MUSIC Lil Nas X’s debut album “MONTERO” is an experiemental foray into pop music B4
MUSIC Velvet Underground tribute album offers a fitting ode to the legendary rock band B6
NEW RELEASES BTS and Coldplay join forces for their new single “My Universe” B8
October 1, 2021
Turning the Page: The Rise of BookTok
Book reviewers on TikTok are revolutionizing the literary scene for old and new titles alike
Ava Culoso and Katie Kalhorn Hoya Staff Writers
ILLUSTRATION BY: ALLIE YI/THE HOYA
The Next Literary Frontier: Book Reviews Fly Off the Shelves on TikTok On BookTok, a side of TikTok where creators review books, fans of romance and fantasy novels have propelled several older titles to newfound viral fame. Ava Culoso and Katie Kalhorn Hoya Staff Writers
For many people, the once-extensive process of searching through novels at the bookstore and scrolling through Goodreads reviews has been revolutionized by the TikTok algorithm and a new wave of content on the app known as BookTok. On BookTok, TikTok creators post book reviews of books in all genres, but in particu-
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lar, contemporary romance and young adult fantasy recommendations have taken off. Novels like “The Seven Husbands of Evelyn Hugo” by Taylor Jenkins Reid, “November 9” by Colleen Hoover and “Six of Crows” by Leigh Bardugo have gained incredible popularity on the app, and BookTok creators have been responsible for pushing many of these titles to The New York Times Best Sellers list, even though they were all published between 2015 and 2017.
AMAZON
Madeline Miller’s “The Song of Achilles” was first published in 2011. As TikTok users have reviewed it on the app in short video format, the book has reached popularity once again in 2021. The book was a “backlisted” title before gaining internet fame.
According to Laynie Rizer, a local bookseller at East City Bookshop, BookTok has surprisingly revived the popularity of many older novels, known as backlist titles. “These are books that have been out for some time, a couple of years or so. Publishers often do a great job highlighting new releases through their own social media and through their influencer programs, but backlist books are the ones getting the true, almost surprising love on TikTok,” Rizer said
THEHOYA.COM | FRIDAY, OCTOBER 1, 2021
in an email interview with The Hoya. For example, “The Song of Achilles,” published in 2012 by Madeline Miller, found itself selling nine times its original amount of copies per week in 2021 because of viral BookTok videos featuring creators crying over the ending. Plus, the title found itself in the top three paperback fiction New York Times bestsellers in March, likely because of the over 80 million views on the #songofachilles tag on TikTok.
Books Gone Viral
Books gaining viral fame on the internet may seem somewhat counterintuitive. With the rise of BookTok, the web has created an increased excitement for the written word, rather than a loss of interest. The rise of BookTok has had a notable impact on book sales, especially on independent booksellers who pay close attention to what their customers are looking for. “We have absolutely noticed that when a book gets popular on BookTok, our customers know it. I can’t tell you how many times I’ll overhear a conversation of customers in the store saying ‘Oh, I’ve seen this book on BookTok!’ about one thing or another,” Rizer said. The accessibility aspect of BookTok is critical to boosting the virality of certain titles, according to prominent BookToker and Georgetown University student Allison DeRose (COL ’23). DeRose reviews books on her TikTok account, where she has 114,000 followers and nearly 10 million likes. “BookTok gives easy access. You see a cover, you see a short description, and you want to buy it,” DeRose said in a Zoom interview with The Hoya. These quick book reviews have created notable shifts in interest at bookstores both big and small. James Case, the general manager of Kramers in Dupont Circle, observed a spike in sales for particular titles alongside the rise of BookTok. “Romance and Young Adult both seem to be popular with TikTok — Colleen Hoover’s seen a rush of popularity because of it. That’s actually been a theme of the pandemic, as I think many people want to enjoy some light happy reads with real life being so serious much of the time,” Case said in an email interview with The Hoya. At East City Bookshop, the booksellers are even adapting their sections to fit with this new wave of reader interest. According to Rizer, the customers usually make a beeline for specific titles they have heard about on the internet. “We currently have a ‘These Books Are Tiktok Approved!’ display up in our Young Adult section, but most people who come in looking for a BookTok Book already know what they’re looking for,” Rizer said.
