Poptized Magazine - Issue 6 (Tiny Meat Gang) by poptized

ISSUE 06

WINTER 2020

WITH

TINY TINY MEAT MEAT GANG GANG + JORDANA

FA S H I O N JAC KS O N

ROLE MODEL

PUBLIC Page 1 | Poptized

Buy our issues, now available at poptized.com/issues for only $15.

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TEAM Editor-in-chief Kariann Tan Marketing Director Sara Salamat Adrianna Dreckmann Social Media Director Kelly Aloia Web & Content Editor Jack Bentley

Submisisons Alexa Mancilla Amy Tang Sarah Tillet Ellie Johnson Carter Kolpitcke Jennifer Nguyen Matty Monroe Terence Daniels Tommy Rodriguez Abby Stanford

Assistant Spread Designer Julia Briganti Videography Arianna Lansigan

FIND US Twitter @poptized Instagram @poptizedmag Email poptizedmag@gmail.com

EDITOR’S LETTER Welcome to Poptized’s first ever issue for the new decade! It’s amazing how far we have accomplished in just these last two years. From releasing our first issue with Allie X (who just dropped a killer album, by the way) to achieving our coolest issue yet with Tiny Meat Gang, I am completely in awe of every person who contributed to these projects. I’ll admit, I still have no idea how we’ve managed to get this far, but that being said, something must certainly be working. With this issue, I really urge you to sit down and flip through every single page of work brought to life by our writers & photographers. This issue contains my favorite content yet; reading through each article leaves me inspired and empowered. Our first article, written by Alexa Mancilla, details sexism in the music industry. Another article, published by Carter Kolpitcke, hones in on music over the past decade. And of course, we can’t forget our amazing features - TMG, Jordana, Public, Role Model, and Fashion Jackson, thank you all so much. Thank you so much for sticking by us the entire time and supporting our little DIY publication. I am beyond excited to watch Poptized grow and thrive beyond everyone’s expectations in the coming years. Please, join us on our journey. With love,

Kariann Editor-in-chief Twitter: @tankariann Instagram: @karianntan

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N N N

Role Model Shot by Emma Sophia Valles

NTENTS CONTENTS CONTENT NTENTS CONTENTS CONTENT NTENTS CONTENTS CONTENT 8

Sexism In The Industry Alexa Mancilla

Colony House Album Review Amy Tang

38 Jordana Matty Monroe

Bombay Bicycle Club Album Review Sarah Tillet

American Authors Ellie Johnson

50 Sawyer Abby Stanford

2010 Music Analysis Carter Kolpitcke

YBN Cordae Terence Daniels

Mac Miller Album Review Carter Kolpitcke

Birds of Prey Review Alexa Mancilla

Fashion Jackson Emma Sophia Valles

The WLDLFE Abby Stanford

26 Public Jennifer Nguyen

Role Model Emma Sophia Valles

Tiny Meat Gang Emma Sophia Valles

All material copyright (c). All rights reserved. This publication may not be reproduced or transmitted in any form, in whole or in part, without the express written permission of Poptized Magazine. Disclaimer: While every effort is made to ensure that the information in this magazine is correct, changes can occur which affect the accuracy of copy, which Poptized Magazine holds no responsibility. The opinions of the contributors do not necessarily bear a relation to those of Poptized or its staff and we claim liability for those impressions.

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WORDS BY ALEXA MANCILLA

I am a staunch supporter of female musicians and I pride myself on being a strong intersectional feminist. However, if you were to open up my music library, I’m afraid that fact might not immediately shine through. At the top of my most-played artists is COIN, Walk the Moon, Hippo Campus, and Hozier. I’m a bit ashamed to see the massive lack of diverse artists in my music library, but it perfectly exemplifies the glaring issue of sexism in the music industry at-large. I am constantly making an effort to uplift and support women and gender nonconforming individuals, but that effort doesn’t translate at all in my music library. I wanted to explore why this was the case; I am not consciously trying to find male artists to support, but the majority of my favorite artists are men.

SEXISM IN THE MUSIC INDUSTRY THE CATALYST FOR CHANGE

THE IMPORTANCE OF FEMALE ARTISTS With the growing #MeToo and Time’s Up movements taking the entertainment industry by storm, it is no surprise to see that female musicians and women working behind-the-scenes in the music industry are finally taking a stand against blatant sexism in the industry. Women pursuing careers in the music industry have been put on the back burner for years and have been treated with little to no respect as they attempt to find success, and they have finally hit their limit. Women (and nonbinary individuals) in all aspects of the music industry are now taking a stand against sexism in the music industry through protests, petitions, and the written word. Music is incredibly important in our society. Musicians from all walks of life are trying to find success, but if the industry prefers to lift up male musicians over female and nonbinary ones, those who are not finding success after years in the industry may simply give up on their dreams completely. If individuals do not see something of themselves in successful musicians, they may no longer want to pursue a career in music, either. The culmination of this nasty cycle may very well be an industry oversaturated with male artists. We live in a patriarchal society, as is. In a male-dominated industry like music (especially in behind-the-scenes aspects like producing or sound engineering), a musician’s gender seems to prevail over talent.

COMMERCIAL REPRESENTATION Nothing will change unless people stand up and demand systemic change in the industry. Journalists can make a conscious effort to feature female and gender nonconforming artists in their pieces, radio jockeys can aspire to promote more female and gender nonconforming artists, the list goes on and on. In 2018, only 17.1% of artists on the year-end pop music charts were female. Moreover, females only represented 26.2% of credited solo artists. Going farther back, from 1996 to 2016, there was a 10% decrease in the number of women debuting on country charts and a 27% drop in women reaching the #1 position. Female artists are also “receiving drastically less spins than men”, with men receiving over 5.8 million spins between 2003 and 2018, over five times as many plays as women. Just from a quick look at the numbers, it is evident that 50% of the population is drastically underrepresented in one of the cornerstones of our national pulse and culture: music.

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HYPERSEXUALIZATION The hypersexualization of women in the music industry is nothing new; all throughout history women have been oversexualized in an attempt to sell products (or, more often than not, simply as a way to appeal to the male gaze). While this is detrimental to women all over the world, in every career industry, women in the music/entertainment industry seem to struggle with this even more than others. More often than not, female musicians’ bodies are brought to the limelight more often than their actual music or work.

BIASES IN THE TREATMENT OF WOMEN In my research, I found a clear thread that weaved its way through all of the studies: women felt their opinions and actions were perceived differently because of their gender. In some cases, their male counterparts could share an idea almost identical to theirs and it would be much better received than the woman’s idea. In the field of music, women’s “abilities, competence, and knowledge in the role of songwriter or producer were doubted or were undercut by their colleagues...they had to prove their competence to individuals who might work with them”. One fourth of the study’s participants spontaneously mentioned how gender stereotypes do affect actions in the industry, and nearly a third of theme described the industry as a “boys club”. A study of 2,000 women reiterated the lack of respect and openness towards female musicians’ ideas; with the researchers stating that “a woman’s biggest challenge in the music industry today is that we must prove our competence in order to earn respect, while men are given respect until they prove incompetent”. Women “experience a number of challenges in the workplace”, including but not limited to gender bias, troubles regarding their race and ethnicity, unfair compensation, work/life impact, and slow career advancement. Over three-quarters of these women had experienced gender bias in the music industry, and just over half felt their gender had affected their music industry employment.

