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Miami honors seniors, drops final game against Wake Forest

Caleb Shapiro
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Miami honors seniors, drops final game against Wake Forest

Editor’s Note: This article’s original publishing date was on Oct. 28.

On a brisk Thursday evening in Coral Gables, the Miami Hurricanes soccer team wrapped up their 2023 season in a 2-0 loss versus Wake Forest. It was a campaign that saw a team struggling to find consistency.

Despite defeat on the field, off the pitch, the night was celebratory, commemorating Senior Day with three ‘Canes spotlighted. Defender Delaney Brown, midfielder Julia Edwards and forward Katerina Molina were each honored appropriately for their time as Hurricanes. Combined, they competed in 167 matches.

Brown, in particular, has been an integral part of Miami’s core, missing just one game over the last four seasons and starting in the majority.

During their tenure, Miami racked up various big-time wins. Most notably, they were victorious at Boston College for the first time in program history, broke a decade-long stretch of losses to Florida, beat a ranked Virginia Tech club and won against eventual NCAA College Cup semifinalist Alabama.

Miami entered its final game without a win since late September against Louisville. Meanwhile, the Demon Deacons had been on a tear, dropping just two games the whole year, and hadn’t lost since October 8.

Hurricanes goalkeeper Skylah Klein grabbed many early saves, as the opponents traded shots on goal throughout the beginning of the match. The ‘Canes continued their defensive stand, and the clubs went into the half scoreless. However, the final 45 minutes of play were a different story.

Redshirt sophomore goalkeeper Skylah Klein makes a save, keeping the game scoreless in the first half at Cobb Stadium on Oct. 26, 2023.
Redshirt sophomore goalkeeper Skylah Klein makes a save, keeping the game scoreless in the first half at Cobb Stadium on Oct. 26, 2023. Photo credit: Trevor Castleman

Wake Forest capitalized in both the 60’ and 76’ off goals from junior defender Laurel Ansbrow and midfielder Emily Morris. Morris had her footprints all over the second half with her own score and the corner kick that led to the initial goal.

Hurricanes soccer parting ways with head coach Sarah Barnes

Elliot Farr
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Hurricanes soccer parting ways with head coach Sarah Barnes

University of Miami Vice President and Director of Athletics Dan Radakovich has announced that soccer head coach Sarah Barnes will not be returning to the program, per an official release.

“After evaluating our soccer program we have decided that it is in our best interests to make a change in leadership,” Radakovich said. “We thank Sarah for her dedication to UM over the past six seasons and wish her well moving forward. Our search for a new head soccer coach will begin immediately.”

The Hurricanes finished the 2023 season with a 3-10-4 record, concluding with a 2-0 loss to Wake Forest on October 26.

Over the six seasons Barnes spent at Miami, she earned a combined record of 24-59-13 as the head coach. Her tenure included signature wins for Hurricanes soccer, including a 2022 win over then-No. 24 Virginia Tech, a thrilling upset of No. 15 Clemson in 2019, and a victory over rival soccer powerhouse Florida State in her first year manning the program.

Before her arrival to Miami, Barnes spent six seasons as the head coach at George Washington University, where she led the Colonials (now known as the Revolutionaries) to a 60-41-14 record. The team made its first A10 Championship appearance since 2002 during her second year. Barnes also won A10 Coach of the Year honors for the 2015 season.

Prior to joining GW, Barnes spent four years as an assistant for the University of Texas. During her time there, the Longhorns posted a 47-30-12 record, where she helped them reach the NCAA Championship and notch three seasons of 12 or more wins.

The Miami Hurricane will continue to follow this story for further announcements or comments from the team.

GEMS Film Festival 2023: the who, when, where and what

Samantha Rodriguez
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GEMS Film Festival 2023: the who, when, where and what
Photo credit: Jorge Simonet, via Wikimedia Commons

See a range of exclusive movies, filmmakers and actors at this year’s GEMS Film Festival, a four-day event happening in Downtown Miami across various cinemas to present the best of the fall film season.

Head to the Koubek Center — a historical mansion with beautiful pillars and natural scenery — on Thursday, Nov. 2 for opening night, where you can see renowned actor Eugenio Derbez accept the GEMS Impact Award for his outstanding contributions to Latin American entertainment.

Attendees will also see a screening of his new movie “Radical,” which takes audiences through a teacher’s radical methods as he attempts to teach neglected students on the Mexican border. After the film, head to the Day of the Dead party at the Koubek Mansion and Garden and take advantage of the complimentary beer, wine and treats.