Changing How People Read
The interaction of literature with the digi-
tal space raises a major concern among consumers with regard to the future of reading: What will BookTok mean for literary space COURTESY KATIE MCDOUGALL as we know it? Booksellers and readers The move to virtual platforms for book rehave changed how they read views raises the question of whether or not with the rise of BookTok. more readers will migrate to digital copies Katie McDougall never used of books that go viral on BookTok. Case acknowledged that although there are certainto annotate pages until she ly consumers who prefer to read completely started reviewing books paper-free, the allure of real books is not goonline. ing anywhere. “I do genuinely believe most people prefer reading an actual book — there’s something pleasant in the whole ritual of turning the pages and holding the actual object that I think book lovers treasure. I myself just love collecting books and finding fun editions. Also, being able to peruse a full shelf of books is loads more fun than flipping through screenshots,” Case said. Likewise, Rizer feels no need to shift the marketing at East City Bookshop in response to BookTok. She feels as though the reading community is only growing with the rise of internet reviews. “We don’t really do anything differently with our marketing, to combat the rise of electronic books,” Rizer said. “Because even though the world changes and technology grows, people still love holding physical books in their hands, I don’t think that will change anytime soon, and that’s our target audience with the store, people who love books just as much as we do!” For those who actually post on BookTok, the practice of posting has shifted how they approach reading. Katie McDougall, a TikToker whose profile features over 4 million likes, has been posting videos on BookTok for over a year. She notes that BookTok has caused her to read more closely, especially through annotation. “I never used to tab or annotate my books, which is sort of a thing on BookTok right now. I’ve started doing that, and I really like it,” McDougall said. “I think it’s a really cool way to connect with what you’re reading, and when you share that with other people, heterosexual stories, and so I think finding that can be kind of a special thing.” and boosting those novels that are not simRepresentation Between the ply just two white straight people falling in love is crucial,” DeRose said. “Some of the Covers Beyond changing the way people literally romance novels that I loved the most don’t read, BookTok has the power to shift the sto- fit in that categorization because they feel ries readers are consuming by highlighting much more real, and it’s so much better to a diverse range of authors and characters read about something that pulls your heart that may not be as easy to discover through in because it feels like it’s real rather than so a simple Google search or bookstore perusal. contrived.” For readers looking for books with better DeRose strongly encourages lifting up more diverse book recommendations to create a representation of BIPOC protagonists, Mcmore inclusive environment for the BookTok Dougall recommends “Cemetery Boys” by community. She noted that she specifically Aiden Thomas, “Get A Life, Chloe Brown” by enjoys books featuring protagonists that Talia Hibbert and “The Daughters Of Nri” by break the stereotypical racial and heteronor- Reni Amayo. As a bookseller, Rizer feels as though mative mold. “The romance genre is saturated by white BookTok has caused her customers to gravi-
FRIDAY, OCTOBER 1, 2021 | THEHOYA.COM
tate toward titles that feature greater representation. She points out that BookTok’s strengths lie in its ability to provide readers with background information about titles that are relevant to their identities. “I would also say that another accomplishment of BookTok as a whole is highlighting authors of color and their stories, as well as LGBT authors and stories. Sometimes it can be hard to find information about books that reflect your own identity, and Google isn’t always as helpful as we’d like it to be,” Rizer said. “But on BookTok, you can easily find content creators that you trust who are hyping up books that they feel represented in, creating that great sense of community, and raising awareness of those great books for those who might not have seen them before.”