Artists like Billie Eilish have seen this happen to her peers and idols, and she has chosen to wear baggy clothes in an attempt to subvert the male gaze. In a Calvin Klein ad, Eilish explains that “nobody can have an opinion because they haven’t seen what’s underneath. Nobody can be like, ‘she’s slim-thick’, ‘she’s not slim-thick’, ‘she’s got a flat ass’, ‘she’s got a fat ass’. No one can say any of that because they don’t know”. Talented and accomplished artists like Ariana Grande, Taylor Swift, and Lady Gaga face sexualization on the daily in the media. Their accomplishments are dismissed, with media outlets instead focusing on their appearance. The USC Annenberg Inclusion Institute defines sexualization as being the subject of innuendo, undesired attention, propositioned, valued for their appearance, and even an awareness or fear of being personally unsafe in work situations. That said, 21% of women polled reported being victims of unwelcome sexualization, with more than three-quarters of the women reporting that they have either been the subject of or have witnessed other women be subject to discomfort in the studio. More than a third of the women stated that they had been objectified and exactly one quarter reported being the lone female or one of few women in environments populated by men.

TESTIMONIAL I had the opportunity to interview Olivia Millerschin, a singer/ songwriter in Detroit, and Shelby Benson, the lead singer of Hawaii-based punk pop band Crimson Apple. We talked about their personal experiences of sexism in the industry as well as what the biggest barriers facing them in the music industry are.

OLIVIA MILLERSCHIN In our interview, Olivia Millerschin reiterated the frustration that many women in studies spoke about. She explained that “as young women, we sometimes write off our own ideas and abilities as inexperienced and naive and dumb. But if you don’t value your ideas and abilities first and foremost, no one else will”. She further went on to explain her frustration with constantly working with men in recording studios: “Specifically in a studio-setting, I’m almost always the youngest person and only female in the room, so sometimes it can fall into, ‘Well, we’ve been doing this for far longer than you so we know best’, and maybe my idea wasn’t the best, or maybe it was, but either way, respecting and acknowledging one another should always be key”. She makes an effort to collaborate with other female musicians and producers, but who she works with isn’t determined solely on their background, gender, or race: “so long as everyone in that room is talented, respectful, kind, and has intentions that align with my own”. Millerschin makes sure “to show kindness to all, to make valuable and authentic connections, and to make music that I love,” and makes it “clear that there’s no room for stepping on toes or manipulating or lying to get ahead”. Usually, this allows for a safer and more comfortable space for her to work. However, she did mention that “the biggest barrier facing me has always been holding those values too close at times and not wanting to sacrifice them in order to work with some talented, well-connected people. I have to keep my guard up and size up a person or an opportunity instead of just embracing it in the moment”.

SHELBY BENSON Shelby Benson, the lead singer of Crimson Apple, shared similar sentiments. She explained that being an all-female band is a bit of a double-edged sword; it gives them a small leg-up being unique and sets them apart in that way, but it also means that many times, they are not taken seriously as musicians. Benson went on to explain that “people use our gender as an excuse...when we are succeeding, people say it’s only because we’re girls, not because of our talent or hard work”. She told me that because of this, the band is forced to work much harder than their male counterparts to find success. While that is obviously no easy feat, she said that she “feels like this has helped to push us to be a better band, and ultimately this has become a positive, albeit bittersweet, outcome of our gender”. She and her sisters make a huge effort to work with other female musicians and producers, not only as a way to not only create a space where everyone is safe, comfortable, and supported, but also as a way to give women opportunities to succeed behind-thescenes in the music industry. She stated that “working with people we trust has been a much more positive experience than a lot of situations we’ve been in in the past”. She emphasized her frustration with being looked down on because of her gender: “we’ve been in sessions where producers don’t even want to hear our ideas...people sometimes assume we don’t really know how to play our instruments, and are oftentimes surprised when we prove that it’s not just a ‘gimmick’”. The band is very involved in every aspect of their career, and get incredibly frustrated when their thoughts are completely disregarded in business meetings as well. While they have been in the industry for years, people are quick to dismiss their ideas because of their age and gender, and ignore the fact that they know the inner-workings of the band much better than anyone else. Female artists, Shelby says, are pigeon-holed into a very specific type of sound and that investing in all-female bands can be seen as “dangerous” because it is very much “uncharted territory”. Despite this, Shelby and her sisters explained that “we are still continuing on and doing our own thing. One day, we’d really like to see girl bands be just as prevalent as male bands”.

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ON SEXUALIZATION I spoke to both women about their experiences with sexualization or objectification throughout their careers, and unfortunately, all of them have had experiences with it. Millerschin explained that she grew up in an environment that allowed for complete freedom in the way she dressed and how she expressed her creativity. While this helped her express and accept herself and accept, she quickly found that “when you embrace your body and dress unconventionally, you’re bound to garner lots of reactions and assumptions, some bizarre and negative”. It is much easier for people to disassociate from their favorite artists when they’re far away on stage, which can in turn make them treat artists like items instead of people just like them. In response to that problem, Millerschin explained that “no matter what you do or don’t put on your body, it is yours. Your body is yours. It’s our duty as women, and as people, to call that out and make one another feel safe, loved, and respected in our bodies and individuality...we are people first, artists second, and items never”. Benson, on the other hand, has not had completely similar experiences, explaining that “we [as a band have] never felt sexualized while we’re creating our art. We have a management company that is very protective of us as women and would never put us in a position where we feel pressured into doing something we’re not comfortable with”. That being said, she explained that she has felt sexualized online. She explained that social media and the internet are vital to the band’s success, but it can also be extremely detrimental to the band’s mental state. Being able to hide behind a keyboard and say absolutely anything “makes a lot of people feel brazen enough to make sexual comments to us that they may not say to our faces while they hide behind their keyboards. We receive comments sexualizing the band or specific members, and quite a few inappropriate private messages”.

IN CONCLUSION It is difficult to see a light at the end of the tunnel when it comes to combating sexism in the music industry. The studies from the USC Annenberg Inclusion Initiative, WOMAN Nashville, and Berklee Institute for Creative Entrepreneurship all stated that there is not enough opportunity for success for women in the music industry, women are sexualized and exploited, and that female musicians are often the only woman in the room and are thus not taken as seriously. However, movements like Timeâ&#x20AC;&#x2122;s Up give us hope and guidance. Most importantly, we know that change starts with women. For us music listeners, it is time to pay attention to how we consume music. Not that all your music has to be from female artists, but it is important to include women and men who are allies to their female colleagues. For all men, be allies. Listen to women when they are trying to explain their experience, and try your best to be mindful of these testimonials. For women in the industry, it is time to empower each other. Network with each other, collaborate, build a strong alliance of talented women. It is time to rise up; it is time to rebel.

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Shining Some Light on Colony House’s

s ’ t a h W Leave d n i h e B t Los

Words by Amy Tang Gaining large momentum in 2014 with their debut record, When I Was Younger, four-piece Nashville-based band Colony House began to pave their way into the indie-rock scene. Together, the group––made up of lead vocalist Caleb Chapman, sibling Will Chapman on the drums, guitarist Scott Mills, and bassist Parke Cottrell––amassed over 25 million streams on Spotify with lead single “Silhouettes” while simultaneously landing a spot on Billboard’s Top 200 with sophomore album, Only The Lonely in 2017. Since then, the band has kept occupied with touring as both headlining and supporting acts. Accompanying NEEDTOBREATHE, Judah & The Lion, Mutemath, along with Switchfoot, Colony House has been making their way around the world. Finally, here it is at last. To kick off the new decade, Colony House returned on January 24 with their third studio album, Leave What’s Lost Behind. Complete with 13 tracks, it represents a new chapter in their journey as a band, and they’re ready to tell us another story. “Looking for Some Light” is a breathtaking opening track to the album. Bursting with heart-pounding drums and soaring melodies, the song immediately captivates listeners with every verse. The second chorus is brimming in emotions, as Chapman chants, “So come on, come on, sing it like a soldier / Come on, come on, you know it ain’t over”. His words echo over each struck chord, making quite the first impression. Continuing the momentum, the title track, “Why Even Try” and “Julia” are just as moving; both tracks are riddled with guitar-heavy sounds and uplifting key progressions consistent with the Colony House sound.