On Friday Nov. 3, catch Jeffery Wright’s “American Fiction” and Nicholas Cage’s new A24 film, “Dream Scenario,” at Silverspot Cinema 12 and 16, respectively. Located in cities like Miami and Atlanta, the Silverspot Cinema boasts an enchanting atmosphere where moviegoers can watch their films while enjoying items like a house sangria or a coconut jasmine rice bowl at the theater bar.

In his film, Wright plays Thelonious Monk, a Black writer who is told his books aren’t “Black enough.” Monk resorts to stereotypical methods to prove his identity. On the other hand, “Dream Scenario” follows a normal man who enters stardom after he suddenly begins appearing in everyone’s dreams.

Hayao Miyazaki’s Studio Ghibli’s “The Boy and the Heron” premieres on Saturday Nov. 4 alongside Emerald Fennell’s “Saltburn,” starring “Euphoria” star Jacob Elordi and Barry Keogan, who plays a low-class Oxford student who grows obsessed with his high-class friend. Fennell follows her roots and showcases immoral people receiving justice in “Saltburn.”

“The Boy and the Heron” attracts viewers with its smooth animation and impressive voice cast. The heartfelt film follows a child’s journey into a fantastical world as he searches for his dead mother.

That same afternoon, you won’t want to miss actress Rachel Scott from “BODIES, BODIES, BODIES” in a new dark comedy called “I Used to Be Funny,” which follows a PTSD-ridden house worker who must decide whether to join the search for a missing child she used to babysit.

End the cinematic experience on Sunday, Nov. 5 with a diverse film line-up. Andrew Scott and Paul Mescal star in “All of Us Strangers,” with Scott playing a struggling screenwriter who returns to his childhood home and finds his late parents alive.

“The Monk and the Gun,” by Bhutanese filmmaker Pawo Choyning Dorji, shows the power of evolution and asks if it’s for better or worse. As the Kingdom of Bhutan organizes a mock election to introduce democracy to its citizens, a monk battles for ownership of an ancient weapon to prepare for the change.

See actor Paul Giamatti on closing night in the coming-of-age film “The Holdovers,” which explores the unlikely bond between a pessimistic instructor and a troubled student left on campus over Christmas break.

GEMS Film Festival remains a staple in Miami cinematic culture. As actors, filmmakers and enthusiasts gather for the special event, the film presence in the magic city grows stronger than ever.

Tickets are on sale here, with student tickets are $12 and centerpiece film tickets start at $20. Be sure to save or print the QR code in your confirmation email for admission to your listed cinema.

Former U.S. Congressman Adam Kinzinger visits the U, talks new book “Renegade”

Rachel Petrovich
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Former U.S. Congressman Adam Kinzinger visits the U, talks new book “Renegade”

Students, faculty and community members filled the Storer Auditorium on Wednesday Oct. 25 for an intimate discussion with former U.S. House of Representatives member Adam Kinzinger, who discussed the contents of his new book, “Renegade: Defending Democracy and Liberty in our Divided Country.”

The book is a journey through the personal and political life of Kinzinger, including his navigation through the Republican party during a transformative time in Congress and how he upheld his faith, service and political duty.

He was joined on stage by Tom Hudson, Wisconsin Literacy Resource Network’s (WLRN) Senior Economics Editor and Special Correspondent for South Florida.

Hudson asked questions ranging from the future of the Republican party, the unique political landscape of Florida and to his stances on current events.

The event was hosted by the Hanley Democracy Center, UM’s hub for research and opportunities promoting the understanding of democracy and governance at home and abroad. In attendance was the center’s founder, George P. Hanley.

Before discussing the release of his new book, the conversation began with the recent news of Mike Johnson (R-LA) being elected as House Speaker, following a tiring three-week long hiatus without a Speaker in the House.

“Nobody’s heard of him before,” Kinzinger said, garnering the first dose of laughter from the audience that evening.

“He, policy-wise, is no different than Jim Jordan, but I think he’s going to be a better pick because he can at least pretend to be interested in government.”

Kinzinger recalled his time as a House member representing Illinois’ 16th congressional district and his interactions with Johnson, along with shared moments between Florida Republicans Governor Ron DeSantis and Representative Matt Gaetz.

He described some members of the Republican party in Congress as “hope yes, vote no” people, who toy with the legislative process for personal gain. Kinzinger expressed concern that the new House Speaker Johnson falls under that category.