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@LILNASX/TWITTER, @LILNASX/TWITTER
Lil Nas X’s first album, “Montero,” succeeds thanks to its celebrity features and experimental sound, proving Nas is more than his recordbreaking hit, “Old Town Road.”
MUSIC
Lil Nas X Reckons With Fame on Highly Anticipated Debut Album “MONTERO” ‘MONTERO’ — Lil Nas X
Paxton Perry
Special to The Hoya
Since being catapulted from relative obscurity to superstardom with 2019’s record-breaking hit “Old Town Road,” Lil Nas X, born Montero Lamar Hill, had a high bar to meet on his first full-length album. “Montero,” which Nas finally released following an outlandish and on-brand album announcement in the form of pregnancy photos, shows that Lil Nas X is more than a one-hit wonder. Although “Montero” lacks the cohesion that would traditionally mark an outstanding album, its inconsistency comes from Lil Nas X’s willingness to experiment with each track. The variety of songs, featured artists, explored themes and background instruments bring listeners into an unexpected but alluring world that keeps them engaged for the album’s 41-minute run time. “Montero” is at its best when it follows the formula that made “Old Town Road” a success: catchy choruses, notable artist features
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and well-executed beats. The first and titular song is the most “country trap” of the album, with a guitar twang underscoring the rise and fall of X’s homoerotic lyrics. “MONTERO (Call Me By Your Name)” is proof that Lil Nas X knows his strengths as an artist and is unafraid to play to them. As a response to his own success, “DEAD RIGHT NOW” deals directly with the rapid climb to fame Nas has experienced since “Old Town Road” went viral. In one verse, Nas recounts a conversation with his dad in Atlanta, Ga., right before his breakout: “He said, ‘It’s one in a million chance, son / I told him, ‘Daddy, I am that one-uh.’” This track is one of the more vulnerable on the album, serving as a sort of diary entry documenting Nas’ difficulty entering the limelight. The vulnerability of the opening of the album quickly shifts to shameless chest-beating as the trumpets rise in “INDUSTRY BABY,” one of the album’s most popular tracks thanks to TikTok and the internet’s love of its feature, rapper Jack
Harlow. Kanye West also assisted on the production, and his influence comes through in the song’s mixed use of club beats and orchestral instruments. Harlow takes on most of the vocal heavy lifting on this track, with Nas singing a catchy, motivating chorus. In contrast to these successful tracks,“Montero” struggles on a handful of tracks where Lil Nas X seems to have forgotten that his voice is not best suited for pop-style singing. He is a gifted producer, rapper and writer, but his vocals are not quite strong enough to carry the weight of an entire song himself. This is best seen on pop-oriented songs when Nas’ songwriting is too ambitious for his vocal range, like “TALES FROM DOMINICA” and “THAT’S WHAT I WANT.” The notable exception to Nas’ vocal overreaching is the final song on the album, “AM I DREAMING,” featuring Miley Cyrus. The track is simple, with only two verses and an oft-repeated chorus, but the harmonies of Cyrus and Nas create a beautiful backdrop to the well-written lyrics. In this song, Nas begs his audience to “Oh, never
forget me / And everything I’ve done.” Lil Nas X, after climbing so quickly to stardom, muses on the possibility that he could just as quickly fall. A testament to the artist’s collaborative skills, “Montero” is strong when Nas combines his strengths of production with a more vocally experienced artist to carry the rest of the weight. “SCOOP,” featuring Doja Cat, is a funkinfused melody that puts each artist’s individual skills on display, using Doja Cat’s unique voice and Nas’ strong beat to create an impressive song. “DOLLA SIGN SLIME” featuring Megan Thee Stallion follows the same formula, letting Megan Thee Stallion’s energetic rapping bring the song to a triumph. Although “MONTERO” may falter in its disorganized structure and in Nas’ occasionally weak vocals, the debut album reminds listeners that 22-year-old Lil Nas X is in the process of building himself a notably collaborative niche in the music industry. Once Nas finds the sound that works best for him and builds out his vocal strength, he will be truly unstoppable.