Switching up the tone, the band taps into the pop side of things, and “Original Material” and “El Capitan” have no trouble snagging the spotlight. Both are truly electrifying to say the least, as the combination of lively rhythms, upbeat choruses, and funky riffs make for the perfect head-banging tunes to dance along to. “Runaway” parts 1, 2, and 3, serve as soft simple touches in between each track, further adding to the folky aesthetic. “The Hope Inside” brings our adventure to an end. With melancholic lyrics like, “Is there something more than meets the eye / That makes all of these troubles worth it?” and “Looking for meaning in the midst of it all / Are we even listening anymore?” the band gets sentimental, touching on the anxiety and uncertainties in life that many listeners can relate to. Exploring themes of personal growth, finding purpose, and staying true to oneself despite the world’s seemingly increasing discord, it’s clear that Colony House isn’t afraid to express their opinions on this record. Leave What’s Lost Behind is a collective piece that not only showcases the range of their musicality––packed with acoustics, well-blended use of percussion, and keys––but also the band’s growth as artists, lyricists, and people. In such a demanding industry, Leave What’s Lost Behind is proof that Colony House puts their creative energy at the forefront, culminating in a record that will stay in your mind well after you finish.

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Everything Else Words by Sarah Tillet “In 2016, the UK was rocked by a seismic event...Bombay Bicycle Club went on indefinite hiatus. Without their music, British society crumbled”. This declaration begins the “Eat, Sleep, Wake (Nothing but You)” music video, Bombay Bicycle Club’s first new song in six years. As the video proclaimed, the band’s announcement on Twitter in January of 2016 left fans shocked and concerned for the future of the project. Now, Jamie MacColl even confessed that they had sold some of their equipment and had no interest in returning as a band. There seemed to be no hope for future BBC music. During their time off, the members were able to focus on their own aspirations, musical or otherwise. Lead singer Jack Steadman started his own project, Mr Jukes, which had success with “Magic” and “Grant Green” in 2017, while guitarist Jamie MacColl decided to return to university and create a BBC music documentary. So, on January 14, 2019, when the band announced out of the blue that they were back in the studio and planning a tour, fans were ecstatic—even I must admit I posted the news to all of my social medias and would not shut up about it. The 11 song, 41-minute record is the band’s fifth album, and definitely one of their best. The London quartet has enjoyed a successful career full of hit songs and sold-out tours, which makes it hard to imagine that the band formed in high school almost fifteen years ago. With all of those accomplishments under their belt, it’s worth remembering how much history is behind Everything Else Has Gone Wrong. When their debut single, “Eat, Sleep, Wake (Nothing But You)”, was brought to fans on August 27th, it immediately garnered praise from fans as well as Spotify and other streaming platforms, which heavily promoted it. Above all else, the catchy chorus carried the track to success—its carefree and lively attitude made it the perfect first single to start the band’s new era.

Their second single, “Everything Else Has Gone Wrong”, is the complete opposite. The leading bass riffs and ominous lyrics scream anxiety and overthinking. There is an apocalyptic sound to it, emphasized with lyrics like: “I can feel my mind running / I can chase it ‘till I’m seeing blood / Dark red coat on the side of my throat…” It closely resembles “Megaton Mile” by Local Natives and leaves you feeling the same way. Tracks like “Is It Real” have my heart with its ‘80s synth-pop vibe, a callback to the band’s old music. This song, in particular, reminds me of “Your Eyes” from their album A Different Kind of Fix, especially the fast drums and catchy guitar riff. “I Worry Bout You” is the perfect wake up song—a consistent beat and satisfying harmonies between Jack and Liz Lawrence, whose talented voices light up the entire album, make it a masterpiece. Their last track, “Racing Stripes”, is a softer ballad, straying away from the record’s fast-paced theme. The repeating lyrics “This light’ll keep me going / And I don’t even know wherever I may go’’ stimulate deep thought and contemplation. The song’s rawness makes it a perfect end to this heavily electronic-influenced album. Overall, Everything Else Has Gone Wrong simultaneously stays loyal to BBC’s old sound while melding new elements into their repertoire. Electronic music influences these new songs; their growth and change in inspiration since their hiatus is palpable. This album did not disappoint, rather it satisfied and exceeded my expectations. Along with this new album, they also announced a new U.S. summer tour with the support of Liza Anne. Give this album a listen, you will not regret it!

e American Authors Shot by Ellie Johnson

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THE

2010s A Year by Year Analysis

Words by Carter Kolpitcke

Well, everyone. We’ve made it. It’s the new decade, it’s officially the Roaring Twenties yet again. Looking back on the decade previous, the musical events that transpired were altogether exciting and revolutionary, yet also tumultuous at times. Let’s take a look back at the decade and see how music has changed, for better or for worse.

2010

2011

THE YEAR OF KANYE WEST

THE YEAR OF CLUB TRACKS

A lot happened this year. The transition from pop to hip-hop was slowly beginning. There were definitely high points for the year outside of hip-hop, such as Adele’s triumphant “Rolling in the Deep” or the luscious love ballad “Just the Way You Are” by Bruno Mars. Hell, I’d even argue Eminem released a pop song in 2010 (“Love the Way You Lie” feat. Rihanna). But there is one man who, I believe, stole the spotlight in 2010. Kanye West.

Quite frankly, I don’t even remember 2011. I was eleven years old, I had more concerning things going on like playing Minecraft or telling my crush I liked them during recess or something. I was a busy young man. However, after some brief research, there was one overwhelming trend I rediscovered. Club tracks.

Coming out of the 2009 VMA’s controversy, it was safe to say no one liked Kanye West. How could you? A small-town country girl with a big dream wins a VMA award for her musicianship and some drunk a-hole storms the stage to ruin it? Despicable, right? Right. It was just as bad as it sounds. However, instead of allowing his career to crumble, Kanye utilized his grievances to create (arguably) the best hip-hop album of all time: My Beautiful Dark Twisted Fantasy. Instantly, the world forgave Kanye. Yeah, he’s still kind of a “jackass” (Obama said it, not me) but who cares? Kanye’s magnum opus discussed his narcissistic flaws and his arrogant attitude, among other things. Fame, fortune, vices, and virtue are among the many themes present.

Somewhere deep in my brain, LMFAO’s two songs “Party Rock Anthem” and “Sexy and I Know It” are ingrained word for word. However, it wasn’t just the uncle/nephew duo that stormed the charts with over-bloated, bad EDM music, no no. Let us not forget “Look At Me Now” by Chris Brown, a somewhat humorous but drastically arrogant take on the benefits of being rich and famous. No one else had me singing about “getting paper” like Chris Brown did. Dare I even mention “We Found Love” by Rihanna? No, I won’t dare. I don’t know if I liked 2011. I’m sure as a kid, I found all the songs quite catchy and fun. Nowadays however, the year has aged poorly with an outdated sound that I’m glad did not catch on.

Yes, there were other tremendous songs and albums released by other tremendous musicians in 2010. But Kanye Omari West took the spotlight this year. If you don’t believe me, listen to “Runaway”.

2012

2013

THE YEAR OF POP ANTHEMS

THE YEAR THAT POP MUSIC GOT BETTER

In 2012, I was graduating from elementary school. I was becoming a real adult. I was maturing, and so was my music taste. Evidently, I refined my club dance playlists into something more artistic, per se: anthems.

This is the year it all got better, ladies and gentlemen. Before 2013, pop was tinged with this feeling of cheesiness that was both endearing but slightly child-like. In adult spaces, parents wouldn’t often associate well with popular radio stations, and who could blame them honestly?

