History Of: Drag
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
Use the fields below to perform an advanced search of Ball State Daily's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
128 items found for your search. If no results were found please broaden your search.
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
Singer-songwriter and Folk Iceland musician Axel Flóvent recently went on a journey of self-discovery while traveling in Europe. As a singer-songwriter, Flóvent writes and composes all his material. After growing up in a musical family, Flóvent sought identity and found inspiration from his life experiences and the environment he was living in. Flóvent says nothing else made sense to him except music, because he gave all his attention and care to it. He seeks to write as a conversation between himself and others. From a video call via Facebook Messenger, the artist agreed to discuss his life on tour, motivation, and the upcoming album You Stay by the Sea, which released on Jan. 15.
By Conner Tighe Stylistically similar to U.S. artists, Ed Sheeran and Passenger, Icelandic artist Axel Flóvent’s latest album, You Stay by the Sea, takes on a slow, methodic journey of self-discovery and looking back at where one comes from with their roots. Every bit of the 12-track wonder has heart and fulfillment emanating from the artist who spent time traveling Europe pursuing something he believed he needed, his own musical scene. Flóvent wanted to make a name for himself, and after spending time near the sea in Brighton, he returned home. You Stay by the Sea is a beautiful calling to this relatable feeling of loneliness and longing for our home. The artist remembers being alone for much of his journey, and with the scenery he encountered, Flóvent’s expedition inward is a result of what’s happened outward around him. Purpose of the sound After a first listen through, there seems to be monotony and sad emphasis on dark undertones, like Taylor Swift’s Folklore and Evermore, but this is ignorant to say as a final verdict. Art requires attention and patience, and only patience will help capture Flóvent’s fantastic sound and ability as a young artist. You Stay by the Sea is the artist’s first album release after four EP releases, the last being released in 2020. Flóvent found fame after releasing his first EP Forest Fires in 2015. In terms of sound, You Stay by the Sea is nearly identical, but in meaning, completely different. Self-discovery is not a new work of art in the music industry, but one that can be spun in unique ways, and Flóvent accomplishes a unique angle on how his home holds something dear to him. Folk and guitar playing establish their dominance in this album, with the artist’s beautiful vocals echoing melancholy. “Tonight” breaks itself off from the rest of the tracklist as it centers around Flóvent’s message of homesickness and the importance of living by the sea. The song is deep and beautiful in its sound, with the vocals silently echoing the truths Flóvent is feeling in the moment. You Stay by the Sea is more of a personal note to the world about his journey in Europe rather than another pop ballad of love and heartbreak like much of the music today. "And you stay by the sea/It keeps you calm and quiet/'Cause there's no other way/Your heart still wants this fire" Haunting aesthetic The artist’s sound is no doubt an acquired taste. Only those familiar with Flóvent’s work and style will understand how much this album means to him. Tracks “Driving Hours,” “Haunted,” and “Fireworks” give the album this slow, methodical rhythm, but the path is broken up by faster tracks “December Traffic” and “Indefinite.” All the tracks are beautifully poetic, but some cannot take away from the overall leisurely pace that can drag on at times. "But we should dive into the light/I know it’s right to feel both sides" Top tracks: Tonight Driving Hours Indefinite Recommended if you like: Ed Sheeran Taylor Swift Passenger Feature Image: Genius Sources: Byte
by Conner Tighe The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board. Along with his friends at Harvard, Mark Zuckerberg developed a revolutionary way of communication; one that involved zero in-person interaction yet expressed everything anyone wanted to say for better or for worse. In 2004, Zuckerberg launched TheFacebook, or what it's known today as, Facebook. It wasn't the first social media platform (that spot goes to Six Degrees), but it had a vision that paved the way for platforms like Instagram and Twitter. Facebook went from an interactive way of communication to politics, memes, and a news outlet. Later, when Instagram, Snapchat, Twitter, TikTok, etc., were founded, age groups flocked to certain platforms while abandoning others. There’s much to observe in findings and cultural influence where social media is for lack of a better term—the culprit. In some data findings of July 2020, Facebook remains the king of social media usage 16 years later. YouTube, Instagram, and TikTok come in second place of usage. Facebook users consisting of 25 – 34-year-olds are the main demographic, with males using the platform more than females. Teenagers have been found to use Instagram the most, with females using the platform more than males. These findings are the beginning of an extensive list of demographic data, but trends, language, and cultural influence have resulted from these platforms. Social media offers shopping and advertising opportunities for companies to reach their audiences. Recently, Instagram began offering a shopping option for users to buy clothes and other products. Facebook marketplace, a relatively successful launch, allows Facebook users to buy almost anything, except live animals. Malls and stores may have competition soon, if not already, as social media has gone from an average outlet to a source of quality for life and daily social interaction. [caption id="" align="alignright" width="419"] Image from Complex[/caption] [caption id="" align="alignright" width="424"] Image from The Times[/caption] In 2016, the Vine alternative TikTok was launched, then named Musical.ly, and has since provided self-expression for social media influencers and anyone else looking to immerse themselves in today’s trends. Cringy challenges like the ‘Old Town Road’ challenge where users morph/change to cowboy attire while the Lil Nas X track plays and the ‘Flip the Switch’ challenge where users trade clothing and positions after flicking a light switch to Drake’s “Nonstop”, among many many other challenges/trends, have taken over the platform. Whereas Vine was more reliant on comedy and humoristic approaches to posts, TikTok goes with pop-culture content and whatever is “trending” with youth culture. One may say individual thinking and artistic approaches to social media are dying. Snapchat’s filter options correlate with what’s “hot” in pop culture currently. Being able to temporarily change your appearance on-screen can brings laughs and provide insight into what people may be talking about. Words like “chat” and “message” have been more or less replaced with the terms “direct messaging” or – more commonly expressed – “dm’s.” Once seen as something “nerdy” with all the hashtags expressible, hashtags now reach thousands, if not millions of folks around the world looking to connect with similar interests by one simple search. Like Facebook, Twitter has transformed into something political, especially in the past four years with controversy over President Trump’s tweets. Even what journalists cover is affected by what’s happening on the platform. It was discovered in 2019 most Twitter users are Democrats and young. Memes and other parts of youth culture tend to surface first on Twitter as posting is relatively accessible with a limited character count for easy tweeting. Two years later, Twitter is still in that demographic, it appears. The barrier between older folks who use social media and younger folks seems to be breaking down or meshing together. TikTok has brought friends, parents, and even grandparents together through comical dances, challenges, and plain fun. As younger folks stick with trends on TikTok, parents and grandparents use their perspectives and age to bring something new to the platform. Having their children or grandchildren demonstrate challenges for them to copy on video is lighthearted, entertaining, and could become TikTok’s brand. One of the more recent examples of social media influence has run with the 2020 Black Lives Matter protests. The movement wasn’t the first to be expressed through social media. “Blackout Tuesday” occurred on June 6 with many activists, protestors, and other members either in favor of the movement or a part of the movement. Many Instagram accounts in America consisted of a single post that day, a black square, a blank nothingness, a void. It’s no secret social media brings us together in terms of communication and connections. Still, as the world continues to evolve with the times, one will always find a post on whatever you are searching for anywhere on social media.