THEHOYA.COM | FRIDAY, OCTOBER 1, 2021
HOYA HORROR
Why Do Female Monsters Need Reason To Kill? Lucia Pieto Columnist
When I was six years old, I referred to the 2004 horror comedy “Seed of Chucky” as none other than the “dolly movie” in front of my father, who had been a fan of horror for most of his life. Although he likely let me watch it so young out of spite for my phrasing, it was for the best, because it launched a life-long love affair with horror films. As I have become older and wiser, I can see the flaws in the genre I love. I have become increasingly dissatisfied with representations of women in horror. Female monsters have to be hurt or traumatized in order to justify the power they possess in films, while male villains do not. Hollywood needs to move away from storylines like “The Ring” and “Friday the 13th,” in which
vengeance is the monsters’ only motivation to kill. This is not to say that there aren’t great female characters in horror films, including iconic scream queens and “final girls” like Sidney Prescott (Neve Campbell) in “Scream” (1996) or Laurie Strode (Jamie Lee Curtis) in “Halloween” (1978) — I just want to see more women taking on the role of monster. There have, of course, been female monsters who have caught my attention; names that come to mind are Pamela Voorhees (Betsy Palmer) from “Friday the 13th” (1980), and Samara (Daveigh Chase) from “The Ring” (2002). Despite being well-known among general audiences and beloved among horror fans, however, the full potential of these female characters in horror films is not being fulfilled. Part of this dissonance has to do with the fact that female forms of monstrosity seem to differ so greatly from male ones. Most female monsters have a tragic backstory, or something horrible that happened to them that leads them to kill or haunt their victims. In “Friday the 13th,” Pamela Voorhees decides to kill kids at Camp Crystal
NEW RELEASES
Lake to avenge her son, Jason, who died due to the camp counselors’ negligence. In “The Ring,” Samara comes back as a ghost who murders through a haunted videotape after being killed by her mother. The consistent portrayal of female villains acting out of vengeance would not necessarily be problematic if this was also the case for male horror villains. In contrast to this trope, male horror villains are typically portrayed as natural killers who don’t need to be wronged in order to start terrorizing people. For example Michael Myers (Nick Castle), the antagonist of “Halloween,” begins killing at the age of six after watching a boy come out of his teenage sister’s room while their parents are out on a date. Infuriated by this expression of teenage sexuality, Michael grabs a knife and murders his sister shortly before his parents come home. Myers does not go through any initial traumatic experience before becoming the film’s antagonist; he simply decides to start killing. This luxury is not afforded to female monsters in the horror genre. The tradition of trauma is all we seem to
By Cameron Newman
JAPANESE BREAKFAST
ALESSIA CARA
@TERHSO/TWITTER
have in the vein of female killers, severely limiting the roles women can play in horror by victimizing them even when they are portrayed as powerful and terrifying. The antagonist in a horror movie directly wields the power and the capability to scare, so the lack of adequate female representation sends the message that it is not normal for women to be in control of that kind of power. Beyond the lens of violence and horror, it feeds into a stereotype that women are not capable of disrupting society in the same way men are. Viewers are told women must be sympathetic, and by providing reasons to empathize with a female monster, she is prevented from being too disruptive. Hopefully in the future, we’ll be able to see more interesting and diverse representations of female monsters that prove women are capable of controlling the power dynamics in horror. Young women, who are already underrepresented in the male-dominated world of horror fans, deserve to see themselves represented in their favorite genre. The future of fear should be female.
‘FISHBOWL’
‘BETTER THE MASK’
With Alessia Cara’s “Fishbowl,” come for the catchy hook and groovy beat and stay for the visceral sense of panic and kooky sound effects. Exploring themes of anxiety and isolation, “Fishbowl” shows off Cara’s distinctive voice and dense, clever lyricism on her new album “In The Meantime.”
