Albums to Anticipate In 2020

2019 was quite a year of music, and multitudes of artists have hinted at releasing new records for the new decade. Teasing from the likes of Hayley Williams, Troye Sivan, Noname, Japanese Breakfast, and many more musicians keeps us on our toes, and long-time anticipation for artists like Frank Ocean and Rihanna leave us hanging by a thread. But, even with all the amazing releases we got last year, there is still so much music out there we didn’t know we needed. Here are four releases—in no particular order— that everyone should keep an eye on in the future.

King Krule: Man Alive! → February 21st

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Archy Marshall—best known by stage name King Krule—recently announced his third studio album Man Alive! Set to release on February 21st, Marshall kicked off his announcement by dropping the self-directed music video for (Don’t let the Dragon) Draag On. 

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After sharing the short film Hey World! (directed by himself and his partner, Charlotte Patmore) in December of last year, fans were on their toes, eagerly awaiting his follow up to 2017’s The Ooz.

If you’ve seen the film, you’ve already heard the stripped, acoustic versions of four songs that’ll appear on Man Alive! (Perfecto Miserable, Energy Fleets, Alone… Omen 3, and (Don’t let the Dragon) Draag On). Archy will set out on his tour of Europe and North America in March.

Listen to the single (Don’t Let The Dragon) Draag On below.

Tame Impala: The Slow Rush → February 14

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Approaching nearly 5 years since Tame Impala’s last studio album Currents, it’s safe to say that fans have been anticipating a new project for a while now.

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Though it’s been quite some time since the release of a full album, Tame Impala’s Kevin Parker has been nothing but generous in sharing music for his fans. After dropping Borderline and Patience earlier in 2019, and tracks It Might Be Time and Posthumous Forgiveness in late December, Parker most recently dropped Lost In Yesterday on January 8th, the last release before the full album.

Dreamy and nostalgic, Tame Impala’s fourth studio album The Slow Rush will be released on February 14th.

Check out the most recent release, Lost In Yesterday, below.

The Garden: Kiss My Super Bowl Ring → March 13

Fletcher (left) and Wyatt (right) Shears via by Cowgirl Clue

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An eclectic duo hailing from Orange County, California, twins Wyatt and Fletcher Shears of The Garden recently announced a release date for their new album, Kiss My Super Bowl Ring, along with the single Clench To Stay Awake. The duo’s sound is best described as rattling and unpredictable, spinning their own creative twist on punk-inspired roots.

It’s an edge all their own, and having been to two of their shows myself, their showmanship and style (conceptually and aesthetically speaking) is like no other. 

With a multitude of albums and LPs under their belt since their formation in 2011, the duo’s new album Kiss My Super Bowl Ring drops on March 13th, following the release of Mirror Might Steal Your Charm in 2018. The Garden will embark on their tour of North America starting this March.

Listen to the single Clench To Stay Awake below.

The 1975: Notes On a Conditional Form → February 21

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Originally set to drop February 21st, 4-piece band The 1975 pushed back their release of Notes On A Conditional Form to April, and even rescheduled their European tour back in December to perfect it. 

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A follow up to A Brief Inquiry Into Online Relationships in 2018, the group dropped a couple of tracks in anticipation of the full body of work, including Frail State Of Mind, People, and Me & You Together Song. Frontman Matty Healy described Me & You Together Song as sad (but lovely), and even made the track for an apparent film he started writing.

Healy also teased the roll-out of three more tracks before the full release in the spring, potentially. 

Though not officially confirmed, Healy ballparked the release of Notes On A Conditional Form to be April 24th, and fans of the group are patiently awaiting their music until then. 

Hear their most recent release, Me & You Together Song, below.

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The Crown Season 3: A Review

Now that the long-anticipated 3rd season of one of Netflix’s most popular T.V. shows is back, fans of the series might be wondering how Netflix has handled both the cast and storyline transition in season 3. Luckily for you, I binge watched the entire season and can sum it up for you. 

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The change in The Crown’s cast had been announced a while back and Netflix certainly took care in searching for actors to fill the shoes of Queen Elizabeth and the royal family. Once again, the casting directors have delivered and found incredible talents that have some uncanny likenesses. 

Firstly, about the cast: 

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Taking over the helm as Queen of England this season is Olivia Colman. Starting out her acting career in comedy, Colman has proven since then that her acting extends beyond comedy in range. Notably, she is the recipient of an Academy award, three Golden Globe awards (one of them recently for her acting in The Crown), and four BAFTA awards. She is no stranger to portraying British royals and powerful women on screen either; in 2012 she portrayed Queen Elizabeth in Hyde Park on Hudson, she portrayed Carol Thatcher in The Iron Lady (2011), and took on the role of Anne, Queen of Great Britain in The Favourite (2018). 