by Conner Tighe The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board. Although drag can be confidently claimed as an important outlet of gender discovery and understanding, it wasn’t always that way. Drag can be circled back to Shakespeare’s time when theatre was relatively new, and men had limited options for female roles – in their eyes – so it was not uncommon for men to dress in women’s wardrobe for roles. The word “drag” comes from when the men would talk about how their dresses would “drag” across the floor when they acted their roles. [caption id="" align="alignright" width="252"] Image from House of Mirth Photos[/caption] Europe’s theatre scene spread to America, where it was known as vaudevilles. From the 1880s to the 1920s, vaudevilles were America’s main source of entertainment as comedians, ventriloquists, dancers, musicians, and more performed together on stage. Julian Eltinge is credited for being the first known drag queen. Charlie Chaplin, known for his comedic silent films shown in black and white, was considered one of the highest-paid actors at the time, but Eltinge took over the title of the highest-paid actor. The 1930s, also known as the Prohibition era, was not only tied to its secretive alcohol consumption, but also to gay culture. Many gays used secret clubs and locations, free for self-expression, and this became the tie to drag. This underground movement was called “the Pansy Craze.” Gay bars became less discriminated against after the Prohibition era. As their presence became more widespread, so did the police raids that attempted to rid bars of gay activity. The city mafias, out of all people, helped gays pursuing their self-expression free of discrimination. Much of the city nightlife was owned by the mafia. Many nightclubs, bars, and inns owned by the mafia shared a dislike for law enforcement, as did many gays. Drag went underground again. Later on, leaders began to rise when events called for it. [caption id="" align="alignleft" width="367"] Image from Them[/caption] Outspoken leaders in the drag community, like Flawless Sabrina, had pageants where drag was celebrated starting in ‘58. She was arrested several times for cross-dressing but persisted. Later in the 70s, drag was out and proud, with many African Americans taking the movement's shape. The Rocky Horror Picture Show demonstrated and celebrated drag with a well-known heterosexual male actor, Tim Curry, in a protagonist role. With this famous musical's popularity, drag was slowly becoming something associated more with fun and good times rather than secretiveness. This process didn’t reach its hype until decades later, and it's still going through its journey with acceptance from society. Drag would also become more relative when the 90s came around. [caption id="" align="alignright" width="440"] Image from Entertainment Weekly[/caption] In the 90s, RuPaul Charles began his career as a fierce “queen,” staying true to his talent in the drag industry and music industry. He released his first album, Supermodel of the World, and has one of the most well-known drag shows globally, RuPaul’s Drag Race, where men dress in drag and compete in competitions. As popular and famous as Charles has become, it’s not uncommon when interviewing gay men and men in drag that they’ll give praise to women who spoke out for gay rights, decades before the 2000s. These women can be traced back as early as the 70s. In a nearly three-minute interview from 1979, Jane Fonda spoke about gay rights saying gays are oppressed, and those that are for gay rights are “on the side of the angels.” “It’s just, and it’s right,” she says. Nile Rodgers, who was Diana Ross’ songwriter, told Today that radio personality Frankie Crocker informed Ross her ‘80’s hit “I’m Coming Out” would “ruin her career.” As we know today, it did quite the opposite for her career. “I’m Coming Out” celebrated pride in the LGBTQ+ community. With the ongoing drag movement came another well-known member who changed the lives of gay men and transgender individuals everywhere. [caption id="" align="alignleft" width="382"] Image from Reuters Graphics[/caption] Malcolm Michaels Jr., known famously as Marsha P. Johnson, sadly passed away in ’92 but was considered one of the most well-known drag queens in recent history after having spoken out for gay rights during the Stonewall Riots in ’69. But what was once oppression and bitter injustice has turned into meme-worthy posts on Instagram and fun for people no matter what sexuality. Drag queen, Jasmine Masters, stage name of Martell Robinson, has appeared on RuPaul’s Drag Race, but was more widely known from her “And I Oop” clip which circulated on meme pages and social media. Although drag has had its own culture, it has evolved with the times and has developed its own language. The culture has evolved with society in its own way, sporting wigs, eyeshadow, heels, and other beauty necessities. No longer are drag queens in-hiding from ridicule, but are now celebrated for their individuality and uniqueness within the entertainment industry. Sources: All That's Interesting, Artforum, Biography, California State University Stanislaus, Capetown Magazine, History, National Museum of African American History and Culture, Out, PBS, Them, The Guardian, Today, Vice, Vogue, YouTube Images: Entertainment Weekly, House of Mirth Photos, Reuters Graphics, Them Featured Image: All That's Interesting
