area. Modern museum-goers can browse curated shops, eat at a cafe or restaurant, attend a concert, make their own art, or even cast their ballot in addition to admiring art.

New events have also allowed visitors to experience our museums from new perspectives.

Some of the most innovative new programs have been evening events within museums. One of these events is at the MFA, which hosts its Late Nites event on select Fridays throughout the year. The museum, which typically demands quiet contemplation, is transformed by adding concert venues, food halls, pop-up stores, and artist studios, giving visitors a chance to experience the MFA’s galleries in a new way.

Many museums are also introducing artmaking to the museum experience.

At the Isabella Stewart Gardner Museum, a small stand offering pencils and sketching paper sits in a corner off the main atrium. The stand invites visitors to interact with the museum and its art in a new, deeper way.

Typically, looking at artwork can be a static experience, but by providing materials to create your own art, museums are taking advantage of their ability to inspire people’s creativity.

The ICA offers a similar experience. A free community room near the main lobby supplies a rotating selection of artistic prompts and art supplies. It’s common to see visitors of all ages taking advantage of this space, which offers a chance to rest after walking through the galleries.

These programs represent another way Boston’s museums are expanding their roles– instead of existing solely as a receptacle for art, they now act as spaces for inspiration and creation.

Boston’s museums have also introduced numerous programs to expand their educational reach. Most museums in the city are free for college students, like the MFA, ICA, and Isabella Stewart Gardner Museum. All three are free for Northeastern students– just show your student ID at the admissions desk.

Additionally, a new initiative led by Mayor Michelle Wu, BPS Sundays, has given Boston Public School students free admission every Sunday. These programs show that museums are increasingly seen as a public amenity that should be available to all citizens.

Nevertheless, more work needs to be done to ensure these institutions are accessible to all Bostonians. Even though there are many programs available for free entry, regular admission at the Isabella Stewart Gardner Museum runs at $22 per person, and at the MFA, $27. For anyone who can’t plan their schedule around admission-free events, visiting Boston’s museums can be prohibitively expensive, especially when bringing a family.

Comparing Boston to London, a city famous for its world-class museums, it is clear that Boston could be doing much more to make its museums accessible to all. Every national museum in London has been free to all visitors since 2001, which has given many more people access to the art inside. While this program undeniably has positive effects for tourists, its most important impacts have been on surrounding local communities, who are now able to visit the museums as frequently as they wish.

Similarly to London, Boston’s museums are working to establish themselves as cultural hubs within their city. They have been rapidly expanding their role by creating new events and programs that go beyond their traditional role of holding artwork.

By hosting events like Late Nites and providing new opportunities for artmaking, spaces like the MFA and Isabella Stewart Gardner Museum are expanding their reach to more Bostonians and bringing more people into the historically exclusive art world.

The ongoing transformation of Boston’s museums has thus far been a hugely successful experiment in creating artcentered third spaces with amenities that all visitors can enjoy. As these programs continue expanding, we should work to ensure that all Bostonians can enjoy these new programs and the benefits that come with them.

Additional photos by Emily Boyle

As one of Pixar’s most famous directors, John Lasseter, once said, “The art challenges the technology, and the technology inspires the art.” The fusion between technology and art has transformed the way we create, experience, and interpret visual expression.

From digital painting to virtual reality installations, artists harness cutting-edge tools to push the boundaries of creativity.

Similarly, technology takes inspiration from artistic forms and practices to develop new theories and innovations.

Similarly, technology takes inspiration from artistic forms and practices to develop new theories and innovations.

This blend of technological advances and artistry not only reshapes traditional mediums but fosters new forms of interactive and immersive experiences as

well. Today, technology enables artists to reach global audiences, breaking down geographical barriers through digital platforms and promoting collaboration on a much broader scale.

Contemporary artists Ai Weiwei and Olafur Eliassons worked with web developers to create Moon, a digital space that had amassed over 80,000 entries, which grew from a blank white canvas to hundreds of black and white drawings covering the surface of a virtual sphere. While Ai’s artistic style reflects cultural phenomena and Eliasson’s focuses on depicting poetic ideas, both shared a common goal of wanting to create a space for free expression.

Two of the web developers working on Moon explained how they made Ai and

REWORKED

The Synergy Between Art and Technology

Written By: Kimberly Kanchen

Designed by: Amanda Smith

Photos by: Ava Batliwalla

Eliasson’s idea come to life by creating a website where people can log in and create a “mark,” a simple black-and-white drawing that gets posted to the sphere and shared with other visitors. Users can also go and examine other contributions made, making the virtual space both an area for collaborating and a virtual gallery. This blurs the lines between artist and viewer, emphasizing the participatory nature of modern digital art.

Whether through coding, data visualization, or augmented reality, artists are now able to merge the virtual with the physical,

...it suggests new ways to solve complex engineering problems by drawing inspiration from nature, culture, and human creativity.

creating multisensory experiences that challenge conventional notions of art.

Similarly, art offers a new perspective on reimagining form and function, playing a pivotal role in driving technological innovation. For one, it suggests new ways to solve complex engineering problems by drawing inspiration from nature, culture, and human creativity.

Biomimetic art, for example, has inspired significant technological advances, as seen in the development of robotic grippers modeled on kirigami, an ancient Japanese art form that involves cutting and folding paper. Utilized by researchers at Boston University, mechanical engineers designed soft robotic grippers using kirigami techniques by cutting sheets of plastic and bending them to create specific shapes. The concept comes from observing how kirigami transforms a flat sheet of material into three-dimensional structures through strategic cuts and bends, offering insights into creating flexible and adaptable tools for modern robotics. These biomimetic grippers provide an important example

of how art can influence technological innovation as it allows engineers to create robotic grippers that are so small that they can pick up grains of sand as well as larger robotic grippers that can pick up a water bottle.

Kirigami’s elegant yet simple technique of manipulating materials has led to the development of technology capable of operating with remarkable precision and accuracy, comparable to the refined, adaptive movements that mimic the dexterity found in nature. This ability is applicable in many fields like medical robotics, where delicate handling is required, or in the industrial sector, where soft robotics can reduce damage to sensitive products.

By thinking beyond conventional designs, researchers can develop more efficient, versatile, and sustainable technologies. These collaborations between tech and creativity not only redefine artistic expression but also invite us to reimagine the future of both fields.

Artistry’s Select

Written by: Hailey Mahon

Designed by: Annabelle Sun

Quinn Pasmantier

Quinn Pasmantier, a third-year student majoring in speechlanguage pathology and audiology, is a digital artist and poet whose work radiates with vibrant colors, fantastical elements, and deeply personal meaning. Using Ibis Paint, a free app she stumbled upon in high school, Quinn creates art that transforms everyday experiences into magical narratives. “It may not be as fancy as Procreate, but you can still make pretty good art with it for free,” she says.