He defined the role of his faith in politics and what it means to be a “religiously-inspired conservative,” as Kinzinger noted in “Renegade.”

“I’m a person of faith, but I’ve never sat in a crowd and talked about that in a way that denigrates anybody else,” Kinzinger said. “I represented 700 some thousand people and I guarantee you there were people of different religions I represented. My job wasn’t to be a preacher.”

As for his conservatism, he describes himself as a “Lincoln Republican” in his new book, standing center left on social issues such as voting rights and right on the role of the federal government and infrastructure.

Dylan Long, a freshman studying political science with minors in law & politics and political economy, shares his reaction from the audience.

“I really enjoyed his interesting take on strengthening democracy, specifically coming from the Republican party. He’s able to come with a unique perspective,” Long said.

Tyra Marrs, a second year master’s student studying Public Health (MPH) and Public Administration (MPA, also appreciated the perspective Kinzinger brought.

“I would say it was really refreshing to hear how, even though he is Republican, how he had agreement with Democrats. It was nice to hear a different perspective,” Marrs said.

Kinzinger spoke directly to the audience when highlighting the importance of local news and stepping away from D.C. politics.

“Local news keeps you tied to the community. You can actually hear what’s going on around the community and it keeps local leaders accountable.” Kinzinger said. “I think it’s essential.”

Given his appearance in South Florida for this stop of the book tour, Hudson asked Kinzinger to diagnose the political climate of the sunshine state, to which Kinzinger said it’s a place with “rage, fear and anger.”

“Renegade” also takes an in-depth and personal look into the Jan. 6 insurrection on the United States Capitol and its aftermath from Kinzinger’s perspective. He served on the non-partisan select committee from Jul. 2021 to Jan. 2023, which ultimately came to the conclusion that Donald Trump incited the attack.

“I think Donald Trump’s going to jail,” Kinzinger said. “We don’t want to be a country that prosecutes last administrations because those countries fail, [but] this is a very uniquely acceptable position.”

In light of recent conflicts in Ukraine and the Middle East, Kinzinger shared his stances on the conflicts, referring to his experience as a soldier with the Air Force and his time fighting in Iraq.

The evening came to a close following audience questions, asked by director of Hanley Democracy Center and professor of Political Science Gregory Koger.

These questions included the impact of public service, the Country First movement, the upcoming Republican debate and his future plans, hinting at a possible return to public office if he sees major change in the Republican party.

REVIEW: “Killers of the Flower Moon” shows wisdom comes with age

Vivica Dunlap
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REVIEW: “Killers of the Flower Moon” shows wisdom comes with age

“Killers of the Flower Moon” doesn’t let you rest, break or breathe. Instead, it keeps you holding onto your seat, trying to figure out what comes next.

Released on Oct. 20, this film tells the true story of how a white businessman orchestrated the murders of Osage Nation members in 1920s Oklahoma after oil is found on reservation land. Directed by American filmmaker Martin Scorsese, viewers watch the story unravel as discrimination against Indigenous peoples runs rampant — until the FBI steps in.

Few directors are quite as powerful as Scorsese, who has created chatter from both film nerds and the average moviegoer since the 70s.

Embed from Getty Images

His most recent falls in line with his other previous films and is a riveting watch from start to finish. You’ll cling to the edge of your seat as you realize that the three-and-a-half-hour runtime goes by quicker than expected.

In many ways, “Killers of the Flower Moon” feels like a culmination of Scorsese’s experiences within his career. It is his most complete film, using many old ideas that he has consistently returned to in a new, more reflexive way.

There are ideas that echo back in this work from past iterations of Scorsese. For example, Scorsese takes influence from his themes of family and toxic masculinity in both “Goodfellas” and “The Wolf of Wall Street” as he explores Leonardo Dicaprio’s character — Ernest Burkhart — and his family’s futile desire to cling to power.

Despite DiCaprio’s emotive performance and Robert DeNiro’s commanding stage presence as criminal mastermind William Hale, they are blown out of the water by newcomer Lily Gladstone, who plays Mollie Burkhart, oil empire heiress, DiCaprio’s wife and a member of the Osage Nation.

Embed from Getty Images

Sharp on her toes, Gladstone captivates the audience with her emotional range that comes through with a single look.

Her performance connects back to what is so special about Scorsese as a director. He is able to develop complex characters regardless of their gender, and Mollie is no different. She is fierce, sensitive, loyal and strong.

Just like his ability to develop strong characters regardless of gender, Scorsese develops the characterization of the indigenous people of Osage County just as strongly. His respect for the culture and history of these people is evident in the film.