by Conner Tighe Singer-songwriter and Folk Iceland musician Axel Flóvent recently went on a journey of self-discovery while traveling in Europe. As a singer-songwriter, Flóvent writes and composes all his material. After growing up in a musical family, Flóvent sought identity and found inspiration from his life experiences and the environment he was living in. Flóvent says nothing else made sense to him except music, because he gave all his attention and care to it. He seeks to write as a conversation between himself and others. From a video call via Facebook Messenger, the artist agreed to discuss his life on tour, motivation, and the upcoming album You Stay by the Sea, which is scheduled to be released today, Jan. 15. Conner Tighe: Tell me about where you grew up, your background, and how you got into music. Axel Flóvent: My dad has been a guitar collector, so I got a guitar when I was nine. I grew up in a very small town in Iceland called Húsavík. There’s not a lot of things to do there. If you don’t play football – in the U.S., you would call it soccer – then you don’t have a lot of social things to do. I wasn’t much into sports, so I had to find some activity. I started playing the guitar, and I had very little patience for learning it the traditional way. I stopped taking lessons because I didn’t want to learn the notes and the basics. I wanted to learn chords so I could play songs. My uncle taught me how to play power chords, and as soon as he taught me, I started writing. I started writing songs around 10. I moved to Denmark around 10. There I didn’t have a lot of friends either, so I had to occupy my time. I started going into picking up songs and playing all these different Beatles songs. From there, I started writing a lot, and that’s how it started. CT: Where do you get your inspiration for writing songs? AF: It used to be music. When I was younger and started writing, I was like if I wrote a great song or wrote a song I thought was great, I thought I could do anything. Now it’s more life. It’s more things around me, and what I’m going through in life that inspires me to write and want to tell the emotional story I’m going through. It used to be when I didn’t have that need to express myself, or I wasn’t aware of the need to express myself back when I was starting so young. I would hear a cool Weezer song, and I thought, “I want to make that. That sounds easy enough.” It was more like that. CT: Have you toured before? AF: I’ve done a bunch of tours. It’s probably what inspires me to do what I do. It’s what I love the most is to tour with my friends. I supported Radical Face in the U.S. at the beginning of 2020. It was my first American tour in the states. CT: When you first toured, was it a big transition for you? [caption id="" align="alignright" width="407"] Image from Facebook[/caption] AF: Touring at first, was intense. It was a weird reality to step in, but as long as I adapted to how things worked, it was my favorite thing to do. When you’re on tour, it’s like you have a schedule every day for the next month and a half or so. It feels so relaxing to have everything planned out for you. You wake up, and you have a schedule. There’s nothing you ever dread doing. There are always new things coming. It depends on what kind of tour it is. When I’m supporting artists, I step into a van with a bunch of strangers, or that’s how the American tour was. I toured around with the Radical Face guys, and I was alone, so I didn’t know anybody there, so I had to get to know the crew. It’s a weird reality you step into. I had a lot of working environments where I would step into a van with a bunch of strangers that you spent time traveling with for eight weeks. CT: What’s an average day like on tour? AF: You come into a sit-in, and you may have three to four hours to explore, but sometimes you’re so tired because you’ve been in a van for five to six hours, since eight in the morning, and you want to relax in the hotel room for three to four hours. Sometimes you want to explore the city, go to a café or museum. Then there’s the soundcheck, then there’s the show, and then you go to the merch table. You sell some merch, and then you go back to the van. [caption id="" align="alignright" width="423"] Image from Facebook[/caption] It is quite glorious in the sense you’re doing what you love. You’re able to do this special thing. Every time I’m not on tour, I want to be touring. When I’m doing this, and I’m with my friends, it’s way better because I can still surround myself with a community of people. With my American tour, I loved getting to know the guys, but it was weirder because I didn’t have anybody so close to me and with me, so I was alone traveling America, which was great and amazing, but it feels a little overwhelming to do all of that by yourself. When I think about a normal day, it’s very mundane. CT: From the first time you started performing to now, how has your music and sound changed? [caption id="" align="alignright" width="272"] Image from Amazon[/caption] AF: I feel like it has changed a lot. I have a different side of myself I want to explore more. I like to think about the route, how it started, and I don’t want to lose that part of me, so I hold onto it. I hold onto not changing too much. Sometimes I feel like I need to do different things, and I feel like I’ve released one song here and there that feels more different from the others. That’s how I’ve evolved my sound. I go a little bit further with one song. I feel like for this new record, there are still elements on this record that were there in the first EP Forest Fires I released five years ago. There are some songs on there that are so different from the first EP, but then there are songs that could be on that EP. I feel like I’m holding onto an old sound, but I’m feeling the need to evolve and change. CT: Tell me the meaning behind this new album. [caption id="" align="alignright" width="276"] Image from The Line of Best Fit[/caption] AF: In the easiest sense, it’s a bit about the journey I went on. I moved out of Iceland because I was signed to Sony in Amsterdam, so I moved to Amsterdam. I moved there for the purpose of working more, and I thought I would maybe meet other musicians. I was going there to create my own musical scene, but it was hard because I didn’t know where to look. I’m such an introvert. I’m not an extrovert that goes to a bar and meets people or goes to a musical community. There’s always a limit to how I seek these things. I moved to Amsterdam with a dream, but I didn’t think about the reality of how I would get there, so I ended up staying in my apartment for most of the time and just wrote a lot of music there. I felt like my life started becoming a weird thing, just being alone in Europe, and it’s the same thing with touring. It’s just completely alone. After a year