I got broken up with in 6th grade. I was shattered. I could’ve sworn she was the one, but alas, I will always be a hopeless romantic. Thankfully, I had “Somebody That I Used To Know” by Gotye to get me through the hard times. Yes, I was very young and didn’t know what love was yet but gosh darn it, I thought I did! With Gotye’s massively successful heartbreak anthem and Taylor Swift’s electric “We Are Never Getting Back Together”, I was cured of my heartbreak. And how could I forget “Gangnam Style” by PSY? Or would you all like to leave that one in the past? Either way, the top-charting songs of 2012 were anthemic and grand in nature. Thank God the world didn’t end that year.

I still listen to “Get Lucky” by Daft Punk. Released off of their critically acclaimed and Grammy award-winning album Random Access Memories, the purely electronic track was infectious. The return of Miley Cyrus with “Wrecking Ball” had the nation on high alert, with Hannah Montana fans and new fans ready to stan the artist’s new era. This was also the year the world was introduced to the now elusive and groundbreaking Kiwi singer Lorde, with her grandiose “Royals”. There is no need to list more, I’m sure you all remember it just as much as I do. That being said, I look back at this time fondly. Pop music had finally taken a turn for the better. Page 19 | Poptized

2014

2015

THE YEAR OF THE GIRLS

THE YEAR STREAMING SERVICES TOOK OVER

This year was no different than the last, in terms of genre. The main difference was the artists. Looking at a list of the most popular songs, it is clearly evident who ran this year; who dominated the musical scene. Ariana Grande, Meghan Trainor, Sia, Nicki Minaj, Charli XCX, Taylor Swift, Iggy Azalea, Rita Ora, Tinashe, and more women ran the charts. This was a pivotal year. Sexism remains institutionalized in many industries, even today, and music does not buck this trend. There is no doubt in my mind that female artists always had and currently have the potential to release tremendous music. To see their songs and albums enjoy widespread success is a wonderful thing. I will never be able to relate to women’s everyday struggles of harassment and sexism. My heart yearns for a day when women don’t have to face these institutional barriers. Until that day, it’s important to be allies—sometimes the best thing for you to do is support them, which is what we did in 2014, and I’m thankful for it.

It probably seems like society has been using Apple Music and Spotify forever. How did people listen to music before their creation? Was music even a thing before them? Of course, there were online services to listen to music in the years prior. iTunes and Pandora were major computer listening services, but Apple Music and Spotify had yet to run the musical space. Until now. Looking at the list of most popular songs in 2015, it’s easy to pair the songs with streams. “Hotline Bling” by Drake, “See You Again” by Wiz Khalifa, “The Hills” by The Weeknd and “Hello” by Adele just to name a few. My most vivid memories from this era involve me playing the pop radio station in my hometown and one of these four songs being played. Apple Music and Spotify rose to the forefront of music listening at this time, streaming was the new game. The more streams, the more radio play. It’s a simple formula that today’s artists still follow. Nonetheless, despite the annoyingness and repetitiveness some of these songs represented, they left a huge impact on the music culture of America, and the way we will create and consume music for years to come.

2018

2019

THE YEAR OF DRAKE

THE YEAR OF TIK TOK

With the takeover of hip-hop in the mainstream, one man soared above and beyond in the streaming world. Some may know him as Aubrey, others may know him as Drizzy, a select few might know him as October’s Very Own. The king of streaming and hit-making, Drake, ran the show in 2018.

With this year still fresh in our minds, it’s easy to take a look back. 2019 was certainly a good year for music. Plenty of fantastic albums and songs were released. Tyler, the Creator blew us all out of the water with IGOR. Vampire Weekend returned from their hiatus! Alas, those aren’t the highlights. No, no. What would 2019 be without the infamous Tik Tok songs?

I don’t mean to sound like a Drake superfan. I promise I’m not. There is no denying, however, how large Scorpion was in 2018. Perhaps Drake’s biggest song to date, “God’s Plan”, hit the charts this year. Perhaps Drake’s best song to date, “Emotionless” landed this year. Perhaps Drake’s most annoying song, “In My Feelings” landed this year, not to mention other hits off the album such as “Nice For What” and “Elevate”. Not only did Drizzy shine on his solo projects, but he also excelled with features. “Look Alive” by BlocBoy JB, “Yes Indeed” by Lil Baby, “Sicko Mode” by Travis Scott—they all featured him! The list goes on and on and on. There is no questioning who the biggest artist of 2018 was, Drake ran the show like no one else. Oh, we also found out he had a son. Thanks, Pusha T.

Don’t get me wrong, I love Tik Tok as much as the next guy. It’s tremendously fun to scroll for countless hours in the middle of the night. That being said, Tik Tok had a very powerful grasp on the music industry this past year. Many songs that enjoyed success became popular on the app—ruining their artistic reputation. At the same time, many songs that weren’t popular became popular because of the app—providing countless opportunities for small artists. To name a few, “Roxanne” by Arizona Zervas, “The Box” by Roddy Ricch, “Slow Dancing in the Dark” by Joji and “Mo Bamba” by Sheck Wes were songs caught in the Tik Tok tornado. It’s not a bad thing, just an interesting turn in the industry. Also, “Old Town Road” by Lil Nas X dropped that year. I’m sure you didn’t forget about it.

2016

2017

THE YEAR OF THE BEST SUMMER EVER

THE YEAR HIP-HOP TOOK OVER

Everyone everywhere talks about “summer 2k16”. Frankly, I don’t get it. Every summer has the potential to be the best summer ever with the right mindset. That being said, this summer was one damn good summer for music. I’m talking for pop and hip-hop alike. Life was simpler back then.

This is the most important year out of all the years that have existed ever. Jokes aside, I am quite serious about this. In 2017, hip-hop for the first time ever surpassed pop music in terms of popularity. Hip-hop is, technically, the new pop music. That was a big deal.

Pop icons such as Ariana Grande, The Weeknd, and Sia all released albums that year. Phenomenons such as Frank Ocean and Rihanna released projects now considered classics in the eyes of cult fans. Kanye West released his highly streamed The Life of Pablo. We had arguably the best XXL Freshmen list ever with Lil Uzi Vert, 21 Savage, Denzel Curry, Kodak Black, Lil Yachty—the trailblazers of Soundcloud rap if you will. Lil Dicky was there too, I guess. Oh, and how could I forget the smash hit “Caroline” by Aminé. It was all just too good.

A predominantly black field of artists led the charts in America, a country once (and arguably still) marred by racism and hatred. 2017 exemplified how far society had come. Not to say there is still a long way to go because believe me, there is. But, similarly to 2014, having a year so dominated by a historically marginalized group of people is grounds for celebration.

Realistically, I know other summers have been great for music. Every year has great music. Sometimes it’s just harder to find. But for one magical three month period of 2016, we all collectively indulged in some of the most fun, most innovative, most riveting music of our lives. Hopefully one day we can recapture that magic. Hopefully.

I can’t stand on that soapbox for too long, I’m merely an appreciator of the arts. However, I feel good knowing I was a part of it, as a listener. You all should too. It’s a big deal. We, the listeners, have the tremendous power and gift of pushing music in whichever way we want—I’m beyond glad we chose hip-hop.

The Recap I’ve enjoyed this decade of music. It’s been an interesting journey, to say the least. I’ve gotten through the hard times and the great times with the aid all the artists listed today. Some of my greatest memories involve songs discussed today. Some of my worst memories involve songs discussed today. The 2010s will forever hold a special place in my heart. I can’t wait to play “Magnolia” in the car with my kids. They’re going to find out that dad has a killer Milly Rock.