The movie shifts around two-thirds of the way through and picks up steam as the characters unravel. What was first an old mystery caper now becomes a law drama, a subtle shift that it feels natural to the story.

It’s hard to think of anything wrong with this film. With “Killers of the Flower Moon,” Scorsese proves once again why he is a master of his craft.

Rating: 5/5

The magic of Mancini: Arsht Center to celebrate composer’s 100th birthday

Rachel Petrovich
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The magic of Mancini: Arsht Center to celebrate composer’s 100th birthday
Photo credit: Adrienne Arsht Center

Whether it’s the heavenly melodies that accompanied Audrey Hepburn, the nostalgic backing track to the Pink Panther’s mischief or the sultry latin rhythms of Lujon that have decorated film soundtracks, you’ve undoubtedly heard his music. But have you heard his name?

Henry Mancini is the composer of this musical magic behind the silver screen, and his presence is felt right here at UM’s Frost School of Music.

Astutely named the Henry Mancini Institute (HMI), graduate music students can be found in various ensembles such as an orchestra, big band and string quartet within the institute.

The HMI Orchestra will grace the stage of the Adrienne Arsht Center on Friday, Nov. 3 along with Mancini’s daughter and Grammy-nominated vocalist Monica Mancini, dean of the Frost School and pianist Shelly Berg and eight-time Grammy winner and producer Gregg Field for a night of celebration and an immersive journey through Mancini’s compositions.

“You can expect a fantastic performance by some really well-known and remarkable artists,” Berg said. “With multimedia film and other images and a night full of melodies that everybody knows, it’ll be a lot of fun for all who attend, and it doesn’t matter what kind of music you like or what age you are.

In both his music and his life, Mancini’s legacy is often described as versatile. After being introduced to flute and piano at a young age and later taking his talents to the Juilliard School of Music in New York, he was drafted into the Air Force, serving overseas and in the infantry during World War II.

After returning home from the war, Mancini joined the Glenn Miller-Tex Beneke Orchestra as a pianist and arranger, and it was there that he met big band vocalist and soon-to-be wife of 43 years, Ginny O’Connor.

Not long after joining the orchestra, he began carving out a name for himself in Hollywood with Ginny by his side. In 1952, he joined the Universal-International music department, where his musical talents contributed to over 100 films.

1954 film “The Glenn Miller Story” earned him his first Academy Award nomination, and was the beginning of a long and rich list of major award achievements in film scoring for Mancini, including 20 Grammys, 4 Academy Awards and a Golden Globe.

The Henry Mancini Institute Orchestra.
The Henry Mancini Institute Orchestra. Photo credit: Frost School of Music

“Henry Mancini redefined what it meant to be a film composer. Before that, it was all sort of late romantic classical music, and he pushed forward into jazz and world-music and other popular things, paving the way for the composers that came after him,” Berg said.

In 1958, Mancini pivoted to more independent work as a free-standing composer and arranger. He garnered a close relationship with film director and screenwriter Blake Edwards, where he embarked on some of his most notable projects, like the Peter Gunn television series and movies Breakfast at Tiffany’s, Days of Wine and Roses and the Pink Panther.

Henry’s daughter Monica Mancini reflected on this stage of her father’s career and what it was like growing up surrounded by music.

“It was a musical home with all kinds of different genres. We were listening to showtunes, The Beatles, The Beach Boys…so as a result of that, my Dad also took a lot of interest in the music that we were playing. So, I think that inspired him to broaden his musical space as well,” Mancini said.

Mancini’s versatility across genres was cause for his global in-demand presence, being a concert performer for major orchestras around the world in his later career. This cross-genre experience is at the heart of the Frost School and will be reflected on stage Friday.

“The Henry Mancini Institute is designed around versatility, where musicians come to the Frost School to not only play the genre that they’re majoring in, but to play world music, jazz, popular and classical music,” Berg said. “In this concert, there’s gonna be everything from very classical music to very jazzy music to a country hoedown.”

Mancini music programs are found at various institutions across the country, but this Friday’s concert at the Arsht Center holds a special meaning for the Mancini family.

“My mom passed away a couple years ago, and she was my biggest fan. She used to show up in Miami at all the concerts, she was very into being at the Arsht Center with me and sitting front and center and closing her eyes and listening to the music,” Mancini said.

The enchanting evening will take place at 8 p.m. this Friday, Nov. 3 at the Adrienne Arsht Center, and students can also be a part of the magic and receive a discounted ticket when registered with the ArshtPass.