“I imagined all the feelings and memories my friends and I had there as the form of the monster in the artwork.”

Quinn’s artistic journey began in high school but became more serious in college, where she found solace and purpose in her craft. “I started doing art for clubs like Spectrum and for myself as a therapeutic activity,” she explains. Her inspiration often stems from personal experiences. For instance, her piece What Remains depicts a haunting yet nostalgic vision of a recently closed mall in her hometown. “I imagined all the feelings and memories my friends and I had there as the form of the monster in the artwork.” Her conceptual work often ventures into the abstract. Not a Place of Honor takes cues from Michael Brill’s depiction of nuclear reactor sites in the distant future. “It’s inspired by his piece Spike Fields, which showed a barren wasteland with intimidating stone spikes. I added my twist—poems I never finished are inscribed on the spikes, imagining a place where all failed ideas go, a sort of back-of-your-mind wasteland.”

The theme of Revive is deeply intertwined with her art. Her piece All My Dreams Are Memories is a heartfelt nod to her high school friends, represented by an anklet she used to wear. “I wanted to keep my friends close to me even though they’re all across the country now. This piece revives those memories, preserving bits and pieces of the people I hold dear.” Another work, Dismantling Ozymandius, envisions robots rejuvenating humanity after an apocalypse—a hopeful reimagining of life and culture.

“It’s

all deeply personal,” she says. “Even when the concept isn’t about me, you’ll always find pieces of me in there.”

Quinn’s art thrives on vivid colors and intricate details. “I love my colors, even if rainbows are sometimes seen as childish. Just because it’s bright doesn’t mean it’s unserious.” She adds personal touches, like hiding her name in her pieces, and hopes her art inspires viewers to look more deeply. “Art is transformative. If people spend time exploring my work, I hope they carry that attention to other art too.”

For Quinn, art is inseparable from life. “It’s all deeply personal,” she says. “Even when the concept isn’t about me, you’ll always find pieces of me in there.” Her work embodies the power of art to revive, rejuvenate, and reimagine the world around us.

A Psychological Analysis of Boston’s Historical Theaters A Psychological Analysis of Boston’s Historical Theaters

WRITTEN BY HAILEY MAHON DESIGNED & ILLUSTRATED BY EMMA FANG

In an era where streaming services dominate entertainment, the experience of going to the movies has become a tradition of the past. As technology advances, the childhood feeling of magic filling the air when gazing up at a larger-thanlife screen has all but disappeared.

This has left behind the ghost of a time when families would debut their finest clothes and watch a film together in a place of wonder and mystery. Yet, in the heart of Boston, the historic theaters— like the Coolidge Corner Theatre and the Brattle—remain as reminders of that lost grandeur, offering an elevated cinematic experience that transcends a mere trip to the movies.

In these grand spaces, film is not just a product of Hollywood, but an art form meant to be savored and remembered.

The unique charm of these theaters lies in their ability to tap into the psyche of the viewer, transforming the act of watching a movie into something more visceral.

Time-traveling, although currently impossible, seems less so after walking into one of Boston’s historic theaters. The architecture, whether it be the intricate molding, the velvet curtains, or the soaring balconies, immediately evokes a sense of reverence and nostalgia.

The Coolidge Corner Theatre, for instance, with its Art Deco style and atmospheric lighting, transports audiences back to an era when theaters were cultural landmarks, a hub for social engagement and artistic expression. In contrast to the modern multiplexes with their stark, utilitarian designs, these historic theaters cultivate an ambiance that draws you to the edge of your seat before the movie even begins. The psychological impact of this environment can not be overstated.

When we step into a historic theater, we are not just stepping into a physical space, but into a place steeped in history and memory.

To think of the sheer number of people who have set foot into these theaters year after year is equally incredible and eerie. The walls have absorbed the laughter, sobs, gasps, and applause of audiences over decades. The weight of this history connects us to a collective cinematic experience that feels sacred and superior. Watching a film in such a grandeur environment feels like we are witnessing something truly significant.

These historic theaters also make us more conscious of our role as audience members. In the intimate confines

of venues like the Brattle Theatre in Cambridge, where the sightlines and acoustics have been perfected over time, there is no escaping the film’s grip. The distractions that plague modern theaters—smartphones, an endless sea of chatter, seat-kicking kids—all lie dormant here.

The layout of these theaters encourages a more active, engaged form of watching. We become more attuned to the subtle cues of the film: the flicker of light on the screen, the score that swells in the background, and the delicate interplay of shadows in a black-and-white classic. It is a sensory experience that pulls us deeper into the story, making the act of watching a film feel more immersive and meaningful.

For many, the act of going to the movies has become obsolete, as it is far easier, and often cheaper, to relax on the couch and stream a film instead. Streaming platforms offer this convenience, yes, but they strip away the community element of film-watching.

In Boston’s historic theaters, there is a palpable sense of shared experience, even if we do not speak to those sitting beside us. The collective gasp during a

suspenseful scene, the shared laughter during a comedy, the hush that falls over the room during an emotional moment— all of these are magnified in a setting where the communal aspect of filmwatching is at the forefront.

In a world that often feels increasingly disconnected, these theaters remind us of the magic of shared experiences, the joy of being fully present in a moment.

The Brattle Theater, with its intimate auditorium and creaky staircases, and the Coolidge Theatre, with its enchanting façade, do more than show films—they transport us. They remind us of the power of cinema as an art form, and of the beauty of watching a movie in a space that feels like hallowed ground.

The next time you crave the magic of the movies, consider venturing to one of Boston’s historic theaters. In these grand spaces, cinema becomes an experience, not a product—a reminder that the magic of film is not lost, but waiting to be revived.

The Coolidge Theatre in Brookline, Boston.

Photo by Ava Batliwalla

BABY REINDEER: A Comedian of Errors BABY REINDEER: A Comedian of Errors BABY REINDEER: A Comedian of Errors

WRITTEN BY SANJANA PRAKASH

DESIGNED BY JACKSON GOODMAN

“This is a true story,” is the haunting opener of Richard Gadd’s autobiographical miniseries Baby Reindeer.

Gadd does not provide the comfort of easily dismissable phrases like “based on a true story” or “inspired by real events” that so often allow us to leave a show with a firm belief in its extreme dramatization. Instead, the viewer must sit with the ongoing mortification that this is real, and this is happening, and it neither cannot nor could not be stopped — no matter how much you think you want it to.

Baby Reindeer recounts the downward spiral of a Scottish bartender’s life after a chance encounter with a convicted stalker who soon turns her obsessive affections toward him. This adaptation of Gadd’s original oneman show is one you are unable to turn away from, even in its most horrifying, heartpounding moments, because it feels so close to reality.