in Amsterdam, I was like, “Okay, I’m not ready to move back home after a year.” I needed to find something new because I was still looking for something. I moved to Utrecht in the Netherlands for three months to gather my thoughts. Then after that, I moved to the U.K. I moved to Brighton, and the reason I moved to Brighton was I wanted to try to live in the U.K. and also wanted to be by the sea so I would be closer to my home. That was my thought. I was like, “Okay, at least I have the ocean there.” In Amsterdam, I didn’t have any coast to go to let my mind wander off, so I went to Brighton. When I was there, I got a nice studio. I made my apartment quite nice, bought everything new for it, and then after I settled in Brighton for two months, I decided I wanted to move back home. When I moved back home, I finished the record. It was about this weird search that I was looking for something, looking for an answer in the quality of the place I lived in, and then I moved back home where my friends and my family and these things I took for granted before and it’s just about the realization. It doesn’t sound like very deep thought. It was like I needed to go on this journey to tell myself something that I already knew somehow, and then I wrote an album about it. I guess what I needed to tell myself was that I cannot fill the inner void with my work or with moving to a busier place. CT: Can you take me through your creative process and how you get into your “zone?” AF: I’m constantly looking for my “zone” as well. I’m constantly trying to change the environment and how I write. What I usually do is use a plugin I’ve not used before. I try to find a new sound and start it with a drone of some sort. I like to start with a title or drone that puts up the atmosphere of the song. It helps me to pick up the electric or acoustic guitar to start strumming on it to get into the vibe. As soon as I pick up on a chord, I get into the mood of the song, and sometimes I babble on, sometimes I record on my phone like complete nonsense. The way I usually write my lyrics, for example, I babble nonsense on my phone and tell myself I got this idea. I’m just writing a melody. I’m just writing from the top of my head. I pick up the nonsense, and I write down what I think I’m saying, and to that, I finish. There’s a bit of an abstract line in the sentences and the lyrics, but then I try to make sense of it in the end. How I do it is I start with a chord, and then I make more sense of it and structure it a bit. If I were a painter, I would paint on the paper and start making sense of it afterward. CT: Can you see yourself doing something if you weren’t in the music industry? AF: I’ve thought about this so many times because especially now with COVID-19 and not having a lot to do, and as a musician, you need to think about, “What if there wasn’t this thing to do anymore? What if I needed to do something else?” I feel like maybe I would teach. Maybe I would like to explore that way and teach what I’ve learned in my journey as a musician if there was a place for that. On the side, I would always want to create something. It’s hard to imagine my life without music. I like to paint. I like to draw artistically and create, as well. I want to write a book when I’m older. I don’t read a lot of books. I like the concept of the story, and a book is something I really love. It’s just I’m such a slow reader, and my mind strips up very easily. So that’s something I romanticize about. CT: Do/did you have a mentor or someone that helped you through this or were you self-taught? AF: I think I just easily absorb what’s around me, and I grew up with my brother Þórir Georg being a musician and releasing music. He showed me all the music I discovered when I was young. I grew up in a musical family, so I wouldn’t say I’m completely self-taught. I had the need to learn it on my own. When it came to the technical training of things, I studied classical guitar for five years to get my fingers and technical things in place. Other than that, I didn’t learn anything in school, for example. It was like the people around me, my family more. CT: What’s your favorite song to perform that you’ve written? [caption id="" align="alignright" width="291"] Image from Amazon[/caption] AF: With a band, “City Dream” is my favorite song to play. When I’m alone, I think “Tourist” from the new record. My favorite song from my new album to listen to is probably “Still Awake,” which is unreleased now. It has a similar vibe to “City Dream.” CT: What has the music industry taught you about yourself? AF: I feel like I started so young I didn’t know anything about it. I learned it from experiencing it, so it definitely taught me a lot. I used to not need to be responsible for a lot. I used to like my old label responsibility for things and how my old manager took responsibility for things. Now I want to be responsible for the things that I’m doing. I don’t like putting it on other people. That’s what I’ve learned the most is being independent. Not in the sense nobody can touch what I’m doing, but I need to be aware of what’s going on the business side of things. CT: Where do you see yourself going with your music in the future? AF: I want to reach more people and tour more. That’s the ultimate dream to tour with my band and be able to control the touring schedule a bit. It would be a dream to tour half the year. I guess I would have to be a bit bigger than I am now to be in that position. I think that’s my biggest dream. I don’t think about a lot of other goals and achievements than doing music more than I currently do. Sources: Europa Vox, FMS Magazine, Instagram, Mathworks, Nettwerk Music Group, YouTube Images: Amazon, Facebook, The Line of Best Fit Featured Image: Facebook
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