REVIEW: The 1975 are “Still… at their Very Best”

Lucia Moglia
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REVIEW: The 1975 are “Still… at their Very Best”
The 1975 perform at the Southside Festival in Germany on June 16, 2023.
The 1975 perform at the Southside Festival in Germany on June 16, 2023.

My heart started racing as the curtains parted to reveal a stage set up like none I had ever seen before. A stairwell, living room and couches adorned with dim yellow lamps decorated the Kaseya Center stage. Once the beginning notes of “The 1975” started to play, I knew it would be an unforgettable night.

On Oct. 17, English pop-rock band The 1975 performed at Miami’s Kaseya Center to complete the 12th show of their North America tour “The 1975: Still…At Their Very Best.” Thousands of fans gathered to witness the almost two-hour set, and energy remained high the entire time.

The band, which consists of lead singer Matty Healy, guitarist Adam Hann, bassist Ross Macdonald and drummer George Daniel, unite to create a symphony of music beloved by people all around the world. Their recent 2022 album, “Being Funny in a Foreign Language,” received widespread praise and reached number seven on the U.S. Billboard 200 chart.

Before attending the concert, I heard rumors and saw videos suggesting that Healy’s performance style was messy. With a flask in one hand and a cigarette in the other, he sways and clumsily trips around while delivering his songs.

Though this is true, his vocals are never compromised. Rather, I left impressed by how great he sounded live. On the stage, Healy’s vocals are given full range to deliver.

The 1975 has mastered the art of entertainment. Theatrics are non-negotiable when you attend one of their concerts. Although some fans complain that Healy doing 20 push ups, jumping into a T.V. or inspecting a naked wax figure of himself for 10 minutes takes away from the music, I disagree.

The music and Healy’s eccentric personality mesh to keep you on your toes the entire time. For The 1975, it’s not just a concert, but a production.

Those two hours consisted of hits from their most recent album such as “About You” and “I’m in Love With You,” as well as older icons such as “Robbers” and “Love it if We Made It.”

The excitement palpable from the audience every time a crowd favorite came on was a blessing to both witness and experience. I remember the bright, white lights emanating from the stage, then transitioning to a rainbow display of led lights to queue in “TOOTIMETOOTIMETOOTIME” and an eruption of dancing from everyone around me.

But it wouldn’t be a The 1975 concert without a taste of Healy’s controversial takes. Over the years, the performer has built a persona of someone who speaks their mind, even if it gets him occasionally in trouble. The bit is worked into every one of their concerts in different forms.

For the Miami show, Healy stopped music to begin a few minutes of social commentary, complemented by projections of subway surfers and cup stacking videos to get the crowd’s attention. At one point, he addressed booing fans by cursing them out.

Despite the drama, the music, stage production and energy were great. The 1975 fans really know how to have a good time — screaming the lyrics, unashamedly dancing and obediently jumping when Healy demands them to jump.

I for one can say, there was an ear-to-ear smile plastered on my face the whole night.

REVIEW: Jonas Brothers “The Tour”

Denisse Rocco
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REVIEW: Jonas Brothers “The Tour”
Jonas Brothers perform at their 4th of July Show taping in Cleveland, Ohio on June 27, 2021.
Jonas Brothers perform at their 4th of July Show taping in Cleveland, Ohio on June 27, 2021. Photo credit: Erik Drost, via Wikimedia Commons

American pop rock band, The Jonas Brothers, played their hit songs from across the years, complete with smoke machines and other special effects. On Oct. 14, the sibling trio played the Kaseya Center as another stop on their tour, “Five Albums. One Night. The World Tour” — or “The Tour.”

With the release of their second studio album in 2007 titled “Jonas Brothers,” the boy band was launched into stardom as the album went platinum, selling over two million copies in the U.S. alone. Although the group split in 2013, they promoted their reunion in 2019 over social media and the release of their album “Happiness Begins.”

At around 7:30 p.m., the pop-soul group Lawrence opened the show, playing newly released singles as well as their most successful songs from years prior. The New York City-based sibling duo of Gracie and Clyde Lawrence put on a lively performance filled with color, amping up the audience for the Jonas Brothers.

As the crew of background dancers took the stage, the audience’s cheers grew increasingly louder as smoke machines slowly revealed the brothers as they came up from the stage.

They began with “Celebrate!” from their latest album, which gathered much excitement from fans as they prepared to sing along to the band’s hits.