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MAC

FINAL

MILLERâ&#x20AC;&#x2122;S

STAND

Words by Carter Kolpitcke In late September of 2018, the world stopped spinning for a moment—one singular moment. I remember where I was. I remember how I felt when I heard the news. Mac Miller, the musician, the artist, the multi-instrumentalist, the frat-rapper, the kid from Pittsburgh, had died at the age of 26 due to a fentanyl-laced cocaine overdose. It was well known that Mac had been dealing with drug addiction and abuse for some time. However, the release of Mac’s magnum opus, Swimming, and its lyrics and sentiment seemed like a change in pace for Mac—for a brief time, it seemed like he was okay. “I was drowning, but now I’m swimming”, he gently crooned on the projects opening track, “Come Back To Earth.” This line, among others, added to the general theme of persistence, overcoming self-doubt and regaining control of the ability to breathe— when sometimes it feels impossible. Little did any fans know, Swimming was merely part one to the story of Mac’s self-discovery. On January 8th of 2019, Mac Miller’s estate released a statement on both Mac’s main Instagram account (@macmiller) and a new account, @92tillinfinity. According to the statement, “Swimming in Circles was the concept”. Jon Brion, a multi-instrumentalist and record producer, had begun work on the project with Mac prior to his passing. His statement implied that at the time of Mac’s passing, the album was near completion with little producing/mixing/mastering left to be done. In which, Brion carried on the torch to complete the project “based on his time and conversations with Malcolm”.

“Good News” was the first and only single released for the project on January 9th—just a day after the released statement. Having been released prior to the full album, the line “there’s a whole lot more for me waitin”, is a haunting foreshadowing to the rest of the project. Evident in the response to Circles, there was more for Mac. The track received high praise and provided a sturdy foundation to what we know now as Mac Miller’s final musical venture. And here we are. At the time of writing this, it is the morning of January 17th, Circles has been on repeat for me all day and night. I felt an overwhelming feeling of sadness after my first listen. Prior to Mac’s death, many believed—including me—that he was reaching an artistic peak. His growth from his debut, Blue Slide Park—a frat-rap experience of bombastic flows and boom-bap rapping to Swimming—a smooth R&B infused hip-hop experience with a heavy focus on instrumentation and picture painting, was astronomically large and impressive. Based on my first impression of Circles, Mac had more musical steps to take. His musical arc was near its plateau and my heart broke knowing he wasn’t here to complete it. Circles is a lo-fi experience starkly different from any other Mac Miller project. The album’s title track consists of a gentle bass beat and a beautiful melodic guitar; its atmosphere is remarkably cinematic though drastically simplistic. “Well, this is what it look like, right before you fall”, Mac sings. I couldn’t help but think of the eeriness, almost as though he is singing from the dead.

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I felt like a mere observer to a dialogue Mac was having with himself. The following track, “Complications”, elicits a similar feeling. “Does it always gotta be so complicated?” he questions several times throughout the track. Mac lived a hard life; struck by drug addiction early into his career, he has always been playing catchup. That can be frustrating. Dealing with constant complications on a path to success is tiresome, as I’m sure he was. Though Mac was tired, he was no quitter. Opening with a sampled snippet of “It’s A Blue World’’ by the Four Freshman, “Blue World’’ reassured me of Mac’s perseverance. Several times throughout the song Mac exclaims “don’t trip”. I, myself, try to follow the same mantra. It’s okay to have negative thoughts, but it’s empowering to push through them. Since the release of Swimming, Mac has been a beacon of support for me. When I listen to his music, I feel like he’s talking to me. I feel like he is a friend I’ve never met. Though I never said anything to him, I feel like he’s heard me. He listened to my problems and “Blue World” is his answer to my troubles. Most of Circles feels like a conversation with the listener. The way the album plays out retroactively seems like Mac is knowledgeable of his own passing, and this was his way of comforting everyone. During “Everybody” (an interpolated cover of Arthur Lee “Everybody’s Gotta Live”), Mac sings, “everybody’s gotta live and everybody gonna die”. For me, this was the hardest line to hear. The final stage in the grieving process is acceptance and it felt like Mac told us to just accept it. This wasn’t the first time he made the listener feel this way, however. Earlier last year, Mac’s second posthumous verse on the 88-Keys song, “That’s Life” discusses the same harsh reality. There he says, “everybody live a little, everybody die”. In both cases, my heart wrenched.

The entirety of Circles is stained by Mac’s untimely passing. Recurring themes of depression and growth are clouded by the unchanging fact of this tragedy. “Hand Me Downs”, a ballad to Mac’s future family and kids, feels like a punch in the throat. This is merely one of the many examples of dark irony throughout the record. Mac sings of growth and prosperity in “Surf”. Again, the unfairness of it all is evident. The entirety of Circles plays out like some cruel joke, torturing the listener, the fans, into some false sense of security. Several times it felt like Mac hadn’t died. But don’t get me wrong, despite the tragedy behind the record, this is undoubtedly Mac’s best album. The final track, “Once A Day”, feels like a final goodbye. Discussing his drug usage and his clouded head in his final musical moments, Mac laments on the remaining state of his mental health. He pleads, “but every now and again, why can’t we just be fine?” And just like that, the last notes ring out, and I’m left alone in my room once again. I think it’s important to note, if y’all would allow me to break the traditional writer-reader separation, at the time of finishing this article it has now been over a week since the original release. I started this piece the day of its release and am finishing just now—simply because I couldn’t wrap my head around the totality of Mac’s final stand. Frankly, I still don’t know if I did—I don’t know if I ever will. Which is okay. Just as Mac received no answer for his plight, I shall receive no answer for mine. Walking away from this album, I feel full and empty all at once. I couldn’t have asked for a better posthumous release, but it’s hard knowing this is where Mac’s progression ends. So much was left for Mac in this world. No matter where he is, I hope he has found peace of mind. If anyone deserves it, Malcolm James McCormick does.

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Photography and words by Jennifer Nguyen Going from your favorite unsigned band to now your favorite signed band, PUBLIC have won the hearts of us all. Originating from Cincinnati, Ohio, PUBLIC consists of Ben Lapps, John Vaugh, and Matthew Alvarado. Currently on tour with Magic Giant and American Authors, I got to sit down and talk to them about tour, what they do in their free time, what being signed to a label is like, and even about some of their current favorite songs.

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How is the tour going? John: It’s good! Magic Giants and American Authors are both really nice. The guys are really cool. There’s a lot of brotherly love. Matt: It’s also been very tiring. A new element in the tour is the radio station stuff. We’ll do a lot of traveling right after we play. We can’t even see the fans that are out because we have to go to the next city immediately. It is great for us since we want to be grinding and working as hard as we can but at the same time, we’re getting less sleep. We’re still driving ourselves in the van. It is very rewarding but very tiring. John: It is our first tour where we, in a way, have more going on outside of the tour—from a marketing perspective and with the single. Usually, the tour is our only focus, but this time we are trying to do social media stuff, there are videos being released, and tv spots that we’re trying to book. It’s all new for us. Matt: As John likes to put it, they’re champagne problems. John: Yeah, they’re good problems to have. I’d imagine that touring and making music would be super fun but exhausting. Is there anything that y’all enjoy doing in your spare time?

I haven’t picked it up in a while, but I got it fixed before the tour. Every five days, I’ll pull it out and fiddle around with it. Other than that, there’s really not much time. John: Yeah, that’s the challenge, thinking to yourself, “What’s a small thing I can do?” We have to find things like TV shows or Duolingo, it’s not like we can travel or anything. It’s about just finding the small things. What is your favorite part of the music process? Ben: I like the balance of it all. Whenever you get too heavy on one part of the process, it gets a little bit old. For instance, if we’re on the road a ton, I’m really anxious to get back in the studio and start writing and recording again. But then when we’ve been away from the road for a while, touring sounds amazing. I think it all really balances out. I really love the whole part of it. Matt: I agree. It’s the difference between physical and mental fatigue. The physical is the tour life and the mental is in the studio writing songs. This is the first time that we’re doing both things at the same time. We did a show in Austin, Texas and then flew out to LA while our tour manager and photographer drove to Phoenix. We wrote a song out there on a single day and then flew back into Phoenix. A lot of things are going on. Like Ben was saying, the balance of it all is really great. Going back and forth from being in the studio and doing the creative process and then just going and playing your heart out, it’s very fulfilling.