The narration aids in this aspect, detailing every thought and visceral feeling in technicolor dialogue retrospect — painfully similar to how we revisit many of our memories in our mind.

Comedian protagonist Donny Dunn’s account demands the listener to hear and feel and look. This dangerous craving for perception and understanding is a concept this series delves into in the most painful of ways — because not only do we want to be seen, we want to be seen correctly.

Gadd does not provide the comfort of easily dismissable phrases like “based on a true story” or “inspired by real events” that so often allow us to leave a show with a firm belief in its extreme dramatization.

This interplay of need and shame is the basis of almost every pivotal character’s motivation in Baby Reindeer, but especially that of Dunn’s. Donny Dunn, played by Richard Gadd, desperately wants to be noticed, right to his very core, but what happens when you hate the truth of yourself?

A depraved web of lies is elaborately constructed with every one of Dunn’s social relationships. It starts innocently: Dunn plays the role of the rugged, heteronormative man behind the bar table or the sexually crude boyfriend comic on stage. However, he devolves into performing as simply a kind soul who gives into the attention of a visibly intense, infatuated stalker.

Is Martha Scott, the convicted stalker in need of comfort who very obviously lies about a high-profile lifestyle, more in the wrong than Donny Dunn, a failing, unabashedly manipulative comedian who invents a whole persona to date someone he is ashamed to be in love with? Who is in the wrong here?

This is not a true crime story. There is no tragic backstory for the oft-pitied stalker. There will be no dark, sexy, charged moments of mental Stockholm syndrome. No court case that neatly wraps a whole life or death in a bow. There will be moments of human weakness that allow a stalker and abuser to enter a man’s life. There will be an unshakable fear that the ongoing trauma that plagues Dunn’s existence will prevail, a dread that Gadd excels at presenting.

There were a handful of moments during my viewing where I was struck with the feeling that there must be an out for Dunn — a sudden stroke-of-genius standing ovation speech, the dramatic entrance of a forgiving lover, an out-of-nowhere benevolent savior, something, anything. This can be credited in part to the masterful framing of Baby Reindeer that is both startlingly intimate and raw yet spacious enough to allow for a theatrical change of pace. Consequently, we are bound to watch a story that we realize has no happy ending or ending at all, despite what the initial setup leads us to believe.

The non-linear narrative of this mini-series is the perfect format to exhibit the domino effects of life that can perpetuate a vicious cycle of abuse.

Baby Reindeer begins and “ends” the same way, with a role reversal that horrifies the audience into understanding that Donny Dunn was not fixed by all of the little wins that should have aided in resolving his trauma. Gadd very carefully unpacks the life of a man–himself–who is not easily prone to learning from his mistakes, just like every other human.

Baby Reindeer comes highly recommended in all facets, from its immersive writing, gripping filming, highly effective sound editing, all the way down to its stellar performances that have been profoundly burned into my memory.

Richard Gadd is exquisite in his role, mastering the art of the harrowing facial expression while Jessica Gunn plays the part of a hurt woman who only hears, and understands, what she wants to in an incredibly eerily yet empathetic performance.

This is a true story, and it is not one that shies away from depicting truths, no matter how hard they may be to watch.

Baby Reindeer explicitly deals with sexual assault, drug abuse, queerphobia, instinctual violence, and how such experiences have become so overlooked because of the characters’ abilities to hide under anonymity.

Richard Gadd, playing himself through Donny Dunn, desperately asks early in the show: “If you aren’t living a life worth living, then can someone ruin it at all?” Well, Dunn/Gadd is living it, and maybe this is not a story at all.

Baby Reindeer begins and “ends” the same way, with a role reversal that horrifies the audience into understanding that Donny Dunn was not fixed by all of the little wins that should have aided in resolving his trauma. Gadd very carefully unpacks the life of a man–himself–who is not easily prone to learning from his mistakes, just like every other human.

Artistry’s Select Natalie Correas

Written by: Tula Singer

Designed by: Annabelle Sun

Adifferent style of storytelling unravels on Northeastern’s stages with an eloquence found not in words, but in motions. Natalie Correas, President of the Noreste Ballet Company, rescues the magic of classical ballet by bringing together dancers of any and every skill level to learn and delight in this powerful medium of art.

Natalie’s first interaction with ballet was at the age of four, after her mom placed her in a dance class to keep her busy. She stuck to the art throughout her childhood, but it wasn’t until age 12 that she took it up more seriously at the Melrose Youth Ballet, where she learned to dance classical ballet and truly fell in love with the craft of dance.

“I knew that ballet was something that could be used to show such detailed stories and express such intricate emotions.”

As a senior in high school, most ballerinas face a “fork in the road”: you’re either good enough to go on to dance professionally or you must choose another direction for your career. Unfortunately, dancing for a living is not an option for all – the expensive lifestyle behind a ballet career forces many to give it up, and the culture around non-professional ballet is almost minimal. That’s when she decided to found the Noreste Ballet Company.

“I knew that ballet was something that could be used to show such detailed stories and express such intricate emotions,” Natalie says. Noreste’s practices over the months culminate in a special performance at the end of the semester: The Nutcracker in the Fall and Swan Lake in the Spring. “I want people to do [ballet] if they want to…if you want to, you should be able to.”

As a fourth year Criminal Justice and Psychology major, Natalie needs a creative outlet that exceeds verbal art. Unlike painting, photography, or writing, ballet is an ephemeral, almost mathematical language for artistic expression; the gestures, pivots, and paces of a dancer have but a second to relay their message. As she puts it, “We’re constantly expected to explain ourselves through words or through our actions, but doing it through an art form where you’re able to just express with your body and hope the audience gets the message is something that I really enjoy doing.”

It’s not a thing that humans are supposed to do,” she explains. “You have to work through the pain.”

The art of dance takes a physical toll on Natalie, as it does for all ballerinas. This artist’s canvas is their body and, especially for beginners, adjusting to the wooden pointe shoes is grueling; Natalie shares that behind the pretty shoe, many dancers are bleeding from the unnatural stances. “ It’s not a thing that humans are supposed to do,” she explains. “You have to work through the pain.”

Natalie’s endeavors to bring ballet to Northeastern embody a revival of her love for the craft. However, she also redefines our traditions around ballet by welcoming dancers not just of all experience levels, but of all ethnic, racial, or cultural backgrounds as well. This moment of empowerment breaks down walls within the predefined space of dance, reminding people that your skin, features, or hair don’t have to fit a standard for you to dance classical ballet.