As they transitioned between albums, the brothers talked about the challenges they faced trying to expand themselves as a band throughout their music career.

As they recounted both the good and the hard times, they ultimately said they had their fans to thank for their success and for shaping who they are today.

One of the most memorable parts of their performance was when they played nostalgic songs from their earlier years such as “When You Look Me in the Eyes” and “Burnin’ Up.” They also played their Billboard Hot 100 number one single “Sucker,” which was the group’s first single released a day after they announced their reunion in 2019.

The group shocked the audience when member Nick Jonas played his hit song “Jealous,” which he released in 2014 as a solo artist. The performance continued to subvert expectations by bringing on former band DNCE — which consisted of Joe Jonas as lead singer — to sing its song “Cake by the Ocean.”

From leading the audiences in sing-alongs to bringing back the passion that fueled so many of their past hits, The Jonas Brothers showed Miami that they care about their fans and the legacy they will leave behind.

Soundtrack the spooky season with these 13 songs

Alice Reich
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Soundtrack the spooky season with these 13 songs

As Halloween creeps up on us, what better way to get into the mood than with a playlist? Check out these 13 songs from The Miami Hurricane to get you in the spooky spirit.

Photo credit: Julio Enriquez, via Wikimedia Commons

“Monster Mash” – Bobby “Borris” Pickett & The Crypt-Kickers

The perfect mix of bop and scare to transport you back to your childhood Halloween days. Brought to you by the very same who gifted you with “Transylvania Twist” here is another fun, lively monster song.

“Thriller” – Michael Jackson

No Halloween playlist is complete without Michael Jackson’s “Thriller.” This classic song summons horror film effects including creaking doors, thunder and wolf howls. If you want to feel chilled to the bone, this song will do just the trick.

“Paint it Black” – The Rolling Stones

“Paint it Black” is a phrase that mirrors pain and is representative of something evil or harmful. This classic rock song with Middle Eastern and Eastern European influences, a steady beat and eerie tone has all the horrifying feels and is a worthy addition to your Halloween soundtrack.

“Red Right Hand” – Nick Cave & The Bad Seeds

“Red Right Hand” is an expression from John Milton‘s epic poem “Paradise Lost” which refers to divine vengeance. This southern gothic blues song — which became the theme of the “Scream” movie franchise and crime drama “Peaky Blinders” — is sure to spook you.

“Superstition” – Stevie Wonder

This funk-pop song has a buoyant rhythm and catchy melody, a welcome break from the strangeness of Halloween. Don’t let the horns and bass fool you, though — the lyrics voice the danger of believing in superstitions because of their negative consequences.

“Bad Moon Rising” – Creedence Clearwater Revival

“Bad Moon Rising” is another cheerful track that describes the dark concept of an apocalypse. The dichotomy of a scary, looming event expressed through a cheery tune reflects the duality of a world where dire circumstances are masked by ignorant bliss.

“Somebody’s Watching Me” – Rockwell

This Motown beat with a mysterious melody and frightening lyrics is a must-have on your Halloween playlist “Somebody’s Watching Me” has all the rhythm, sound effects and backup vocals you may expect from a creepy Halloween song. What more is there to say?

“Witchcraft” – Frank Sinatra

As a Frank Sinatra fan, I felt it only fair to add this spellbinding love song. Although it is not inherently menacing, it does express the bizarre act of sorcery that can charm someone and render them helpless to the force of love.

“You’re the Devil in Disguise” – Elvis Presley

A wholesome Halloween playlist is incomplete without an appearance from the King of Rock ‘n’ Roll himself. Upbeat and fast-paced, the melody is accompanied by lyrics that depict someone obscuring who they are, a call to the traditional Halloween practice of dressing up in costumes.

“Zombie” – The Cranberries

This song came as a response to the 1993 Warrington bombings, a disaster that killed two young children. This alternative rock and grunge song leaves its metaphorical lyric of “zombie” up for interpretation. Whatever you decide it means, you can’t deny its catchy tune.

“Toxic” – Britney Spears

I’m never let down by Britney Spears and her intoxicating lyrics. “Toxic” will make you feel like you’ve been transported to a haunted house. Though Spears doesn’t outrightly identify anything supernatural or scary, the noise and tone of this song fit the vibe check.

“you should see me in a crown” – Billie Eilish

This song is just creepy — as soon as I heard it, I knew it screamed Halloween. In an interview with Billboard, Billie Eilish said, “I just want it to sound like, if you heard it in a dark room, it’d be scary. So terrifying…but that’s the goal, is to freak everybody out.”