“Better the Mask” was composed by Japanese Breakfast’s Michelle Zauner for the soundtrack of the new video game “Sable.” The stirring and spacious instrumentation features intricately layered strings and piano lines that float to an airy, uplifting conclusion. The lyrics are sparse and evocative, capturing a hope for a better future.
SUFJAN STEVENS & ANGELO DE AUGUSTINE
‘MY UNIVERSE’ The bilingual collaboration “My Universe” combines the polished K-pop of BTS with the nostalgic crooning of Coldplay. The lyrics are written in Korean and English and pull from uninspiring cliches, but the atmospheric guitar and reliably standard percussion still combine to form a hummable, radio-friendly jam.
From the duo’s new album “A Beginner’s Mind,” this song alludes to the classic film “All About Eve” using vague, fantastical imagery. Coupled with Stevens and De Augustine’s ethereal harmonies, unexpected rhymes and instrumentation, the song makes for an eerie, dreamlike listening experience.
FRIDAY, OCTOBER 1, 2021 | THEHOYA.COM
COLDPLAY X BTS
‘LADY MACBETH IN CHAINS’
@JAPANESEBREAKFAST/TWITTER
@ASTHMATICKITTY/TWITTER
@BTS_BIGHIT/TWITTER
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MUSIC
Bleachers Present Electrifying, Energetic Performance at The Anthem
@ALYHANSENPHOTO/TWITTER
Celebrated producer Jack Antonoff stuns with an entrancing stage presence, creating a shared, cathartic vibe for fans. .
‘Take the Sadness Out of Saturday Night’ — Bleachers
Clayton Kincade Hoya Staff Writer
Jack Antonoff’s request to his fans is simple: take the sadness out of Saturday night. Antonoff took the stage with his band Bleachers at The Anthem on Sept. 24 for a sold-out show. The Grammy-Award-winning alumnus of the band fun., who has helped to produce tracks for Taylor Swift, Lorde and Lana Del Rey, was touring his newly released album, “Take the Sadness Out of Saturday Night.” It was Bleachers’ largest performance to date, and the crowd was noticeably ready for Antonoff and the rest of the band. Some attendees dressed up in tomato costumes to celebrate the state fruit of the New Jersey native, while others cheered, chanted Antonoff’s name and held up signs demanding that certain songs be played throughout the high-energy evening. Opening for Bleachers was Claud, a 22-yearold singer-songwriter from Chicago. While Claud initially seemed detached from their performance, they quickly reversed course, singing with conviction while passionately dancing around the stage. Performing critical favorites like “Soft
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Spot,” “Gold” and “Guard Down” off of their debut album “Super Monster,” Claud took the stage as an unorthodox and sensitive artist who has potential to be a rising alternative-pop star. When Bleachers came on, the band presented striking visuals on stage. Lit candles, a golden head of John F. Kennedy and posters taken from Antonoff’s bedroom adorned the piano, on which Antonoff opened the show with his intimate, Gulf Warframed reflection “91.” Letting the lights fade to black and electronic chords reverberate, Antonoff then launched into “Let’s Get Married,” a euphoric, upbeat track about the difficulties of love. During these intense numbers, the stage lighting exploded into technicolor, with reds, yellows and blues flooding the audience’s peripheral view. The lights frantically strobed during the chorus of “91,” flashed at just the right moments during the bridge and dimmed when building to climaxes to let the audience breathe in anticipation. Antonoff commanded his audience easily, with each hand gesture, body movement and moment of eye contact helping to grow the energy in the room. His stage presence was infectious — Antonoff kept the audience engaged throughout the entirety of the show.