Natalie echoes this beautiful message in her love and diligence to the dancing community. “By sending a message of equality and the accessibility for everybody to put their feet into something that they’ve never done before, we’re separating ourselves from the past while also sticking true to the values of how classical ballet should look in terms of actual movement and storytelling.”

THRIFT AND THRIVE:

The Rise of Sustainable Fashion in Boston’s College Scene

Written

by Tula Singer

Designed by Olivia Champagne

Photographs by Leora Ashouri

As Boston ushers hundreds of thousands of students across colleges each fall, a new movement unravels in the city’s cracks and crevices.

Thrifting, the craft of seeking and shopping secondhand finds, has become an irresistible medium of art and selfexpression that’s got our college population in a chokehold. Someone who knows how to thrift can be spotted from a mile away, not just because they look good in their clothes or because they know how to spot a good piece among the dusty racks at GoodWill. The best shoppers stand out because they don’t just wear their finds, they style them.

Once upon a time, thrifting in Boston wasn’t the trendy trade it is today. Since the mid-20th century, secondhand stores like the Roxbury GoodWill, Urban Renewals in Forest Hills, Boomerangs in Cambridge, and Buffalo Exchange in Coolidge Corner have been serving communities that need to buy affordable clothes. Thrifting wasn’t chic and glamorous – it was a token of struggle.

Thrifting gives a second life to what could have been trash – as the idea of styling explodes, even the ugliest garments can make it to someone’s wardrobe with a new special purpose.

They take pride not just in what they wear, but how they wear it, how they find it, and what this says about them. Boston’s thrifters are no better than a baby playing peek-aboo: it’s all about the chase. The victory isn’t in buying a $400 baguette bag off of Coach, but finding that same purse for $20 at Select Markets or Vivant Vintage and wearing it with baggy faded jeans, a long asymmetric tube-top, a pair of Mary Janes, and a stack of jewels anywhere they can fit.

Could it be that thrifting has become a form of art in Boston? As young pioneers of fashion hunt for the equation for selfexpression, they find themselves time and time again returning to some new favorites. FOUND, a collection of shops hidden in the shadows of Cambridge, has flourished into a popular source for some charming finds. With their vintage markets and thrilling scavenger hunts, a treasure trove of pieces await to be snatched. Just around the corner are other pockets of secondhand shopping, where you’ll find the crushing, cramped gem of Retrospect or the “by-thepound” store known as Garment District. Head over to JP and you’ll find some incredible steals at Diversity Consignment and 40 South Street, or to South End for SoWa’s classic vintage market to find some excellent fashion remnants of the past. Biggest of all, the Select Markets pop-ups have exploded across the city as a new staple in Boston’s repertoire of adventures, attracting hundreds of college students to pick from countless gems offered by a curated rotation of vendors.

Thrifting is a sensational phenomenon that has numbed the boundaries of gender, beauty norms, and maybe even culture. But this begs another question: Is it a trend, or a solution to climate change? Perhaps both.

But in the last decade, students from every corner of the globe have come to Boston, bringing fresh notions of fashion that negotiate a sense of identity, a physical idiolect.

Because of this, the benefits of disabling fast fashion and replacing it with thrifting are astronomical. Accounting for approximately 10 percent of global pollution, 20 percent of global wastewater, and 92 million tons of yearly waste, the industry is one of the world’s greatest polluters (Earth.org). Big cities driven by consumerism – like Boston – only aggravate this crisis even more.

Who knew that seeking a unique style could feel so good – not just to ourselves, but to our world? Most of us no longer need to be convinced about the threat of climate change, deeply rooted in consumerist industries like fast fashion. But the thrill, communal love, and desire to express ourselves most authentically have transformed a beautiful trend into a step towards cracking climate change.

Transforming Campus Fall Fits into Warm Winter

The fall fashion scene was certainly fun to look at. It was the perfect season for unique layering. Students were playing with dressing cold on top and warm on the bottom, and vice versa; this season was one for experimentation.

Speaking of pants, jeans basically ran the show this fall. They normally do, but this time it wasn’t your typical light blue Levi 501s. Instead, the dark wash flare bottom jeans climbed their way out of hibernation. Additionally, as people seek to reconnect with social life, the sleek look of low-rise flares offers a way to feel chic and ready for any occasion.

It’s a fascinating blend of nostalgia and modernity that should also make its way into the upcoming winter.

Moving on to patterns: cheetah and leopard print—what’s the difference?

While both prints brought a fierce vibe to the fall outfits we saw, they each have distinct characteristics. Cheetah print features solid black spots on a golden background, giving it a more streamlined look, while leopard print showcases rosettes with darker edges and a more varied color palette.

This winter season, both prints should continue to make a statement, especially in the form of cozy faux fur coats that add an instant touch of glamor to any look. Whether draped over a simple turtleneck and baggy slacks or paired with some dark wash flares or over top a mini skirt and tights, these bold prints elevate your fall wardrobe with a pinch of wild energy. Perfect for those chilly days, they blend effortlessly with the retro and modern styles taking over campus.

As we transition from fall to winter, the challenge of staying stylish amidst the cold can feel daunting. However, the vibrant campus outfits we’ve seen this season offer plenty of inspiration for dressing up as temperatures drop.

The experimentation and layering that defined fall don’t have to disappear; instead, they can evolve.

The platform boots and dark wash low-rise flares that became staples this fall are not just fashionable—they’re practical too. These durable pieces can easily carry over into winter wardrobes. Pairing those platform boots with thick, cozy socks will keep your feet warm without sacrificing style. Similarly, dark wash flares can be layered with tights underneath for added warmth or worn with oversized sweaters for a laid-back yet polished look.

Ultimately, dressing for winter doesn’t have to be a chore. Embracing current trends, especially those that are durable and versatile, allows you to maintain personal style while adapting to Boston’s cold. Furthermore, instead of escalating microtrends, we can learn as a community to make garments timeless and sustainable, rather than contributing to the fast fashion epidemic. Let the creativity of fall inspire your winter outfits—experiment with layers, mix textures, and don’t shy away from bold prints. This season, let your style outbite the frost (in a good way).

Boston Fashion Week, What

to Expect and How to Get Involved

WRITTEN BY GABRIELLA MBAOUA DESIGNED BY SOFIA NUNEZ

Ever craved the fashion week experience? Luckily for all those living in or near the Boston area, there’s an opportunity to witness the talent and creativity of some of the finest designers the city has to offer.

Boston Fashion Week (BFW), the annual celebration of all things fashion which was originally introduced in 1995, has had a long history of promoting the works of local, emerging visionaries in the fashion world. Their initiative is to create “opportunities that increase the viability and visibility of the local industry” – this year was no different.

From October 13th to the 19th, the 30th Annual BFW24 took place across the city featuring numerous events that were meant to have members of the boston community engage with these designers’ work. This could be through just attending their events or going out and buying from these local brands.