“vampire” – Olivia Rodrigo

The lead single on Olivia Rodrigo’s recent album “Guts,” this song speaks about built-up regret of bad decisions, with Rodrigo comparing her lover’s acts of betrayal to that of a vampire. Vampires scream Halloween, but the meaning behind the song adds another layer that may make you think twice about the vampires in your life as the haunting day approaches.

REVIEW: Netflix’s “Choose Love” breaks the fourth wall

Chase Finizio
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REVIEW: Netflix’s “Choose Love” breaks the fourth wall
Laura Marano performs live at the Troubadour in West Hollywood, California on Aug. 5, 2022.
Laura Marano performs live at the Troubadour in West Hollywood, California on Aug. 5, 2022. Photo credit: Justin Higuchi, via Wikimedia Commons

Can a movie be so bad that it’s good? Well, “Choose Love” proves that question.

The 70-minute choose-your-own-adventure interface lets users decide Cami Conway’s (Laura Marano) choices in love. As a young woman who unexpectedly becomes caught between three suitors, viewers hold her fate in their home TV remote.

Will she continue with her long-term partner Paul (Scott Michael Foster), reconnect with her first love Jack (Jordi Webber) or fall in love with well-known musician Rex (Avan Jogia)? You get to choose her decisions and watch a variety of endings play out.

Working as a well-paid recording engineer, the days spent at the recording studio do not welcome more creative challenges for Cami’s eager mind. The young professional starts out living in a comfortable, Los Angeles home, but is anxious to start a family of her own. Even though her relationship with Paul, her gorgeous and kind boyfriend of three years, is consistent, she is not ready to settle down and worries that he might propose soon.

As the narrative progresses, Conway, who is still finding what makes her happy, frequently gives viewers choices that can take her to three different endings — continuing her relationship with Paul or ending it for a future with Jack or Rex.

Not all decisions matter — the film, for example, allows audiences to choose whether Cami quits her job, but this does not drastically alter the outcome. The pivotal moment of the play takes place in Cami’s dream sequence, where she chooses one of the three men while asleep.

For Cami to end up with Jack, she must choose him during the dream scene and at the Las Vegas protest finally win him over. To fall head-over-heels for Rex, she must consistently choose him throughout her decisions after the dream sequence to end up together in Paris.

However, if viewers hope she remains with Paul, this choice will occur either during the dream sequence or afterward, following Cami’s decision-making when she travels to Las Vegas.

Viewers also have the option to go back and change previous decisions if they choose to.

Though entertaining at times, the routine can become tiresome when the options don’t affect the plot. But as the title implies, you must choose a suitor for Cami by the end of the film — and without a doubt, you’ll choose love, regardless of the outcome.

Rating: 2.8/5 stars

REVIEW: “The Killer” breaks through boredom

Samantha Rodriguez
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REVIEW: “The Killer” breaks through boredom
Michael Fassbender speaks at the 2012 WonderCon in Anaheim, California.
Michael Fassbender speaks at the 2012 WonderCon in Anaheim, California. Photo credit: Gage Skidmore, via Wikimedia Commons

“The Killer” is a methodical ride that brings you into the mind of its twisted titular character. Its dry humor and confusing plot illustrates the pains of bureaucracy. Nevertheless, despite the protagonist traveling around the globe, the film missed its most important destination — the Netflix Top 10 list.

Director David Fincher’s newest thriller follows an unnamed killer (Michael Fassbender) after a failed assassination. The self-proclaimed emotionless killer tracks down his client after they attack his lover as punishment. Going to the ends of the Earth, the Killer will never stop his hunt for revenge.

Fincher’s unique directing is on full display from beginning to end. Jump cuts, which are quick transitions from one camera angle to the next, are rampant as the Killer is always on the move.

Intense close-ups and body-shots during monologues remind viewers of Fincher’s “Fight Club.” The fight scenes are gritty and exciting as Fincher shows every household object’s lethal capabilities.

Fassbender delivers a riveting performance, exposing cracks of emotion with subtle expressions in almost every scene. He portrays a control-obsessed killer growing tired of humanity with a skillfully executed monotone voice.

Fellow scene partners Tilda Swinton and Charles Parnell bring every ounce of emotion to their performance. Quick whips and dramatic pauses make scenes active as the characters dance between life and death.

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Humor in the most unfitting scenarios brings life to the dark film. Ruined monologues and silence interrupted by the Killer’s sophisticated cursing give a new dimension to the bleak character.