Matt: Nap. John: I think I value escapism a little bit more on this tour. I have just started trying to learn Italian on my phone. It’s a different language and it’s really cool. Also, a couple of days ago I started to rewatch the Clone Wars series, the animated Star Wars series on Disney+. I watched it a few years ago. I’ve been thoroughly enjoying it. Ben: I like to read a lot, I’ve read two books so far. I’m on my third book of the tour and it’s the longest one. That’s my go-to when we have a long drive or something and its daylight and I can see. I lovwe to read. Matt: We’ve been doing a lot of working out when possible and stretching. I try to at least stretch every day. I try to practice my saxophone I brought with me sometimes.

John: This is the first time that we’ve been firing on all cylinders. We have studio time, we are promoting a single that is currently growing, we are on tour, doing photoshoots. It is our first time in our career as a band that we have everything cranking at once and it makes you appreciate the other things going on. When I’m in the studio, I appreciate the stage a lot more and vice versa. Matt: Because we have a label now and because we have a really great management team, we know what’s going to be happening days and weeks ahead. It’s not like we’re going to finish the tour and have to question what’s next. Everything is known now. John: We have a little bit of a schedule, which is great.

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What are some of your current favorite songs? Matt: I’ve been listening to “A Kiss” by The Driver Era. We just got off the road last year. They put the record out a few months ago and they’re about to go on tour again. I think “A Kiss” is a great song. John: On the way here, I was editing this one playlist I have that is my “Make Sure I Don’t Lose This” playlist. It’s just a bunch of random stuff, but I added a few songs. “Bad Bad News” by Leon Bridges has been a band jam. The Madison Beer song that just came out yesterday, “Selfish”, is great too. I had never listened to her before in my life, but it’s such a pretty song. “Run” by Joji, it came out a week ago, that is a great track as well. Ben: There’s this Japanese band called Kirinji and they put out a record late last year. That’s been a constant for me. Specifically, the song “ Killer Tunes Kill Me”. What can fans expect to see from you this year? John: We’re writing a lot, we’re still in the beginning stages of it. We’re still preparing for what our next release is. We don’t know if it is going to be a single or a body of work. It’s the first time we ever tried to plan something like that out with a label, so it’s a conversation that’s happening in the background of all the touring. Matt: The timeline is unknown since “Make You Mine” is still growing which is hard for us to even wrap our heads around. That song still has some life left as the center of attention, but we cannot wait to get the new music out. The biggest thing is that the label isn’t just telling us things to do, it’s a very collaborative process. We’re excited. Check out Public’s latest single “Make You Mine” available on all streaming platforms now.

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ROLE MODEL Photography and words by Emma Sophia Valles Tucker Pillsbury, better known by his stage name ROLE MODEL, proclaims on his Twitter bio he’s far from perfect. Nevertheless, that supposed imperfection has not prevented his rise in the music industry. From his humble beginnings with his first EP, ARIZONA IN THE SUMMER, ROLE MODEL has amassed many thousands of fans, millions of Spotify streams, and performed at Lollapalooza in 2019, all within a few years. His newest EP, oh, how perfect, is a paragon of juxtaposition. Melancholic lyrics are set against a fresh, pop-filled musical backdrop, delivering both bangers and ballads. This summer, he is set to embark on a tour around North America with Lauv, but before then, Emma was able to sit down with Tucker to talk about creating music, touring, and his bright future. Are you ready? Tucker: I’m ready. Your EP, oh, how perfect, is very vulnerable. Is it usually hard for you to write like that? No, because when I’m writing the songs, there’s no one else in the room. And I think that having songwriters and people and producers in the room while you’re writing these songs can keep you from saying those things and being that vulnerable. So, I think just being in the studio alone makes it easy to just say anything. I’m not opening up to anyone at the moment. When I actually release the songs, for sure. That’s a little bit scary at the moment.

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Has there been any specific song that’s been hard for you to write, physically or emotionally? Tucker: I think “six speed” was tough. That wasn’t on the EP. “six speed” was a tough one though. That song was about things that happened that same day, and it was just a brutal period. But “gucci chair” was tough, too. I was very, like, self-confrontational. Self-confrontational? What do you mean? Tucker: Yeah. It’s just super confrontational, like I was yelling at myself. So that was cool. Those two were definitely a little bit difficult to write. What was the process of writing your EP and what were your intentions for it? Tucker: Kind of the same thing where I’m in the studio writing alone. And so you get those really vulnerable, usually pretty sad lyrics. And then the idea was to bring in A producer for those songs and disguise it as beautiful and upbeat EP. That contrast is always the aim.

Yeah, like “Let’s make this a pop hit!” Tucker: Exactly. I love that. And I think that one works really well so I was really proud of it. What was the purpose behind having “thank you for coming” at the end of this EP? Does that hold a different significance when you play it live? Tucker: Yeah, I kind of knew that that was going to be the outro of some project. I didn’t know which specifically. But I thought it would be the perfect way to end that EP. I definitely kept the live shows in mind because I had just come off the tour with LANY when I made that. I got a taste of that crowd engagement and so I was like “This has to come out now on this EP”, because I could see what it would do in the live setting. So yeah, I think the live shows after being on the headline tour are definitely influencing the music. Are you excited to go on tour again? Tucker: I can’t wait. It was honestly one of the best ones.

What’s your favorite song off of it?

How was your headline tour compared to that?

Tucker: “that’s just how it goes”. I love that song. Because that’s exactly what I just described. It’s a very unfortunate song about accepting love doesn’t last and I was like “Let’s turn up the BPM on this sh*t”.

Tucker: It was amazing. It was really cool. I got to bring three of my best friends. I think that that is the most important thing because honestly, I could have kept doing it for a month just because I had them. Going on tour without people like that would make it feel like work, which is not what I want.

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Going more into the creative side with your visuals and music videos, did wanting to pursue film in the past have any influence on those projects? Tucker: Definitely, because I’ve always wanted to make films. I still have the same passion for it. Music definitely took its place but I still get to enjoy filmmaking. Music is really sick because it gives me a platform to still make films and write these music videos and bring those things to life. So yeah, it definitely plays a part in all the visuals. How did your life go from film to rapping to singing? Tucker: I went to school for film. That’s what I always wanted to do. But I found these two kids that rapped at the end of my freshman year and they brought some microphones to my dorm and downloaded Logic on my laptop. And they left all the equipment and I just started playing with it for the next two weeks and just like, stopped going to class and fell in love with it. I watched all the YouTube tutorials and I started playing with melodies and stuff and started singing and taking actual songwriting more seriously. And now we’re here sitting on this bench. What’s the biggest thing you’ve learned from that process? Tucker: I don’t know, it just seems like it’s always going to keep evolving. I’ve had many passions throughout my life. It went from painting, to photography, and then video. And then I found music and this has lasted the longest, so I think that says something, but I do wonder what the next phase will be. You never know.

Who are your musical inspirations right now? Tucker: As of recently, I just started getting into The 1975 and it has already influenced a bunch of my songs. I listen to a lot of rap as well. The new music is going to be a cool mix, but specifically, I would say The 1975 and Roddy Ricch inspire it. You mentioned Roy Blair earlier and he’s a huge influence of mine too, I’m obsessed with Roy Blair. His last EP was amazing. What else can you say about your new music? Tucker: I think it’s showing another side while still being the same. I’m the same person and I’m going through the same things I have been going through. But the way the lyrics are being delivered is going to be a lot different. And there’s going to be a lot more of rap influence in it, which I’m excited to bring that back now that I’ve grown up a little bit. Yeah, it’ll be cool. I think that’s all I’m gonna say. What are your goals for this year? Tucker: It’s super weird and so specific but for some reason, I’ve always wanted to headline the Metro Chicago. So hopefully by the end of the year that would be a possibility. I don’t set goals for myself but while I was on tour doing a Q&A, someone asked me what my dream venue would be and I just said Metro Chicago. What does the future hold for you? Tucker: That’s a great question. I don’t know if I have an answer for that. Hopefully, just happiness at some point, more success, and I really can’t wait for people to hear the new music. Check out Role Model’s EP oh, how perfect available on all streaming platforms now.