There was a pre-BFW24 period that took place between September 18th to October 12th in preparation for the main event to get people really excited for what’s to come next and really set the tone for the week.

While BFW24 usually has quite a few priced ticketed events, there were events going on throughout that were accessible to the general public, especially students.

As a part of the Pre-BFW24 period, House Fashion Week, a Boston-based fashion house dedicated to bridging fashion creators and enjoyers, held a “Fashion Installation” event on Wednesday, October 9 located at the M Fine Arts Galerie that was completely free and public

The designers featured were Katie Baek, Kay Wan, Jacquel Label, Khammany, Lovelli, Laurel Fang, and KHK. Each collection was presented in the very limited but very organic setting of the gallerie which really brought focus to each design.

The designers featured were Katie Baek, Kay Wan, Jacquel Label, Khammany, Lovelli, Laurel Fang, and KHK. Each collection was presented in the very limited but very organic setting of the gallerie which really brought focus to each design.

The event was meant for designers to debut their collections to members of the Boston community in the form of a multi-dimensional presentation between studio spaces. Everything about these events was based in Boston arts and culture — the fashion, the venues, the artists, and even the music.

The HOF fashion installation played music curated by Boston-DJ, CIDOZ, as attendees gazed at the presentation. It’s a lively display of the gifted underground within the city’s eclectic fashion community and a great opportunity for fashion enjoyers to partake in fashion week for free.

This, however, was just the beginning of what BFW24 had to offer. As the week officially starts on the second Sunday of October, the designers, fashion lovers and professionals, and members of the media stepped out for the celebrations to begin.

For those who were looking for a runway show that depicts vibrancy and femininity, LoveCashionita show delivered with very unique designs featuring multiple local designers and brands. This show debuted on Sunday, October 13.

As a perfect glimpse into this season’s menswear collections as well as Blackowned brands, Fierce Styles, founded by Cheryl Jean, debuted its collection on Sunday, October 13. It’s meant to combine the boldness of menswear with sustainable fashion, showcasing the diverse artistry that young designers had to offer this year.

It should be noted that not all the events for BFW24 happened within the city. Fashion week aimed to spread across other creatives in the New England area. On Thursday, October 17, Babson College, located outside of Boston in Wellesley, hosted a panel of Boston designers discussing the topic of Gen AI being used as a tool in fashion.

As the week closes, the last few events continue to push boundaries on building creative spaces for designers. The Heart & Soul and Let’s Get Dressed Boston’s “The Narrative” show opened Friday, October 18 and features a variety of designers’ works who are given the opportunity to display and describe their designs.

The show was meant to bring the audience into the minds of the designer within the closely acquainted environment of Studio at 125 High in Boston.

As the week closed, JOURny Magazine, a Boston-based magazine dedicated to fashion, arts, and culture, hosted a launch party on Tuesday, October 22, for their third issue.

This was the perfect wrap up to the exciting time that Boston Fashion Week left people with.

With a fashion week event that is nowhere near as recognized globally as the ones we see in New York, Paris, or Milan, it’s important to support the fashion culture that is so prevalent in Boston. This city is flooded with some of

the most imaginative and inspiring groups of artists and this annual celebration has been a gift to Boston’s creative communities.

Artistry’s Select

Written by: Hailey Mahon

Designed by: Annabelle Sun

Abby Ha

Meet Abby Ha, a first-year business administration student concentrating in marketing. Hailing from Central North Jersey, Abby is a textile artist whose work weaves nostalgia, heritage, and sustainability into intricate pieces. Her mediums include sewing, textiles, and watercolor—a blend she uses to craft meaningful and personal works.

“With my sewing, it’s all about reviving old things and giving them a new life.”

“I’m half Taiwanese, and my grandpa, who was an oil painter, has been a huge influence on my art,” Abby shares. Growing up, she recalls a unique bond with her grandfather, who lived in California before returning to Taiwan. “He would always give me paints and brushes, and we’d talk about art. My college portfolio was actually based on him.” This connection informs her art, especially her color palettes inspired by the ocean surrounding the island her grandfather grew up on.

Abby describes her process as both creative and restorative. “I sketch mostly in watercolor, and those sketches often turn into clothing I sew myself.” Her work reflects themes of upcycling and rebirth—ideas that align with this semester’s theme, Revive. On her Instagram, Abby showcases pieces made from repurposed materials. “With my sewing, it’s all about reviving old things and giving them a new life.”

Revival also extends to her family’s artistic legacy. “My grandpa stopped painting when he got sick, so I decided to pick up where he left off and incorporate elements of his work into my own.” For Abby, this act is deeply symbolic—melding the past with the present.

Her art often draws on nostalgic themes. “One of my last big projects was based on significant childhood memories. I painted the house I grew up in, which had all these flowers, and then created a dress inspired by that image.” She adds, “A lot of the time, I’ll use reference photos from when I was little. Seeing them now as an adult, I interpret them differently, which brings the past and future together in my work.”

As an artist navigating the ever-evolving art world, Abby remains inspired by sustainable creators. “I follow designers who dye fabrics with vegetable scraps—it’s so cool. There’s so much freedom in today’s art world, and I love that you can create just to create.”

For Abby, art is as much about personal exploration as it is about restoration—a way to honor the past while creating something entirely new.

“My grandpa stopped painting when he got sick, so I decided to pick up where he left off and incorporate elements of his work into my own.”

Laufey Redefining Jazz:

All photos by Gus Philippas

Written by Kimberly Kanchan

Designed by Ruby Harkness

Blending jazz, pop, bossa nova, and classical music, Laufey creates songs that feel both timeless and refreshingly modern, capturing the hearts of a new generation while breathing new life into a vintage genre.

Born in Reykjavík, Iceland, Laufey Lín Bing Jónsdóttir gained popularity on social media in 2020 by posting covers of songs from famous Jazz artists and her original pieces. By April 2020, Laufey’s debut single, “Street by Street,” was released, showcasing her talent for blending jazzy melodies with intimate storytelling. In the song, she expresses her emotions postbreak-up, where everything in Boston reminds her of an ex-lover and her desire to “take back her city.”

The success of “Street by Street” helped her amass a devoted fan base, and she soon followed up with the release of her debut EP, Typical of Me, in 2021. Typical of Me introduced Laufey’s unique fusion of jazz, pop, and classical elements, with tracks like “Magnolia” and “Best Friend” becoming fan favorites.

The EP garnered critical praise for its originality and charm as many admired how she paid homage to the classic jazz era while adding a contemporary twist, making the genre more appealing to a younger generation.