“The Killer” relies on life-threatening scenarios to keep the audience engaged. “How will he escape?” and “How is he going to kill them?” were the film’s main questions. However, the Killer is constantly successful with little to no sacrifice.

By the end of the film, audiences are left waiting for characters to be killed, not anticipating any consequences or internal conflict. This creates a painful pattern that turns the thriller into a death-fest.

Necessary plot-points are introduced in fast moments, leaving viewers confused and questioning the Killer’s actions because of easily missed information. The film’s ending brings the thrilling ride to a halting stop with more questions left than answers.

As the titular character harms everyday people just to reach a clueless boss, viewers get a direct look into the careless mindset of those who see the world as theirs to control.

“The Killer” presents no moral conclusion or ethical dilemma — only a mass killer itching to bring more harm. A slow-paced film, it instead capitalizes on its acting performances and gruesome deaths. Despite the perfectly-executed humor, this thriller misses the mark on making its protagonist’s journey worthwhile.

Rating: 3/5

REVIEW: “Nadie Sabe Lo Que Va a Pasar Mañana”

Rachell Soler
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REVIEW: “Nadie Sabe Lo Que Va a Pasar Mañana”

On Friday Oct. 13, Puerto Rican international superstar Benito Martinez, also known as Bad Bunny, released his highly anticipated 22-track trap album, “Nadie Sabe Lo Que Va a Pasar Mañana (NSLQVPM).”

The album debuted at number one on Spotify charts globally and in the U.S., making it Spotify’s most-streamed album in one day.

The multi-Grammy-nominated global sensation gifted his loyal fans an iconic tracklist that features some of the Latin music industry’s best. Feid, Young Miko, Luar La L, Bryant Myers and DelaGhetto all collaborated on the project, which blends the genres of trap, jersey club and drill.

“NSLQVPM” is Bad Bunny’s fifth studio album. His previous album, “Un Verano Sin Ti,” spent 13 weeks on the Billboard 200 charts, and “NSLQVPM” is shaping up to be just as successful. According to Bad Bunny this project is dedicated to those who have faithfully supported him since he became popular on SoundCloud in 2016.

The first track, “NADIE SABE,” which translates to “NOBODY KNOWS” is a dark, reflective tune where Martinez expresses his frustration with “fake love” and “fake fans.” The title of this track might allude to the fact that “nobody knows” what he truly goes through emotionally as one of the most successful artists in the world.

“NADIE SABE” starts off with melancholic violins that suspensefully build up to Bad Bunny’s powerful hook: “Dicen que el mundo va a acabarse, ojala que sea pronto,” which translates to “They say the world will end, hopefully it’s soon.” Martinez uses this six-minute track as an outlet for his feelings, lamenting about feeling alone in front of a crowd of 100,000 people.

“NADIE SABE” continues with the same melancholic instrumental throughout the whole song, introducing a choir at the end. The choir — a blend of male and female voices, mixed with his — mesh perfectly to create an angelic sound straight from heaven.

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“I like being who I am, sometimes good sometimes bad,” he sings before introducing the theme of the album in the chorus: “Nadie sabe lo que va a pasar mañana, por eso lo hago hoy,” which translates to “nobody knows what will happen tomorrow, that’s why I do it today.”

This song is followed by “MONACO,” a booming trap track with an upbeat vibe that transports you to a European club.

Bad Bunny features world-renowned actor Al Pacino in the “MONACO” music video where he repeats “Nobody knows what tomorrow brings,” reiterating the album’s theme.

While some songs talk about failed romances, others explore his record-breaking triumphs and his love for his mother country, Puerto Rico.

In track 14, “VUELVE CANDY B,” he talks about his success, flexing the fact he has won both Billboard and Grammy awards

“Mira mi trophy case, como los combino” he sings, which translates to “Look at my trophy case, how I combine them.”

The title of this track references popular Puerto Rican thoroughbred race stallion, Vuelve Candy B., a champion horse who won Puerto Rico’s horse of the year award. It looks like the extremely successful horse might be the one featured on Bad Bunny’s cover art and visualizers.

Throughout the rest of the album, Bad Bunny touches on various trending topics, like his romance with reality TV star Kendall Jenner and his alleged breakup with longtime girlfriend, Gabriela Berlingeri.

Thanks to Bad Bunny, the 2016 Latin trap era is making a comeback that is stronger than ever. Are we moving on from reggaeton? The future of Latin music is in Bad Bunny’s hands — in Benito we trust.

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