Throughout the night, Antonoff made sure to perform an even sample of songs from across his albums. Bleachers performed popular songs from their debut album “Strange Desire,” including “I Wanna Get Better,” “Reckless Love” and “Rollercoaster,” with Antonoff remarking upon their sentimentality. The band also performed many tracks from Bleachers’ sophomore album “Gone Now,” like “Don’t Take the Money,” “I Miss Those Days” and “Everybody Lost Somebody,” while the audience lifted their hands and spirits in a literal sea of approval. Antonoff’s surprise to the audience’s support to these older tunes seemed authentic, and his elation reverberated through the venue. Aside from Bleachers’ strong performances, the show had a handful of very special moments as well. During “Secret Life,” a soft ballad about wanting to find stability in a partner, a member of the audience spontaneously threw their disposable camera to Antonoff, who snapped some goofy photos before throwing the camera back into the crowd. In addition, before starting “Alfie’s Song,” a breakout hit from the “Love, Simon” soundtrack, Antonoff brought his dad onstage. They played guitar together during the song, which was an in-
timate and unforgettable moment. Sadly, Antonoff announced during the show that his European stage manager had passed away that day. Dedicating the entire set to his memory, the audience almost brought Antonoff to tears when they later interrupted him with a standing ovation. To conclude the night, Bleachers finished with “Stop Making this Hurt,” a heartfelt number about moving on. Antonoff drew out the ending of the song for an extended period of time, and it seemed like even the band did not want the show to end. Antonoff and his crew eventually exited the stage like children in a line at elementary school, playing the saxophone until it faded out off stage. This was a fitting end, with the band exiting as ingeniously as they entered. Sincerely mirroring the end of the song, Bleachers truly said “goodbye” to The Anthem “like they meant it.” While this show at The Anthem was Bleachers’ biggest yet, it was also their best. Undeniably, it cemented Antonoff as a modern legend in the contemporary pop space. Though Antonoff might be best known for his background work, he unquestionably deserves center stage in the spotlight.
THEHOYA.COM | FRIDAY, OCTOBER 1, 2021
@LOOKATMELOU/TWITTER
“I’ll Be Your Mirror: A Tribute to the Velvet Underground & Nico,” released last week, attempts to honor the legacy of the titular album with fresh updates to some of its groundbreaking 1967 tunes by ressurecting the original masterpiece.
MUSIC
‘I’ll Be Your Mirror’ Defies Convention, Harnesses Emotional Grit ‘I’ll Be Your Mirror’ — The Velvet Underground
Nina Jennings
Special to The Hoya
The clack of go-go boot heels, the smell of spliffs and dirty martinis, the grit of 1960s New York City: The Velvet Underground’s 1967 album in collaboration with German singer Nico “The Velvet Underground & Nico” evoked a cacophony of sensation, defining the world of rock music in just under fifty minutes of unapologetic sound. “I’ll Be Your Mirror: A Tribute to the Velvet Underground & Nico,” released Sept. 24, 2021, is a spunky resurrection of the groundbreaking 1967 masterpiece. Fifty-four years later, the tribute album
maintains the original’s cultural capital and leaves even new listeners nostalgic for a generation they may have never known. The collection of featured artists is much like the composition of “The Velvet Underground & Nico” itself: jumbled, dissonant and exciting. Ranging from Courtney Barnett to Iggy Pop, all of the artists vie to do justice to one of the most influential albums of all time. Chaotic and chic all at once, “The Velvet Underground & Nico” knows no bounds when it comes to genre, style or notions of musical orthodoxy. The Velvet Underground as a band created a resounding cultural influence through its experimental rock genre and use of
FRIDAY, OCTOBER 1, 2021 | THEHOYA.COM
droning guitar tunings. From David Bowie to the Ramones, The Velvet Underground laid the foundation for generations of daring rock and alternative music of all persuasions. The album opens with Michael Stipe of R.E.M. covering “Sunday Morning,” inviting listeners in with gentle microphone feedback, expressive vocals and dissonant guitar chords. This rendition is more stripped-down than the whimsical original performance, but Stipe’s relaxed, gentle voice contrasts with bright synth notes and deep, echoing strings in a refreshing take on one of The Velvet Underground’s most beloved songs.
