As with most pop hits, ‘Spaceman’ is littered with love ballads and verses of sweet, intimate vocals. In that sense, there’s a lack of originality in the album, but that’s the only sagging element here. Every track is fast-paced and fun with no time for sad, melancholy which is another reason the album is worth a listen. With a tracklisting as well-rounded as presented, it’ll be difficult for the artist to top this music oasis with future releases. If you happen to pass by the physical copy, it’s worth the purchase.
‘Cameras On’ is a ballad not of love but of patience and brave standing against what it means to be on camera versus. a “real person.” The young artist wants his listeners to understand where he’s coming from with personal struggles behind closed doors and offers an exciting peek into his upcoming album Skyview.
Welcome back to another episode of Byte's news podcast, "Wrapped Up"! In this episode, Kellyn Harrison reports on HuffPost layoffs, Directors Guild of America nominations, the PowerPuff Girl's live-action show, and Netflix implementing a new verification system for user log-ins.
It’s no secret that the film industry lacks diversity and inclusion. In 2015, the Oscars were called out with the hashtag #OscarsSoWhite because every category listed lacked an artist of color. And I mean literally every category. This movement was the beginning of the shift that the film industry is slowly making to be more diverse and inclusive. Fringed, a film club at Ball State University that focuses on women and diversity in the film industry, is working heavily towards bridging that gap while educating others in the process.
Over the past decade, we’ve seen an increase in female directors given the opportunity to direct more high-profile projects including Wonder Woman, Charlie’s Angels, Captain Marvel, and Mulan. Other films like Booksmart, Little Women, and The Babadook get high praise for their quality, as well as being directed by women. However, there have been many other great films from previous decades that were helmed by women that were exceptional, and maybe even better than ones directed today. However, they have not received the same praise or been even mentioned when discussing films directed by women.
‘You’re Welcome’ is by far, the most disappointing ADTR record, filled to the brim with bland, generic lyrics, and unmemorable songs. The repetitive song structures make for a boring listen, not even halfway through. The record doesn’t add anything fresh to the band’s discography. Even though they changed their sound, their songwriting style has been applied before countless times. It feels as if there is nothing new from a band that sets their genre’s standards.