In September 2023, Laufey released her debut full-length album, Bewitched, marking a significant milestone in her career. The album reflects maturity in her songwriting and musical arrangement, expanding on the themes of love, heartache, and longing, all while composing a timeless sound. The title track, “Bewitched,” showcased her ability to create a cinematic, almost magical atmosphere with lush orchestration and delicate, dreamy vocals, going in hand with the song’s romantic message.

“From the Start,” the album’s lead single, takes on a more playful tone, embodying a whimsical yet sophisticated style and expressing the feeling of unrequited love. Songs like “Promise” and “While You Were Sleeping” are more introspective in their and warmth.

Laufey’s classical background has a clear influence on Bewitched, with many tracks incorporating rich string arrangements and intricate harmonies.

Laufey’s ability to seamlessly weave classical motifs into a jazz framework, building upon classic jazz standards like in “Misty,” contributes to the distinctiveness of her sound.

Bewitched was met with widespread critical acclaim, with many reviews praising her ability to rejuvenate the jazz genre and bring it to a younger, more diverse audience. Ultimately, her reinventions of classic sound won her a Grammy for Best Traditional Pop Vocal Album this year.

In support of her Bewitched album, Laufey embarked on the Goddess Tour, a global tour marking a significant moment in her career as her first tour headlining.

In support of her Bewitched album, Laufey embarked on the Goddess Tour, a global tour marking a significant moment in her career as her first tour headlining.

Fans worldwide have eagerly embraced the chance to see her live performances, known for their intimate, almost magical atmosphere. Laufey’s live shows feature a mix of her original songs and jazz standards, showcasing her versatility as a performer. Her shows have been praised for their ability to transport audiences to past eras, utilizing a delicate arrangement and heartfelt performances. Whether performing in large concert halls or more humble venues, Laufey captivates her audience by evoking deep emotions in the audience.

Laufey has brought about a new understanding of jazz, a genre often underappreciated by younger audiences. In an interview with the YouTube channel Kit

Laufey talks about taking the music she grew up loving, classical and jazz, and introducing it in a newer way.

“I just loved how they told these really grand stories within just a couple of minutes, and I wanted to bring the magic of that time into this world,” Laufey said.

Another notable characteristic of Laufey’s work is her storytelling. While jazz has always been a genre steeped in emotion, Laufey’s lyrics offer a contemporary take on universal themes of love, heartbreak, and self-discovery. Her music is both nostalgic yet forward-looking, drawing from the past while remaining undeniably modern.

Her success on platforms like TikTok and Instagram has played a key role in reaching younger listeners. By embracing social media, Laufey has connected with fans in a way that few jazz artists have done before. She has created a space where jazz is both appreciated and celebrated by a new,

With the release of Bewitched and the success of her Goddess Tour, Laufey has firmly established herself as one of the most exciting and innovative voices in contemporary music, redefining what it means to be a jazz artist in the 21st century.

WHAT’S ON YOUR MIND?:

For those of you who live in your imagination, I pose a question. Is there a song playing while you’re floating deep into your thoughts? While you dream, what do you hear? For most people, this proves to be a difficult question. The soundtrack of a dream isn’t the main takeaway after a night’s rest, and some people just aren’t dreamers. My fellow space cadets know that music is one of the most important things in existence, and if not the music itself, then the feeling it brings.

Dreampop is, as its title suggests, meant to make one feel like they’re dreaming while awake.

It’s the watercolor of music, carrying the listener away into thoughts just as a paintbrush carries the colors on a canvas.

To get technical, dreampop is a subgenre

Dreampop began in the early 60s with the work of The Beach Boys and The Byrds respectively. Their uses of swoonworthy harmonies and echo, driven heavily by guitar over vocals became the foundations of the genre. After this, in the early-mid 80s, we begin to see a pipeline from a combination of gothic and psychedelic rock to the eventual birth of dreampop. Heavy reverb and downtempo along with the influence of other genres turned dreampop into something eclectic. A sound that could change with each perspective or even each listen. For many, the intrigue of dreampop is that it can fit almost any scene. Something that may sound like a perfect dream one minute can decay into the sounds of a nightmare the next, something that is just out of reach. In this period from the early 80s-mid 90s, we see a sort of golden age for dreampop, and the emergence of many big-name dreampop artists such as Cocteau Twins, Mazzy Star, and My Bloody Valentine. Today, dreampop remains just as

media. In some cases, it gives a good launching point for modern artists, among which are Beach House, Cults, and Men I Trust, bands who needed the platform to take off. Other times, artists don’t want the reach and exposure tiktok gives. Most indie bands want to stay indie, to stay niche, to keep the cult classic alive.

Essentially, dreampop can be anything. Dreampop is meant to give an out-ofbody experience, a feeling like floating in space, looking at society from a thirdperson point of view.

Dreampop is a fading memory, something familiar, yet alien.

It’s a hazy glow over life, like throwing a brightly colored scarf over a dim lamp. Dreampop is heaviness and lightness all at once, the thin line between misery and melancholy. Dreampop is for the weird girls, the people who live in their minds, the space cadets. Maybe dreampop is for you.

CHECK OUT THESE TO KEEP THE DREAM GOING:

Heaven or Las Vegas by Cocteau Twins

Dear Prudence by Siouxsie and the Banshees

You’re Not the Only One I Know by The Sundays Linger by The Cranberries

Cherry-colored Funk by Cocteau Twins

Crybaby by Cults

Cupid De Locke by The Smashing Pumpkins

When You Sleep by My Bloody Valentine

Luna by The Smashing Pumpkins

Wondrous Place by Drug Store Romeos

Strange by Galaxie 500

Sea, Swallow Me by Cocteau Twins, Harold Budd

Rose Blood by Mazzy Star

I Can’t Stop (Holding On) by The Cleaners From Venus

Wave of Mutilation by Pixies

Off Your Face by My Bloody Valentine

Tugboat by Galaxie 500

Go Away by Strawberry Switchblade

Haunting by A.R. Kane

Some Velvet Morning by Slowdive

A Retrospect on Brat

Written by Brynna and Alahna

Designed by Emily Northrip

Looking back on the summer of 2014, Charli XCX broke the radio with songs like “Boom Clap” and “Fancy” making their way onto global charts. Ten years later, she’s doing it again. Brat has put her back on the map, reminding the world that she not only is a popstar, but she’s the embodiment of pop music itself. Brat takes on a more radical form of the way pop music has been identified in the past few years. Charli’s electropop-hyperpop-club pop album is outrageous, it’s outspoken, it’s authentically her. It’s what “brat” aims (and succeeds) to embody.

Charli’s electropophyperpop-club pop album is outrageous, it’s outspoken, it’s authentically her.