by Conner Tighe The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board. 1979 was a big year in the entertainment industry. Alien, Mad Max, The Amityville Horror, and more well-known films were released, but a bigger breakthrough was also released to the world: The CD. A thin, reflective disc became the most popular and sought-after avenue for playing the best music had to offer. Before the internet and after the beloved record player, CDs would take over the music industry only to begin their decline decades later. Although at one time CDs could be found anywhere music was sold, the music industry has evolved, leaving a barren wasteland of CDs in its wake. 5. The first CD was released in 1982 for the band ABBA Swedish pop band ABBA takes credit for having the first CD featuring their album The Visitors in 1982. The eight-track album featured songs “Two For the Price of One,” “I Am the City,” “Cassandra,” and more. ABBA consisted of members Benny Andersson, Björn Ulvaeus, Agnetha Fältskog, and Anni-Frid "Frida" Lyngstad. Although Fältskog and Ulvaeus married in ‘71 and Andersson married Lyngstad in ‘78, the two couples split, leading to ABBA’s downfall in ’83. 4. Cars began to replace CD players in the 2010s When cars began to feature CD players in the car, something revolutionary after the invention of stereo cassette players in vehicles, there was no going back. In the 70s and 80s, cassettes were popular. A large square slot for the cassette turned into a narrow square slot for the CD. This would last until the mid-2010s, when vehicle companies Ford, Honda, and Toyota began to get rid of the car CD players. Bluetooth and the evolution of technology took over, making the thin discs a thing of the past altogether. With vehicles becoming more technologically advanced, it almost seems less convenient to insert and eject CDs continuously in a car. 3. Vinyl are more fragile than CDs With its resurgence in popularity, beginning back in the 2010s, vinyl became more nostalgic for some, but a retro style for others. Vinyl records capture more sound waves than CDs because of its analog recording. The groove embedded in the record ensures no piece of the sound wave goes unheard, unlike the CD. Thumbprints and scratches leave CDs in a risky position as these nuisances can render CDs useless, leave the music sounding scratchy/patchy, or leave parts of the music out. Although fragile in its design, vinyl comes in first in terms of fragility. Stacking vinyl can cause scratching even with the sleeves on. Oil from skin contact can damage the plastic. A carbon fiber brush is needed to clean vinyl, as standard cleaning products won’t do the job. Leaving vinyl out of their sleeves can accumulate dust, scratches, and even the sun can damage the record if left out. 2. 2008 was a bad year for CD sales 2008 was the beginning of the end for CDs as sales dropped, with 17 million people reported not buying the products. Although convenience has taken over with the continuous decline in CD sales, they are still sold in stores like F.Y.E., Barnes and Noble, Target, Meijer, and other large corporations where electronics are sold. At one time, CDs were one of the best storage systems for music, providing tunes stored in one small disc. Then the rise of streaming services like Pandora, iTunes, and Spotify came along. They offered an endless supply of tracks that could be played wherever, therefore ultimately being a better means of playing music than CDs. 1. CDs can be used for up to 200 years Manufacturers have tested CDs in the past to see what environments the discs do best in with temperature and humidity levels. In one study, with a 77 degrees Fahrenheit and 50 percent humidity recommendation, the discs can be workable for 30 years, but this isn’t confirmed for all CDs. Some CDs have been known to work past 100 years if stored at the recommended temperature. Chemical reactions can occur, known as “CD rot” or “bronzing”, where the outer layer of CDs literally rots away and leaves the silver inner layer exposed. But since not all CDs are the same, no one set environment will work for all CDs. The basic gist is to store CDs in an environment with nonfluctuating temperatures to secure the longest lifespan. Sources: Ars Technica, BBC, CLIR, Electrohome, Forbes, How Stuff Works, IMDB, Kodak Digitizing, Lifewire, Mirror, Retro Manufacturing, The Vinyl Revivers Featured Image: Commodore Waves
by Conner Tighe The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board. Talented at the age of four, AJ Mitchell grew up in Belleville, Illinois, where he learned his piano skills from his father, a pianist. At six years old, Mitchell wrote his first song and, in high school, he was a member of the choir group. He performed at local coffee shops and bars until finding fame in 2016 on social media. His debut single “Used to Be” was released in 2017, which Mitchell claims it's his favorite song of his to perform. With inspiration from Coldplay, Lil Wayne, The Beatles, and Bruno Mars, Mitchell writes creatively and has done so even more since quarantine began. The singer takes experiences in his life and crafts +them into pop tracks like his 2019 single “Down in Flames.” “I wrote that song about communication. A big lesson I learned was communicating. I saw two of my close friends get into a bad argument, and from my perspective, I saw how the situation could’ve been a lot different, a lot better if they communicated,” said Mitchell in a YouTube clip. Mitchell is seemingly vulnerable with his fans. With posts from his childhood featured on his social media and many in-depth interviews with mostly entertainment publications, the artist appears genuine and wants the world to know he’s here for the craft and not the fame. His realistic approach when interacting with fans and social media gives Mitchell credibility with his music. His mannerisms, body language, and overall temperament shown in interviews linked above display what kind of person Mitchell is. Although the artist’s fame came quickly, he explains how his mom encouraged him to keep performing. YouTube star Jake Paul sought out the young artist to be a part of his social media group called Team 10. During his time in the group, he met his future manager, who secured him a record deal after Mitchell left the group to pursue music. Mitchell released his six-track album Hopeful in 2018 that spoke about your average dabbles in angsty teenage romance with