Thurston Moore and Bobby Gillespie’s gravelly rendition of “Heroin” likewise does great justice to the original. The Sonic Youth and Primal Scream frontmen, respectively, have led careers with profound and unmistakable Underground influences, making the cover feel deeply personal and generationally transcendent. “Heroin” unexpectedly combines Moore’s pleading vocals with Gillespie’s thrashing guitar riffs, creating a beautiful dissonance. Although overall a wonderful tribute, the re-recorded album is not entirely flawless. The covers take a bit too much creative liberty with the source material, showing that sometimes great songs really are better left alone. For example, consider pop-rock artist St. Vincent’s revival of “All Tomorrow’s Parties,” perhaps the most adventurous track on the album. Backed by soft, muffled jazz-like tones and overlaid with lyrics in spoken-word, the cover is only faintly reminiscent of The Underground’s edgy style. Similarly, Courtney Barnett’s take on the title track, “I’ll Be Your Mirror,” loses sight of the moving original. Barnett scraps the soft and soaring vocals of the original chorus for a monotonous, chatty tone that makes the song a somewhat uncomfortable listen. By contrast, Sharon Van Etten and Angel Olsen’s duet performance of “Femme Fatale” is dreamy. The pair’s slow, soothing vocals marry exceptionally well in a gentler take on Nico’s more aggressive vocals in the original. Blending wistful piano, sedative drum beats and mesmerizing harmonies, Van Etten’s version channels the addictive nature of the original with a modern, haunting twist. “I’ll Be Your Mirror” will have you falling back in love with “The Velvet Underground & Nico.” Comparatively dark and experimental, the tribute transcends time and spirit in a refined display of both the birth and the sublime legacy of rock music as we know it today. The album’s takes on its source material is both a refreshing and decadent taste of the dizziness, ecstasy and grit that made the original so beloved. “I’ll Be Your Mirror” is a headlong dive into The Underground. Ultimately, the success of “I’ll Be Your Mirror” indicates that The Velvet Underground will live on in the hearts of its listeners forever.
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POP DECODED
Pop Decoded: From ‘Sucker Punch’ to ‘Mirror:’ The Evolution of Sigrid
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@HIRSHORN/TWITTER
WHAT TO DO IN DC
LAURIE ANDERSON: THE WEATHER
The Hirshhorn
Check out the Hirshhorn Museum and Sculpture Garden’s newest exhibit “Laurie Anderson: The Weather,” documenting the artistic repertoire of Laurie Anderson, a Grammy Award-winning musician, writer and artist. The exhibit explores her interpretation of the American relationship to technology through different mediums. The immersive audiovisual experience will additionally feature live performances by Anderson from January through July of 2022. Admission is free to the public.
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Following up on the success of “Mirror,” Sigrid released what I deem to be her career highlight so far, “Burning Bridges,” in August. A perfectly crafted pop song that details her newfound wisdom surrounding the give and take of relationships, the song is lyrically formatted as a cautionary tale against engaging in relationships with narcissistic partners. In the chorus and bridge, Sigrid utilizes the repetition of the simple yet impactful lyrics “You cry, they don’t / every single night / that’s how you know” to highlight red flags in these types of relationships. The song is absolute pop perfection as it manages to weave an interesting and relatable message into a song that can get anyone dancing. “Burning Bridges,” coupled with “Mirror,” shows Sigrid has comfortably grown into her skin, embracing her struggle with self-acceptance that began on her debut LP “Sucker Punch.” Sigrid is yet another hidden treasure from the pop music gold mine of Scandinavia, which showcases that intimate and stirring pop music is far from extinct as seen through the evolution of her work.
By Haley Resnick
LIFE OF A NEURON
Artechouse
Explore the fascinating subject of what happens in the brain at ARTECHOUSE DC’s new exhibit “Life of a Neuron.” A collaboration with the Society for Neuroscience, the exhibit showcases what happens to our neurons from their inception to their death. Running from Sept. 27 to Nov. 28, tickets cost $24 for adults and $20 with a student discount.