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Jordana Photography by Mel Mercer Words by Matt Monroe

Jordana has been on my radar for a hot minute, probably because we’ve been mutual followers on Twitter for said minute. Now signed to Grand Jury, she’s got a re-release of her debut album, Classical Notions of Happiness, on the way that includes three new tracks. Growing up in North Beach, Maryland and now living in Wichita, Kansas, Classical Notions was recorded entirely by Jordana over 2 years between Kansas and New York, and serves as a musical bookmark documenting this time of transition. It’s an album marked by new love, the passing of friends, and the search for something new.

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To start things off in relation to your new single “Signs”, do you have any beef with Pisces?

You’ve just signed to Grand Jury, how does it feel to be a part of their team?

Hell no! Every Pisces friend I have I vibe with, haha.

It feels great to be on board with the friendliest, most artistic people who understand my vision and want to help me pull it together and continue to speak and create. I was skeptical at first about labels because I felt in order to feel any sort of accomplishment from my work, it needed to be solely from me. I found this is actually really difficult, especially in the funk of writer’s blocks; lately, I’ve been meeting so many people who are helping me open up my own creativity and I’ve discovered that I can do a whole lot more than I thought. Sometimes an extra, external push is what you need. On the other hand, it is also so cool to be on this label with other really awesome bands and artists I look up to like Samia, Twin Peaks, Hippo Campus—it’s crazy cool.

What are your top three and bottom three signs? For my top three, my girlfriend is a Capricorn (and as it turns out we are actually compatible in that specific way, relationship-wise), other Cancers are nice to come by, and I tend to vibe with Tauruses as well. Bottom three, not sure of a third one, but mostly Leos and Geminis.

The album title is pretty loaded, how would you describe these classical notions? I would describe each of these songs as these notions, ways of coping and overall dealing with the fluctuation of happiness in my life and just life in general. Some songs are for the low lows, and some are high highs, and a lot of in-betweens. Themes like loss, the craving for validation in different forms, and being in love all permeate. If this is too personal feel free to not answer and I can cut this out, but what was the moment where you realized, “Oh, something’s not right”, with regards to your mental health?

Would you say the accessibility of music in the age of streaming services affected your style of music and how so? Definitely. I’m lucky to be making music in this day and age and being able to upload different types of genres, whether singles or albums. Having some spots on different playlists and just having them in online stores is great—digital is the new wave; it’s never been easier to listen to music. And it’s nice to experiment with different genres and see how people respond to them on the streaming platforms. Alright, now for a couple of fastballs. What was the first CD you bought on your own or first album you illegally downloaded?

TW: ED, body image, depression warning. I think I started realizing something was wrong at 14 when I became really conscious about my weight. I began starving myself at that age, and I definitely developed some type of body dysmorphia. Every time I would look in the mirror, I would think, “This does not look right at all. My whole being is so weird and abnormal”, like, “this is not how a body is supposed to look”. I would check the scale every day and just look in the mirror and pretty much see a Roblox character, for real. I still struggle with all of this, it’s not as loud in my head as it was in the past, but it’s still there every day. It just helps to know that I’m not alone in thinking all of this (it’s kinda f*cked that I peruse memes about it online, but it’s honestly comforting that people have the same relationships with their bodies).

I am not for sure about it, but I do remember being very excited about ordering Tourist History by Two Door Cinema Club. Around that same time I also ordered a CD of Shields by Grizzly Bear. What’s your favorite piece of musical equipment? Definitely my MPK Mini...can’t make beats without ‘er! Are you a member of any artist sh*tposting Facebook groups and if so, what’s your favorite? I am not apart of any Facebook artist sh*tpost groups (I would love to be recommended some), however, I am apart of a Life Is Strange fan club. Last album you bought on vinyl?

Yeah, pretty much from there, my mental stability dropped, I started taking a lot of things personally, overthinking everything, coming home from school and crying for no reason. Through school, there were some traumatic events that took place that definitely affected my mental health even more, some of which inspired some songs on the album. I’m thankful that I had music as an outlet and friends who went through the same thing. Finding good coping mechanisms and support structures is essential.

I can’t really remember the last album I bought on vinyl, but the last album I received was the last time I went to LA. I visited George Clanton and he gifted me a 100% Electronica vinyl along with a Slide vinyl and I am still in shock. Classical Notions of Happiness is out March 27th via Grand Jury. She’ll be on tour opening for TV Girl this summer.

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GOING BIG WITH g n a G at

e M y Tin

Photo and words by Emma Sophia Valles

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S G N I K T R O H S P U E RIS Together, Canadian-descended Cody Ko and [REDACTED]-descended Noel Miller make up Tiny Meat Gang. The self proclaimed “Short Kings” have taken the Internet by storm, creating music, YouTube videos, and a podcast under the aforementioned name. With millions of YouTube views, Spotify streams, and subscribers across the board, they have proven that it’s not the size of the boat that matters, but the motion of the ocean (and being deliriously funny doesn’t hurt either). They are currently touring around Europe and plan to bring their talents back to the States with a fall tour at the end of the year. In the meantime, you can listen to their podcasts on multiple platforms, follow their social medias, and stream their newest song “Broke B*tch”. Ready whenever you guys are. Cody: What’s up? Wrong interview. Sorry. So you guys are doing the interview yourselves, congrats on getting signed! Is getting signed going to influence the direction of the music you guys put out? Cody: Yeah, now it’s all gonna be about like, being rich. Noel: About having made it and being out of touch with the rest of humanity. Is that what inspired the new song? Cody and Noel: Yeah. Yeah. Cody: Although I’m going to say our new song is probably the least jokey one yet. Noel: We’re still gonna write 20 records and just have one. Cody: Yeah, we’re just going to do exactly what we would’ve done.

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TINY MEAT GANG

TINY MEA

What inspired the creative direction for the new song? It's different from what you guys have put out in the past. Noel: Ah, I don't know. Cody: I think it's like whatever happens in the session and our producer started making that beat and it was just a little bit weirder than stuff that we normally use. And it just kind of inspired us to try a different style. Noel: Yeah, I think now we just try to be open when we work on music rather than thinking: “What's gonna be good on Tik Tok?” and all of a sudden marketing like that. Initially we think: “What's going to be fun for us?” And as long as we're having fun with it, I think other people enjoy it. Are you guys hoping to blow up on Tik Tok again, since Walkman did pretty good on it? Cody: If it blows up on Tik Tok, I won't be mad. You’ll start the trend. Noel: I will not be upset if they make a Tik Tok with our new song. Cody: You don't have to but, do it. Cody, you said you wanted to produce more. Have you been doing that with the new stuff? Cody: The newest song is produced by Diamond Pistols. And we've been working with Spock again a lot. I've been making some beats and I think some of them are good enough now for us to actually use. So maybe if we do like a full album or something, I’ll sneak a track on there. We'll see.

