Washington Square News
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ARTS
ARTS@NYUNEWS.COM
MONDAY, MAY 4, 2020
Edited by KAYLEE DEFREITAS and ETHAN ZACK
Travis Scott’s ‘Astronomical’ Fortnite Concert Has Redefined Genuine Interactivity
SOMEONE | WSN
Travis Scott’s concert, “Astronomical” was held over three days on Fortnite, a popular gaming platform. Since the social distancing order, artists have shown their creativity by holding live events in unique online spaces.
By HOLLY GRACE JAMILI Contributing Writer Travis Scott’s hit “SICKO MODE” from his 2018 album, “ASTROWORLD,” blared through an Instagram post that sucked me into a dimension that spun trippy hues of tropical magentas and flaming reds and yellows. A glimpse of knockout video game franchise Fortnite’s iconic aerial battle bus shot through the screen and landed in the background of Travis
Scott’s newest innovation: “Astronomical.” The application of the same font as the one he used in his truly infamous ASTROWORLD music festival, that featured big names like Post Malone and Megan Thee Stallion, hinted at his forthcoming at the grandeur of virtual, other-worldly experience. Hip hop mastermind, Travis Scott, and Fortnite creator, Epic Games, held the three-day “Astronomical” concert across multiple international time zones from April 23 to April 25. The main at-
traction was the premiere of Travis Scott and Kid Cudi’s collaboration “THE SCOTTS.” When players completed challenges, they had the chance to unlock some of Travis Scott’s most known outfits, such as his highly sought-after Air Jordan 1 High OG “Cactus Jack” collaboration. Additionally, players were able to snatch in-game items like the ASTROWORLD cyclone glider and two Travis Scott loading screens for free. The concert commenced on the beaches of Sweaty Sands, complete with giant golden Astro Heads, enormous inflatables modeled after Travis Scott’s likeness that depict him with his mouth wide open as in the artwork for “ASTROWORLD” spread out for the players to bounce on. A few minutes prior to the show, players were instructed to swap their weapons for fiery microphone stands. They paid tribute to the Travis Scott concert picture meme where he is screaming and raising a microphone stand as flames glow behind him. Head-banging emotes flooded the scene in front of the ASTROWORLD Theme Park planet, drawn by the levitating speaker at its core. Opening strains of Travis Scott’s “SICKO MODE” and fluffs of Drake’s ad-libs kicked into overdrive as Travis Scott rolled up in the form of a gleaming lavender comet that crash-landed on the shore. The explosion had players fly far out from the stage and left a duo chromatic gloss. A spot-on, skyscraper-sized
Travis Scott soon dominated the screen. Digitized Travis Scott spent his time teleporting all over Sweaty Sands and embodied different characters in many visually astonishing environments. After rapping through “STARGAZING,” lightning struck and Travis Scott unveiled his cyborg body. Players were then blasted off into a laser-filled sanctuary where Travis Scott performed “goosebumps” as a neon skeleton. At the end of the aforementioned fan favorite, Travis Scott plunged the concert underwater for “HIGHEST IN THE ROOM,” where fans swam around the artist now dressed as a deep-sea diver. Finally came the performance of the long-awaited debut of “THE SCOTTS.” Players were blasted into orbit to spectate its glory. Travis Scott’s colossal avatar sat on the moon from Kid Cudi’s “Man on the Moon: The End of Day.” Suddenly, Kid Cudi’s moon zoomed further away as the ASTROWORLD planet took over the screen. The “Astronomical” concert was brought to a crescendo when the ASTROWORLD planet crumbled like a pastry and detonated itself, launching players light years away into another casual day of Fortnite. The grandeur of the “Astronomical” concert had more than 12.3 million players tuned into the Travis Scott experience in merely the first night of the five shows. And this does not take into account all of the streaming parties that were held on platforms like Twitch and YouTube.