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GEORGETOWN FRENCH MARKET Wisconsin Avenue
Say bonjour at the Georgetown French Market this weekend, featuring more than 25 locally owned French restaurants, galleries and salons. Celebrating its 18th year, you can expect great food, discounted items and rare finds! The market is open Oct. 1 and 2 between 10 a.m. and 5:00 p.m and Oct. 3 between 12:00 and 5:00 p.m. Admission is free.
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“MY LORD, WHAT A NIGHT” AT FORD’S THEATER Ford’s Theater
Revel in the long-lost joy of live performances at the historic Ford’s Theatre to see the play “My Lord, What a Night,” which depicts the real-life friendship between performer Marian Anderson and Albert Einstein. The play imagines a conversation between the two and the dialogue that led to Anderson’s historic concert on the steps of the Lincoln Memorial. Tickets range from $20 to $35. @FORDSTHEATERNPS/TWITTER
When pop princess Sigrid releases new music, the event is almost holidaylike within the Scandinavian pop music scene. Best known for the singles “Strangers” and “Don’t Kill My Vibe” from her critically acclaimed 2019 debut LP “Sucker Punch,” Sigrid is one of pop’s quickest rising stars. Sigrid excels by packaging lyricism, dynamic production and engaging visuals into easily digestible three-minute tracks. A good artist knows their audience well, and Sigrid understands that authentic expression as a pop artist is the recipe for creating an engaging musical environment for her audience. As showcased on “Sucker Punch,” Sigrid likes to keep her listeners on their toes with a wide sonic variety. She uses varying production at different speeds and beats per
Punch” feels as though it has come to a natural conclusion by Sigrid’s first single in two years, “Mirror,” which she released in May. The song stands out as the most self-liberating piece in her discography. On the surface, “Mirror” seems to be another formulaic pop song, but with its explosive lyrics and soaring vocals, the track allows Sigrid to bulldoze through what on her first album appeared to be a wall of adolescent insecurities. “Mirror” is Sigrid’s natural artistic continuation, as it sees a culmination of emotion after she finally begins to define her own self-worth initiated in “Sucker Punch.” The feelings of self-acceptance expressed in this track demonstrate a confidence from the artist in her own talent that was buried in her earlier work. Through this track’s confident lyricality and beat, it truly feels like Sigrid has finally learned to accept herself completely — physically, artistically, emotionally and romantically. The song is an empowering musical second act, and when paired with the vibrant wardrobe choices and impressive choreography in its music video, “Mirror” leaves quite a lasting impression.
GEORGETOWNDC/FACEBOOK
Columnist
minute (BPMs) to strategically toy with songs’ energy levels, never allowing the flow of a track to stagnate. For example, Sigrid starts “Sucker Punch” with a literal pop sucker punch of 166 BPM on its eponymous title track, but by her third song, “Basic,” the rhythm has slowed down to a still fast, but less stimulating, 130 BPM. Throughout the whole album, however, Sigrid slows tracks down using these BPM switches during certain verses to highlight their lyrical content before bringing in pulsating pop choruses as she drives home their intended messages. Singing about a transitional period in relation to self-perception, Sigrid’s lyrics in her debut LP explore how self-worth is originally greatly influenced by the opinions of others but hopefully becomes self-defined with age. The coming-of-age theme of this album is akin to Britney Spears’ 2001 single “I’m Not A Girl, Not Yet A Woman.” Although she may not have lived her life in the limelight like Spears, Sigrid still similarly explores her young adulthood as a female, often feeling ambushed by the unexpected hardships of “adulting.” This transitional stage explored in “Sucker
@ARTECHOUSE/TWITTER
John Lizano
THEHOYA.COM | FRIDAY, OCTOBER 1, 2021