Brat managed to bring something more to the table than just its upbeat, hyperpop sound through its obscene amounts of marketing. This is not to critique the marketing strategies used to promote the album, rather to comment on the fact that there hasn’t been such a huge amount of free public advertising since “Barbenheimer.” The album cover to brat is simple. It reads “brat” on a neon green background. But what does that even mean? The obscure cover started to hit billboards, plaster walls, and started to overwhelm the internet. The term “brat summer” was coined, and quickly became not only an aesthetic but a lifestyle, defined by the messy, partying, cool-girl persona. Brat has managed to evolve from an adjective someone would think to call a small and annoying child into something people aspire to live by: carefree, authentic, and full of energy.

This past summer, Brat managed to infest our daily lives. Every other song seen across any social media platform was from the album, whether it was a Tik Tok dance to “Apple” or “Everything is Romantic” playing in the background of someone’s summer photo dump. Independent coffee shops were coming out with “brat” matcha lattes. People were wearing lime green, using the word “brat” in their daily vocabulary. Charli XCX even brought the word into politics after making a seemingly lighthearted statement on Twitter, “kamala IS brat,” after she was announced the new presidential nominee for the Democratic party. Kamala’s campaign team immediately embraced the tweet and made it a huge part of their social media campaign, having a mass appeal to younger voters.

Brat didn’t only skyrocket in the charts because of its unique production and advertising, but also its use of popular features. What really helped gauge listeners’ interest in the album was the remix of “Girl, so confusing featuring lorde.” The song reflects on a past, close friendship that was riddled with toxicity and jealousy, and through the song the two girls in this friendship air out their complicated feelings towards each other. It speaks very directly about Charli’s feelings towards Lorde, another rising artist around the same time Charli was getting her music mainstream. The public and the music industry, despite their friendship, pitted the two against each other for fame. This song invites both Lorde and Charli to make amends for their past friendship-turnedrivalry, hence the popularization of the lyric “Let’s work it out on the remix.”

Brat has managed to evolve... into something people aspire to live by: carefree,

authentic, and full of energy.

A Retrospect on Brat

Another feature which boosted Brat’s popularity was “Guess” featuring Billie Eilish, and produced by British artist, The Dare. This brought a whole new fanbase to Charli, as the combined efforts of Billie Eilish listeners along with fans of The Dare skyrocketed the song’s amount of streams. Brat was able to gain even more attention by its mass appeal to the queer community, through featuring queer artists like Billie Eilish, and also her collaboration with openly gay artist Troy Sivan on her SWEAT tour. Brat managed to appeal to audiences way outside of just Charli and her style of music, diversifying her fanbase in its entirety.

Brat is more than just an album. It has become indicative of an iconic personality type, similar to that of Charli. It marks a pivotal moment in her career, solidifying her status not only within the pop landscape but also in the hearts of her diverse fanbase. The album’s innovative marketing strategies and variety of collaboration showcase her adaptability to grow in a fastpaced music industry. As she continues to push boundaries with tracks that resonate on both personal and communal levels, Charli is creating new anthems that capture the essence of contemporary youth culture. The upcoming year promises a vibrant pop scene fueling creativity. As Brat and its surrounding phenomenon unfold, it’s clear that Charli XCX is not just a participant, but a leader in this new era of pop music.

She continues to push boundaries with tracks that resonate on both personal and communal levels.

Photo by: Harley Weir

HOW OLIVIA RODRIGO’S NEW ALBUM IS RESONATING WITH BOSTON’S COLLEGE CROWD

Olivia Rodrigo’s sophomore album Guts took the music scene by storm, outselling her debut album SOUR by tens of thousands of sales although being distinctly more mature, a departure from the naïvety of teenage heartbreak that defined her debut.

Guts was released at a time where it was able to help turn a page in many college students’ lives. If SOUR represents all that is young and so-very-high school, then Guts is her older sister—still experiencing the whirlwind that is young adulthood, yet carrying with her the characteristic tinge of cynicism that comes with developing maturity and the sharp pain of heartbreak.

WRITTEN BY LUCY SHOREMAN

DESIGNED BY JACKSON GOODMAN

Guts spills open with “all-american bitch,” which without any pretense of delicacy criticizes the societal pressure on women to be the picture of optimism and grace, asked not to share their intimate thoughts but instead maintain the façade of the perfect ‘all-American.’

Rodrigo exclaims, rather angrily, “I don’t get angry when I’m pissed / I’m the eternal optimist / I scream inside to deal with it.” College is perhaps the most stressful period of young adulthood. Students must confront their volatile emotions while simultaneously working themselves to the bone. Highlighting this pressure, “allamerican bitch” speaks to students who feel the need to uphold an image of perfection.

In a parallel manner, Rodrigo closes the album with “teenage dream,” a song that masterfully encapsulates the excitement and pressure of starting adult life, yet still being young. This is perhaps best exemplified by the line “Got your whole life ahead of you, you’re only 19.” Including a series of rhetorical questions that touch on the fear of getting older, Rodrigo asks, “When am I gonna stop being a pretty young thing to guys / When am I gonna stop being great for my age and just start being good?”

Rodrigo’s Guts captures the whirlwind of young adulthood, resonating deeply with college students navigating pressure, heartbreak, and self-discovery

Having to come face to face with adulthood and the realization that there might be no more excuses, no more moments free of responsibilities is rough to grapple with. Guts rips open feelings of overwhelming stress and fear in a personalized manner that centers young adulthood.

SOUR represents all that is nostalgic and cringe-worthy about high school relationships, while Guts takes a more cynical approach to broken relationships, something far more relatable to students in today’s culture of hookups and complicated relationships.

Through “love is embarrassing,” Rodrigo departs from the fairy-tale romantic pop song cliché and speaks directly to every young adult who cringes at their past mistakes singing: “Just watch as I crucify myself / For some weird second string / Loser who’s not worth mentioning / My god, love’s embarrassing as hell.”

But mature relationships leave deep cuts, as adult lives come with adult experiences. Starting with “vampire,” the line “I used to think I was smart / But you made me look so naïve / The way you sold me for parts / As you sunk your teeth into me,” resonates with those who have fallen victim to toxic relationships. The pain from feeling crumpled up and used after a relationship’s end is a prime example of Rodrigo understanding the emotional duress of young love.

She sings, “Do you think I deserved it all…You built me up to watch me fall.” Intertwining your lives with another person’s while still handling unrelenting responsibilities at such a young age comes with intense feelings. The mounting stress can make a break-up feel like the end of the world. Yet, Rodrigo offers a scaffolding through her music, reassuring her audience that despite the overwhelming pressure of all these new emotions, they are not alone.