beautiful vocals and a range comparable to boy bands that capture hearts. Mitchell is the prime example of a newcomer musician on the verge of something greater, like Shawn Mendes in his 2014 era. MTV’s Push highlights new and breakout artists where artists Taylor Swift, Billie Eilish, Eminem, and Future, among many others, have been nominated in the past for Video of the Year Awards, although Push awards artists in other areas like Artist of the Year, Best New Artist of the Year, Song of the Year, and Best Collaboration. Mitchell was featured on MTV’s website in 2019, where exclusive interviews about his life and music career lie, and in 2020 MTV featured Mitchell as a nominee for Best New Artist. The singer has collaborated with artists like DJs Frank Walker and Steve Aoki and rapper Rich the Kid. Recently for the holidays, he released “Blame It on the Mistletoe” with Ella Henderson. It will be exciting to see who else Mitchell strikes a collaboration with in the future. Since late 2019, Mitchell has been talking about releasing his second soon to be album, Skyview. Heading into 2021, there’s no Skyview in sight, although on Instagram, Mitchell has been teasing the album's arrival with images of him recording in the studio. “If only could hear this…” he says on a Dec. 29 post. The artist may introduce 2021 with Skyview as a good luck charm for a better year. Since the album wasn’t released in 2020, he may drop the album by surprise. Keeping an eye on his social media will provide excitement for his fans. Sources: AllMusic, Instagram, MTV, Seventeen, YouTube Images: Instagram Featured Image: Euphoria. Magazine
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
by Conner Tighe The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board. Director Robert Zemeckis brought Chris Van Allsburg’s The Polar Express alive in 2004 with the sound of a train whistle in a snowy town on Christmas Eve. Allsburg, known for his books Jumanji and Zathura, among many others, told the story of a small boy on the edge of disbelieving Santa’s existence until a mysterious train arrives in his town, awaiting him. Zemeckis directed the movies Forrest Gump and Castaway, which both feature Tom Hanks. Hanks voices many characters in the Christmas tale, including Santa, the train ghost, the conductor, and the main character when he grows up. With the struggle to find Santa’s existence, the movie’s score, and an ending that continues to leave me in awe, The Polar Express continues to be the best Christmas movie for all ages. It is unrivaled by both live-action and animation Christmas movies alike. [caption id="" align="alignright" width="453"] Image from Mental Floss[/caption] The story begins with an anxious boy, who remains unnamed in the movie, looking through the newspaper clippings of Santa hoax articles until his parents check in on him. As he pretends to sleep, he recalls his parents discussing “the end of the magic,” suggesting the boy’s disbelief in Santa. When an overbearing train whistle rattles the house, the boy boards the ride of a lifetime alongside a young girl, who remains unnamed, and a boy named Billy, both unwavering in their belief in Santa. As nobody else in the neighborhood was awoken by the train, it’s suggested the train is magical—only to be heard by the children who believe in Santa. It becomes clearer toward the end of the movie that it’s not true, and the conductor’s method was more concise than viewers are led to believe. As the train barrels across a frozen river, maneuvers a caribou crossing, and speeds down Glacier Gulch, there are moments when unexplainable phenomena happen, like the train tickets flying away only to return moments later; a ghost living atop the train helping the boy at times; and waiters producing tabletops out of thin air that beg the question: What is this train and where is it going? The Polar Express directs its attention toward children, preteen age approximately, who are on the verge of disbelieving in Santa, thus losing their Christmas spirit. [caption id="" align="alignleft" width="421"] Image from IMDB[/caption] After the trio gets lost at the North Pole, the girl and Billy encounter bells ringing from an unknown source. The boy repeatedly asks, “what bells?” The next scene—which is also the best scene of the movie—is when the boy finds one of Santa’s sleigh bells rolling toward him, and is still unable to hear it even after he picks it up and rings it next to his ear. The bell becomes more significant than anything else in the movie, proclaiming the boy’s belief in Santa. The prospect of Santa being real or not is still heartwarming 16 years later because it hits home for adults and children. No other Christmas movie has been able to envision a unified theme that Christmas revolves around: Belief. The Polar Express is about believing in something even if nobody else does. Alan Silvestri’s score is plain amazing. There’s no other way to describe the recurring theme that pops in and out throughout the film. When the boy loses the bell Santa had given him, we see one small box lying underneath the Christmas tree. “Wait, there’s one more,” says the boy’s sister. She hands him the box, revealing the bell, and the score becomes even stronger and more powerful. When we learn the boy continues to believe in Santa even as he grows old, we realize how impactful the boy’s experience was on the train. Santa’s reflection glimmers on the side of the bell, and we recognize the significance of the train. At one time or another, many of us have believed in a fat man dressed in a red suit sliding down our chimneys, placing presents underneath our tree, and leaving no cookie untouched. The Polar Express tells its viewers that the power of something, like Christmas spirit, is only as powerful as its follower’s belief in it. The movie has a way of touching both adult’s and children's hearts because it is nostalgic and brings back many of our childhood memories. This is why The Polar Express remains the best Christmas movie continuously after 16 years of magic-filled fun. Sources: YouTube Images: IMDB, Mental Floss Featured Image: Rail Events Inc.