INY MEAT GANG

TINY MEA

AT GANG

TINY MEAT GANG

AT GANG

TINY MEAT GANG Page 47 | Poptized

And with regards to songwriting, how does that go? Does that start as a bunch of jokes or do you guys actually sit down and meticulously plan it out? Noel: Usually we’ll listen to a track. It just depends. Sometimes they have a funny premise or a certain vibe and we’ll make something oriented towards that premise or vibe. If it passes the vibe check, we kick things off. From there, we piecemeal our songs. We might start with the chorus, or one of us might write a couple of lyrics and then we say, “Oh, it could be funny if this song went in this direction”. I think these days we take a little bit more time. Before we used to just go in, record the verses and be done. Now we kind of record a piece, think about it and let it marinate. What’s been the most fun song to make?

Noel: “Walkman” is interesting because we almost didn’t finish that song. Wow, and look where that song has brought you now! Noel: Cody and Diamond Pistols had to convince me. They were like, “Let’s just do it man”. And I was like, “Alright”. Cody: He was like, “I’m tired dude, I can’t”, and I’m like, “It doesn’t have to be f*cking Shakespeare. Alright? Just write two lines”. Noel: Those three tracks definitely stand out.

Cody: I think the most fun we had making a song was “Stay Safe”.

On the podcast, Noel, you mentioned that you fear that your music is going to become serious now that you’re signed, rather it being a fun hobby. Do you still think that?

Noel: Yeah, definitely.

Cody: Did he say that?

Cody: We made that in one session and everything just flowed. The beat was perfect and we just wrote really funny lyrics. One or two takes and it was done and we were like: “This is awesome”.

Noel: Maybe I did. Yeah.

Noel: It was during summer too. It was a good time. Cody: “Walkman” was fun too. Noel: Yeah. “Walkman” was great. And even “Short Kings”. Cody: That was a lot of fun too.

Cody: I don’t know, I think there’s a lane that we’re in that we’re just going to continue driving down. I feel like the tracks constantly have this dissonance that makes you think “Wait, why do I like this? Why am I listening to this ironically?” We’ll just continue doing that. Continue confusing people. Noel: I think that on the side, I’ll plan on just having fun writing like, some random sort of nonsense music. I think as far as TMG stuff, I think we’ll try to be as serious as we can be before we look at ourselves and go, “That’s too much”.

TINY MEAT GANG TINY MEAT GANG TINY How have you guys managed to balance everything you do between YouTube and the podcast and music and the Real Bros? Noel: It’s hard. Cody: It’s definitely hard. But I think a big part of it now is learning how to work with other people and trusting people to do certain jobs for us. Like finding editors for the podcasts and stuff like that. Just managing our time better.

little bit. We experimented with a few things and that was a lot of fun. We wrote a couple songs just for the show and they seemed to go over well. So I think we’ll just continue to experiment with music being a part of the show. Because right now it’s a mix and I think just balancing out that mix is crucial. Music was kind of a minor part of it at the beginning and I think we want to make it a bigger part. Cody: Yeah. And I’m excited to see our fans across the pond. Noel: Yeah. That part of it is the craziest, just being able to see all these people who aren’t in LA.

How does that all play in when you guys are touring? Is it harder to find time to do these things?

What can you tell us for the future of TMG? Anything you can share?

Noel: Definitely. But I think from touring a lot last year, we learned that we need to be ready to put stuff out. So, I think we’re handling that better already this year. I think this year it won’t be as much of a learning curve. Whatever we missed last year, we’ll make up for it this year.

Noel: I think right now, we’re just focused on doing what we are committed to in the way of music. And just growing. I think every year we do a good job of looking back and saying like, “All right, we could do this better and we can do this and take more risks”. I think we’ll just keep on with that.

Are you guys excited for the tour? What can you tell us? What do you have in store?

Check out Tiny Meat Gang’s latest release “Broke B*tch” now available on all streaming platforms.

Noel: So, our New Year’s Eve show, we kind of shot from the hip a Page 49 | Poptized

Sawyer Shot by Abby Stanford

YBN Cordae Shot by Terence Daniels Page 51 | Poptized

BIRDS OF

PREY A REVIEW

Words by Alexa Mancilla I hated Suicide Squad. However, I absolutely love Margot Robbie. That love trumped my hatred for the film that introduced cinemas to Robbie’s Harley Quinn; I decided I had to see Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn). I went into the movie with mixed feelings—the movie was being directed by a woman and had an amazing cast, which was super exciting. However, I had never really liked DC movies before and wasn’t sure that this one would change my mind. However, as soon as the film started, I knew I was in for a wild ride, to say the least. Everything about Birds of Prey was perfect. The cast was electric. Margot Robbie shined as Harley Quinn, Rosie Perez was absolutely badass as Detective Renee Montoya, Ella Jay Basco stole the show as Cassandra Cain, and it seemed as though Jurnee Smollett-Bell and Mary Elizabeth Winstead were born to play Black Canary and the Huntress (respectively). Not only was the cast incredible, but the film’s soundtrack was absolutely awe-inspiring. A good soundtrack can really make or break a film, and this one made it. It’s been on repeat since I got out of the movie theater and it just reminds me of every incredible and empowering aspect of the movie. The film itself could have very easily leaned on sexist tropes (like Harley’s character did in Suicide Squad), but with a female director like Cathy Yan, the film’s feminism was what shone through the most. I didn’t think a movie following one of Gotham’s favorite antiheroes would have me leaving the theater feeling so empowered, and yet, I walked out with my head held high, feeling like I could accomplish anything.

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Photography and words by Emma Sophia Valles Fashion Jackson (in their own words) makes music you can twerk to. Their newest album, Gossamer 2, melds interesting electronic flavor with a delightfully raw rock sound to create an exciting and fun record. They are currently touring around the West Coast, but before they left, Emma was able to pick their brains about creating their newest project, opening for The 1975, and their ultimate goal, world domination.

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x x

“NO CONNECTION TO THE DINOSAUR, BUT IT ALL KIND OF FITS.” What inspired the band’s name and how does that tie into the use of the dinosaur? The band name is kind of just some fun nonsense we came up with out of equal parts boredom and desperation. No connection to the dinosaur, but it all kind of fits together in a nice way. How have you progressed and grown as a band since you started playing together? Thinking back to the very beginning, I’d say in almost every way possible except for maybe personal hygiene? Right now, this feels somewhere in between being a completely different band than the one we started and being the obvious and direct result of all the music we made and experiences we had early on. We’ve really learned to lean into feelings of discomfort when it comes to creativity, and I feel like we’re a lot more focused and unique than we were two years ago. What was the process of writing Gossamer 2 like? We wrote the majority of the album on tour over winter 2019, setting up a little mini studio in our rooms whenever we could. I feel like we kind of broke down and rebuilt everything we’d learned before about songwriting--we just wanted to be as free of restriction as possible and make music that would inspire us to be vulnerable and honest. What were the inspirations behind the sound and musical direction of it? Honestly, there are so many little sonic references in that album that answering this question would be a really long and probably boring essay. I think the entire record is a testament for our intense love of making music and the joy we get from exploring different ideas.

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WORLD DOMINATION

X How did it feel dropping an album on the same day you opened for The 1975?

What else does tour have in store for fans? Are you excited?

Honestly, we were so wrapped up in the surreal nature of that entire night that I think we all forgot we’d put a record out until the day after.

Our best live show ever and then some. Cool outfits. Jake sings quite a bit more now and he has a lovely voice. What does the future hold for Fashion Jackson?

What are you excited to play live off the new album? “Disco Junction!”

Eventually, death. Hopefully world domination somewhere in between then and now.

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The WLDLFE Shot by Abby Stanford

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POPTIZED MAGAZINE

Poptized is a canvas for the uncontrollable. Our souls, brimming with passion and desire for expression, paint an illustration that encapsulates the world we want to live in through our art. To us, music is a catalyst for creativity â&#x20AC;&#x201D; it motivates us, inspires us, and changes us for the better. We are more than willing and absolutely unafraid to express how music impacts our lives. And in this pursuit, we hope our introspection on art can have a similar effect on yours.