OLIVIA SINGS WHAT WE’RE

ALL FEELING

– AND DOES IT

WRITTEN BY EMILY NORTHRIP

DESIGNED BY JACKSON GOODMAN

When GUTS was released in September 2023, it gave a powerful voice to the everyday experiences of young adult life: heartbreak, rage, longing, and the uncertainty of growing up. The album arrived at a moment when students were newly coming to terms with their transition into adulthood, and finding their place in the world.

The album introduces itself in a rage, heard in “all-american bitch” and “bad idea right?” The songs tackle themes of growing up and societal perceptions. Rodrigo creates an edgier feel to the album by incorporating a strong backbeat, loud guitar, and screaming vocal trills. Being given the reins to make personal decisions, although they might not always be the best, is a learning experience young adults can identify with.

GUTS moves towards more vulnerable emotional struggles in “vampire,” “lacy,” “ballad of a homeschooled girl,” and “making the bed.” These pieces reveal a softer feeling of adolescence, the yearning for a life that one longs to experience.

Jealousy being the focus of “lacy” acknowledges the demeaning feeling of comparing yourself to others. While the comparison is entirely irrational, the feelings of inadequacy of not being Lacy holds a heavy emotional weight.

Shifting to a slower, more mellow tone, “the grudge,“‘pretty isn’t pretty,” and “teenage dream” all emphasize feeling not enough, and carrying the weight of societal pressures.

“Pretty isn’t pretty” laments the pressure of constantly having to stay beautiful, while ‘teenage dream’ questions when Rodrigo will “stop being great for [her] age and just start being good?”

GUTS marks a resurgence of the pop princess image, merging a reminiscence for the 2000s with a modern lens. Olivia Rodrigo redefines the superficial stereotype associated with being a female pop artist by using the genre to instead talk about her struggles of insecurity, gaining fame, and growing up.

Rodrigo clearly chooses pop culture moments from that era, and puts her own spin on it, letting GUTS stand on its own. Olivia Rodrigo’s music sheds light on shared human experiences, things like heartbreak, development, and finding self-love, resulting in the creation of a sound that can resonate with anyone.

Olivia Rodrigo redefines the superficial stereotype associated with being a female pop artist by using the genre to instead talk about her struggles of insecurity, gaining fame, and growing up.

WRITTEN

BY

NINA MCCANN

DESIGNED BY

ANJANA BALAKRISHNAN

Time is folding in on itself. In the age of fast fashion and microtrends, it only makes sense that our nostalgia tears through eras past, looking for new niches and time periods to emulate.

Now, the cultural zeitgeist is hungry for an aesthetic only a decade gone. In the post-Covid world, the “clean girl” and “old money” aesthetics have dominated the cultural sphere: from minimal makeup to slicked-back buns to nude colored basics. Indie sleaze has risen again as the antithesis to this, with last night’s makeup, tangled hair, and outfits that would’ve been deemed “cheugy” just two months ago.

With the emergence of ‘Brat Summer’ and the subsequent Sweat Tour, The Dare’s hot new album, Yeah Yeah Yeahs’ TikTok comeback, and Addison Rae’s brazen rebrand, it’s safe to say: messiness is mainstream again.

Emerald Fennell’s Saltburn was the harbinger of this revival back in fall of last year. It served as a touchstone for transition, blending the previously popular

A FAUX SECOND COMING

“old money aesthetic” with something edgier. The late-2000s soundtrack and glitzy makeup began to pop up all around by the new year.

Now, indie sleaze is here in full force. With the emergence of ‘Brat Summer’ and the subsequent Sweat Tour, The Dare’s hot new album, Yeah Yeah Yeahs’ TikTok comeback, and Addison Rae’s brazen rebrand, it’s safe to say: messiness is mainstream again.

Indie sleaze, true to its own style, is nebulous – unable to be pinned down to a particular beginning or end. The account @indiesleaze on Instagram boasts 211k followers and a bio that reads: “Documenting the decadence of the mid-late aughts and the indie sleaze party scene that died in 2012.” A prelude to the mainstream early-10s hipster style, indie sleaze was similarly eclectic—with far less polish. From the smoky eyeshadow of Sky Ferreira to the dingy floors of boiler rooms, a layer of grime seems to cover the era. The current desire to return to this is only natural, considering not only the clean aesthetics – but clean morals of today.

With an internet culture that wields a political correctness that, to some, borders on puritanism, the less restrictive morals of the time certainly appeal to those who tire of this deemed prudishness. The Dare’s

newly popular and shamelessly sexual song “Girls” goes to show this.

However, this politically incorrect attitude that can come across more like posturing belies a slippery slope. The commonly held image of the word “sleazy” is not of an Effy Stonem-esque party girl, but a skeezy creep of a man. This is not that far off from the aesthetic’s original movement, considering the abuse allegations towards the frontman of indie sleaze staple Vampire Weekend, or how the 21-year-old owner of the “Instagram before Instagram” Cobrasnake website dated the 16-year-old “first internet it-girl” Cory Kennedy.

The era was latent with not only the more palatable forms of moral misconduct like drugs and drinking, but inexcusably abhorrent behavior. Aestheticized chain smoking is, unfortunately, not the end-allbe-all of carefreeness, despite what some indie sleaze romanticists may wish to think.

The issue with the current indie sleaze revival lies in the name itself: a “revival” is perhaps not the correct term to use here. It evokes an image of a time long gone, when this is in fact one of the youngest trend cycles to make a comeback.

As of now, many such artists and celebrities have not claimed the “indie

sleaze revival” by name, which is likely for the better. While Taylor Swift’s The Era’s Tour shows that profiting off one’s old eras is possible, a return to the past solely for the sake of a trend risks coming across gimmicky and uninspired.

Indie sleaze’s strength lies in its authenticity: the messy makeup and jumbled outfits were accumulated through real experience, not a special technique or styling tutorial.

The lack of inspiration carries over to the audience as well. Social media is rife with indie sleaze “starter packs” or “must-haves.” This compartmentalization of its style into an easily discarded microtrend once a hotter, newer trend comes along, is directly counterintuitive to the true nature of the era.

Vogue writer Christian Allaire criticizes the “lack of sleaze” or authenticity found in the revival of indie sleaze, claiming the stars of the time were “just slapping things together and hoping it worked… It’s hard to imagine how this will look today, when a curated image is everything.”

Today’s trends are built off Amazon storefronts and TikTok Shop links, a perfectly pre-made package of curated looks. Indie sleaze’s strength lies in its authenticity: the messy makeup and jumbled

outfits were accumulated through real experience, not a special technique or styling tutorial.

Paradoxically, the act of recreating sleaze is what makes it impossible to attain. While imitation is the highest form of flattery, to completely eschew the thesis of the original indie sleaze movement seems more condemning than commending.

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