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
by Conner Tighe The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board. 2020 has been one of the best years for music, with many artists coming out of this strenuous year's woodworks. Some artists returned after leaving the spotlight for a bit, while others have dropped some of their best music out of nowhere. Although 2020 has had its share of mystery with the pandemic, the music industry has addressed issues worth discussing, such as love, masculinity, staying mindful, and saying what it means to have fun with music and friends. [caption id="" align="alignright" width="229"] Image from Spin[/caption] 10. Plastic Hearts by Miley Cyrus Cyrus incorporates rock into her latest album, which she’s only done a handful of times before with tracks “Wrecking Ball,” “Mother’s Daughter,” “Slide Away,” and covers of classic rock hits like “Heart of Glass.” She furthers her sound and music appeal by crossing over to the rock genre while sticking to her wild side. Cyrus is unapologetic in the album, revealing her vulnerabilities dealing with past issues like her recent divorce from Liam Hemsworth. Plastic Hearts features some noteworthy collaborations with Dua Lipa, Billy Idol, and Stevie Nicks to bring her music full circle. The singer remains unapologetic for her passions and charisma, and that comes through all 15 tracks to craft one of the singer’s greatest albums. [caption id="" align="alignleft" width="214"] Image from Genius[/caption] 9. Positions by Ariana Grande Grande released her highly sensualized album Positions, which surprisingly is her weakest link. Although the tracks' collection is met with Grande’s extraordinary vocals and is as memorable as all her pieces are, the tracks don't hold up as well. The album features decent collaborations from Doja Cat, The Weeknd, and Ty Dolla $ign, but they couldn’t save the album. The style is lacking. The production is bland. However, the artist did her best with what she was given to work with. If Grande weren’t mentioned in the top 10, it would mean I had gone tone-deaf. [caption id="" align="alignright" width="229"] Image from The Arts Desk[/caption] 8. Notes on a Conditional Form by The 1975 The 1975 continues their exceptional sound with Notes on a Conditional Form. The album, which expands over an hour-long, provides the strongest collection of tracks the band has released yet. The band captures the true essence of LGBTQ+ living and love with tracks “Jesus Christ 2005 God Bless America,” and “Guys,” which deal with religion and inner doubt of self. The 1975 sticks with their club-esque vibes and slow tracks being a part of the alternative genre and visual representation of the LGBTQ+ community. [caption id="" align="alignleft" width="220"] Image from Pitchfork[/caption] 7. In a Dream by Troye Sivan Sivan’s seven-layered EP surpasses all his previous albums combined. As expected with Sivan, he’s always addressing what it means to be gay and the struggles with finding love in his past works, and it’s addressed in In a Dream. However, each track’s fast pacing drives the EP, keeping listeners interested instead of droning them out with melancholy. In a Dream represents the artist’s full potential stylistically and expressing vulnerability lyrically. [caption id="" align="alignright" width="232"] Image from The Ball State Daily News[/caption] 6. This Digital Life by The Wonderlands After witnessing the album being played live in August, no streaming app measures up to the wonderful Wonderlands. This Digital Life focuses on the calamities of friendship and keeping up with your wellbeing amid the technology that’s overtaken the world’s attention. This Digital Life is The Wonderland’s first album, and the band will be releasing more music in the future. Let’s hope the band never stops playing about relatable life nostalgia: from losing friends to drugs and finding oneself while young, featured from hits like “Danced Herself to Death,” “Trying to Reach You,” and “Feels Like.” You don’t have to be in Hollywood to achieve your dreams, and this local band stands by its dreams, originality, and exceptional sound. [caption id="" align="alignleft" width="230"] Image from Amazon[/caption] 5. Changes by Justin Bieber Bieber brought his faith full circle when he dropped Changes. This album marks his shift in life perception and love life that he’s struggled with until recently. After marrying the love of his life, Hailey Bieber, the singer has left his troubled past behind and focuses wholly on the future. Changes focuses primarily on his faith and his devotion toward his wife. The album is Bieber’s most diverse and unique album to date and his finest, using faith, a careful balance of R&B and rap, confidence in himself, and hope for his future. [caption id="" align="alignright" width="238"] Image from Vulture[/caption] 4. Folklore by Taylor Swift Swift took the world by surprise when she dropped Folklore mid-quarantine. The collection’s ominous tone and slow, melodic themes separate itself exponentially from Lover. But, make no mistake, the artist is incapable of a remarkable resurgence. The listener can visualize Swift drifting through a gray forest, illustrated in the featured artwork, wearing a cardigan that only she can pull off, through each track. Folklore is not a pure tale as the artist mentions her faults with past relationships, but one of melancholy, perseverance, and all things folk. [caption id="" align="alignleft" width="225"] Image from Genius[/caption] 3. Remote by Wallows Guitarist and vocalist Dylan Minnette played music throughout the pandemic, continuing to work virtually with his band, soon enough releasing Remote; a six-track EP that landed the band critical acclaim by several publications like The Daily Californian, Dork Magazine, and The Peak. Remote doesn’t disappoint, choosing to break away from their original sound yet keeping their stylistic approach. Indie, although monotonous at times, never phases the Wallows, and they continue to perform music all their own. With “Virtual Aerobics” talking about fun times with friends and “Coastlines” dealing with long-distance relationships, it only makes sense to name the EP after the process itself, Remote. Who can forget Minnette and the band dancing in front of a green screen? [caption id="" align="alignright" width="237"] Image from KRNL Magazine[/caption] 2. Wonder by Shawn Mendes Mendes had love on the mind when he dropped his latest album Wonder earlier this month. Mendes captures his emotions and insecurities that his girlfriend, Camila Cabello, helped him explore during the pandemic. Wonder features the long-awaited collaboration between himself and Justin Bieber with “Monster;” talking about living in the public eye. The album offers an original sound and introduces a fresh side of the artist. Mendes focuses on himself rather than a woman and changed his style to more melodramatic with less focus on lyrical beauty and more on production. The collection doesn’t stand as tall as his previous album, and although none of his work has ever been considered “bad,” Wonder lacked vision and was stuck in the clouds. [caption id="" align="alignleft" width="229"] Image from Clash Magazine[/caption] 1. Rare by Selena Gomez Gomez made her iconic return to not only the music industry but the world when she dropped her poignant and uplifting Rare. Inside, listeners hear Gomez’s journey to self-discovery while battling herself. The singer held onto her on and off past with Bieber, and this method was her way of letting it all go. Over the last two years, her health has had its ups and downs; one major event being the reveal that she was diagnosed with lupus, a genetic autoimmune disease, and was saved by her friend Francia Raisa who donated a kidney. The singer kept her pop appeal and delivered her best song to date, “Lose You To Love Me.” Sources: Dork Magazine, Elle, Healthline, The Daily Californian, The Peak, YouTube Images: Amazon, Clash Magazine, KRNL Magazine, Genius, Pitchfork, Spin, The Arts Desk, The Ball State Daily News, Vulture Featured Image: Kellyn Harrison