Travis Scott was scheduled to headline the wickedly famous Coachella Valley Music and Arts Festival that typically reels in 250,000 heads in two weekends during this time in April. Attaining the coveted headline slot at Coachella has traditionally been a universal sign that an artist has achieved a high amount of popularity and acclaim in the music industry. However, given the current crisis, Travis Scott was unable to perform at Coachella. But, that didn’t stop him from being able to pull off what could be dubbed the spellbinding event of the year alongside Epic Games. Epic Games has undoubtedly provided the biggest stage that an artist has ever encountered as well as having obtained the largest live audience in Fortnite history. Travis Scott’s “Astronomical” concert has demanded the attention of all stakeholders within the music and gaming industries alike. This entertainment experience has set a new benchmark for how fans will engage with music, and those who dare repeat the same idea will have some very big shoes to fill. Fortnite and Travis Scott have victoriously executed their concoction of genuine interactivity and striking eye candy in this collaboration. Travis Scott will go down as one of the pioneers that has successfully married fan engagement and pop culture on a large scale. Email Holly Grace Jamili at arts@nyunews.com.
‘Bull’ Offers an Intimate Glimpse Into Rodeo Life By KAYLEE DEFREITAS Arts Editor From the beginning of Annie Silverstein’s “Bull,” it is apparent that Kris (Amber Havard) has become resigned to her circumstances. The adults around her show her little emotional support, and the friends she has are only there if she has something to give them in return. She lives in an uncaring world, one in which there is a never-ending cycle of children becoming products of the adults around them. “Bull” is director and co-writer Annie Silverstein’s feature film debut. It premiered at the 2019 Cannes Film Festival in the Un Certain Regard section. The film follows 14-yearold Kris, who lives on the outskirts of Houston, Texas, with her grandmother while her mother is serving jail time. Her neighbor Abe (Rob Morgan) is an aging bullfighter, but is now retired and unable to let go of the rodeo. After Kris breaks into his house one night and is later caught by Abe, she is forced to either help him with various tasks or be sent to a juvenile detention center. Thus, she discovers the world of rodeo and is drawn to bull riding as a temporary escape from life. The film is not immune to playing with the same tropes that audiences see time and time again in this particular genre. While the story is one that
can be associated with several other films, Silverstein brings a sense of understanding and humanity to her characters and her writing, combined with that of co-writer and executive producer Johnny McAllister, makes this film stand out just slightly. The emotional depth and realism of each person on the screen is what makes the film striking and the audience want to hear this specific narrative. The film utilizes a documentary-esque style that makes it have a distinctly authentic feel. The scenes cut in and out, giving the audience an intimate look into the characters’ lives. As the film progresses, these slices of life gain new meaning. The future scenes become more plot-driven, but it is the small moments that help break down the barriers between the audience and the characters on screen. There is a unique sense that life has gone on before this film begins and that it will continue to go on once it ends. Havard is a strong newcomer who brings a precise determination to Kris’ character. She draws the audience in while still keeping up the character’s carefully placed shields. When Kris finally smiles brightly for the first time late in the film, it is a profound moment that lights up the screen. To see Havard peel back the layers of this stoic girl so quickly is to catch a glimpse of the beauty of the character and how the world around her has caused her to be so resigned.
PHOTO COURTESY OF SAMUEL GOLDWYN FILMS
Directed and co-written by Annie Silverstein, “Bull” centers around 14-year-old Kris who discovers a passion for bull riding with mentor Abe Turner. “Bull” was released last week and was meant to be screened at SXSW.
The most notable element of the actors’ performances is the chemistry and power shared between Havard as Kris and Morgan as Abe. The arc between the two characters is evident as Abe takes on a mentor-like role with Kris, but the dynamics of the two performances are more than enough to make this a fresh take. The subtle emotional connection of the characters shows how the two need each other, even if they don’t acknowledge it. They are both navigating an uncertain world that they feel
is leaving them behind and moving on around them. The stark and honest realism of the film is well accomplished, but it is also where the film has some issues. The film occasionally has slow points, which in turn only heighten the tragic events the characters experience, making it hard to see the light at the end of the tunnel for either of the two leads. If it were not for Havard and Morgan’s profound performances, the slow pacing would bring the film down, but the two carry the film through.
“Bull” is not revolutionary in what it brings to the table, but it does offer a thoughtful look at the draw of the rodeo and the people who live for it. Bull riding can be seen as a dangerous game, but for some, it is the only place where control and hope are felt in a world of constant sorrow. “Bull” was released on May 1, 2020. It is available as video on demand. Email Kaylee DeFreitas at kdefreitas@nyunews.com.