By Conner Tighe Three years ago, Foster the People carried their amazing dark vibes with Sacred Hearts Club. The band’s latest EP, In the Darkest of Nights, Let the Birds Sing, bestows its audience with another monument of sound the band is known for. After a first listen through, the album presents mediocre qualities but gets better after another run through. However, the band’s fourth EP doesn’t stand out from previous works like Torches, Supermodel, or Sacred Hearts Club. In 2010, Foster the People released their first hit, “Pumped Up Kicks.” The band started with lead vocalist Mark Foster, bass guitarist Jacob Fink, drummer Mark Pontius, and pianist Danyew but picked up guitarist Sean Cimino and pianist Isom Innis in 2017. Sacred Hearts Club, released in 2017, was the first album to feature Cimino and Innis, coincidentally being the band’s best album. In the Darkest of Nights, Let the Birds Sing is the first EP featuring the two members, and the tradition continues with a peculiar stylistic technique and glorious sound. The band is slower in tempo this time around while maintaining the familiar Indie sound, but less focused on themselves and more focused on love. Other inspirations There is a range of influences throughout this EP: The Smiths, The Beach Boys, and The Neighborhood—as arbitrary as it may sound—can be heard underneath some songs’ layers. “Walk with a Big Stick” is undeniably a 60s influence with harmonized vocals coming in and out. “The Things We Do” will immediately trigger 70s vibes with its keyboard and voice manipulation for exaggerated vocals, and it’s perfect. “Under the Moon” is dull and edgy sounding. The Smiths have a way with their voice that sounds drawn out and rough, almost unexplainable, but it’s present in the whole EP. Foster the People established their unique vocals long ago, and again with this EP, listeners are presented with freedom and artistry. It’s challenging to stand out in the music industry today with many artists sounding similar no matter what genre, but Foster the People are not afraid to stick with their guns. “Kiss me a little/Kiss me before you roar/I'm yours, forever yours/And you are mine to take tonight” The idea of having older bands popping up here and there in the EP goes back to what Foster the People and this EP is all about. The band has always been strange in their performances—not a bad quality, but unique—and all musicians take inspiration from somewhere. For example, In the Darkest of Nights, Let the Birds Sing is a shout out to other bands in a similar genre and presents this unity message within the music industry. Yes, the same music and tone are present here, but there’s also proof of cohesion and an established sound. “Under the moon I cry/Waiting in the whisper of your name” Under the moon in a Cadillac EP four is the simplest of all collections presented by Foster the People, but here, that’s not a terrible thing. That same impression from Sacred Hearts Club persists with unified vocals and an indescribable Indie sound. Foster the People has always taken love (“I Would Do Anything for You”) or something more serious like school shootings (“Pumped Up Kicks”) and put an Indie spin to it. In the Darkest of Nights, Let the Birds Sing has Foster presenting his unique and talented vocals to the subject of love again, but here it’s plain weird and fun. The band presents a scenario of a man in love with a woman and waiting on her love in return. Every track in the EP either talks about the man’s qualities and compatibility with the woman or reflects on the good times with this woman. It’s vulnerable and sweet in the message but directs its audience away from crazier times with the band. Sacred Hearts Club and Supermodel, for example, focused on the craziness of life and youth, and the band may be moving away from this appeal. Painting an eerie picture either as fun or as something more sinister is an ability Foster the People can accomplish. Foster calls his girl a “queen” and wishes to present her with a palace. “Under the Moon” and “Cadillac” set the mood correctly in the eyes of Foster. Top tracks: Walk with a Big Stick Lamb’s Wool The Things We do Recommended if you like: MGMT Cage the Elephant Arctic Monkeys Featured Image: Genius Sources: Top40-Charts
By Conner Tighe Taylor Swift showed the world what she’s been up to mid-quarantine when she surprisingly dropped Folklore in July. Now, with what she calls the sister album Evermore, listeners return to the Folk/Indie Swift with a marginally more sanguine tone and feminist undertones. However, after having heard Evermore, fans deserve a return to Lover or something more conclusive. The album continues the fresh take on Swift’s new style and sound but lacks pacing. Maybe next year. Letting go Evermore sounds like part two of Folklore with the artist saying adieu to someone who greatly influenced her life but now lives in the past. Swift has invariably been remarkable in sharing her struggles in past albums, which has given her a reputation for strong womanhood and femininity. All of that is here yet again, but the artist sounds like she’s far away, hoping to return to a life she once knew. Tracks like “Happiness” speak about sad recollections and give the complete opposite feel the title insinuates. Evermore begs the question if maybe Swift is dragging out her low vibes for her fans. Haunted by the sound Folklore’s continuation sounds nearly identical to its predecessor. Bon Iver returns for a collaboration named after the album, although Folklore’s “Exile” was better. Evermore is like an iceberg drifting on, and although Swift is a gifted singer, this new style of hers doesn’t correlate to prior albums. There’s not one song on the album that breaks up this slow trip through Swift’s past life, and with 15 songs, there was plenty of opportunity for improvement. Swift continues to go for the edgy appeal, and it’s admirable and soothing to a point. Evermore features some country aesthetic that takes fans back to her roots. The familiar guitar twang can be heard throughout “Cowboy Like Me.” Like much of the album, the track paints a picture of a modest life and a dwelling on nostalgic memories that only Swift knows about. “I’ve got some tricks up my sleeve/Takes one to know one/You’re a cowboy like me” Gothic appeal The slow, melancholy Swift has developed strikes originality compared to past albums. Evermore raises some confusing feelings because on the one hand, it’s done well — however heavy — but on the other hand, it’s unique from what the artist is known for. Swift is known for striking the strings of a guitar, telling an ex to shove it, or raise awareness of political issues with past tracks “Only the Young,” “You Need to Calm Down,” and “The Man.” There’s no politics in Evermore and for the better. However awful 2020 has been, Swift has blessed the world with two astounding, however gothic, albums we can treasure forever. Top tracks: Cowboy Like Me Dorothea Marjorie Recommended if you like: Selena Gomez Ed Sheeran Niall Horan Featured Image: Genius