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Tobias Menzies takes on Matt Smith’s role as the Duke of Edinburgh. Previously, he has portrayed Brutus in HBO’s Rome and Edmure Tully in Game of Thrones. Season 3 of The Crown sees his character develop further, with several episodes specifically following his struggles with religion, a midlife crisis, the perception of the royal family in the press, and a fraught relationship with his mother. 

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Helena Bonham Carter steps into season 3 as an incredibly powerful choice for Margaret. You may recognize this powerhouse actress as Bellatrix Lestrange from Harry Potter or maybe the Queen of Hearts from Alice in Wonderland. She is no stranger to the big screen and, interestingly enough, has also portrayed Queen Elizabeth before in The King’s Speech (2010). Bonham Carter has worked closely with Tim Burton as well, lending her talents to Charlie and the Chocolate Factory and the Corpse Bride among other films. Her work in the arts has been recognized, including by the Queen herself: Bonham Carter is a Commander of the British Empire for her acting contributions. 

Season 3 also sees the introduction of some new faces. Prince Charles and Princess Anne, now all grown up, are portrayed by Josh O’Connor and Erin Doherty, respectively. Both young actors are active in theater, but their casting in The Crown marks a big step for them in their acting careers. Jason Watkins is also a notable addition to the cast of Season 3 for his portrayal of Prime Minister Harold Wilson. 

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Finally, a review of season 3:

The first episode of the season, “Olding,” confronts the change in cast head on by incorporating it skillfully into the plot. Much of season 3 focuses on times changing and royal family members aging or growing up. Unlike seasons 1 and 2 where it seemed like each episode dealt with the royal family covering up another one of a seemingly infinite supply of scandals, season 3 follows the members of the royal family closer on a more personal level. Queen Elizabeth’s survey of her changed profile and her somewhat dissatisfied comment on the passage of time is what initially sets up this theme for the season. The dissatisfaction with aging is not limited to the Queen, however, but also manifests itself in Prince Philip’s sudden interest in athletics and cars and Margaret’s struggle to determine whether or not she has actually grown up from her unhappy habits of drinking and smoking herself into unconsciousness in previous seasons. But this is not to say that season 3 only follows the midlife crises of the central family members (although there is plenty of that), but it also gives us a glimpse into what’s coming in the future in the form of introducing Prince Charles and Princess Anne into the family dynamic. The stories and episodes authored specifically for them show a new glimpse into their strong characters and create an undercurrent of something that appears more fresh than the onslaught of press scandals caused by younger family members in past seasons. 

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Keeping to the spirit of modernity and changing times in this season, the creators of season 3 don’t fail to include the adjustment the world is undergoing to new technologies and new times. While the radio was included as a supporting detail in previous seasons, the television, aviation, the advancement of visual media, and even man’s first trip to the Moon is documented now as passing detail, but is at the forefront of demonstrating the way the world is changing. The setting of the 1960s-1970s also introduces 70s fashion and patterns, which are best sported by Anne and the ever-fashionable Margaret in this season. Margaret and Anthony make a splash in America in this season, on a trip that sees many headlines and many 70s outfit choices by Margaret. Margaret’s spotlight culminates in a rowdy quasi-diplomatic dinner with Lyndon B. Johnson, a huge departure from the way the Kennedy’s were received by the royal family in previous seasons. 

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All in all, season 3, despite how different it is in its approach to the dramatized series on the royal family, has managed to pull off the casting overhaul and the shift in plot scope very well. Looking forward, the cast is locked in for season 4 of The Crown, the release date of which has not been announced yet. The biggest questions left for fans of this binge-worthy series are: Where is Princess Diana??? And how much more of the timeline of the British royal family will this show plan to cover?

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Parasite: From Top to Bottom

The genius of director Bong Joonho’s work is in the fact that his films are so immensely human. With many notable pieces of work under his belt, from Okja (2017), to Snowpiercer (2014), to Mother (2009), and many more, there is an originality to his style, an ability to weave matters of dysfunction and ethicality with sincere performance and rich humor that is undeniably captivating.

It is through Parasite (Korean: Gisaengchung –  기생충) that he cements himself as a major-league filmmaker, transcending the boundaries of “foreign” or “international.” Winner of the Palme d’Or at the 2019 Cannes Film Festival by unanimous vote, and most recently of Best Foreign Language Film at the 77th Golden Globes, Parasite is ruthless, and tells everyone to take a look in the mirror. 

(Discussion of the film ahead, but no huge spoilers or reveals present)

From left to right: Kim Kiwoo (Choi Wooshik), Kim Kitaek (Song Kangho), Kim Chungsook (Jang Hyejin), Kim Kijung (Park Sodam), in their semi-basement apartment. Image via

Most of the film takes place in the home of the Park family, which, much to my surprise, is not at all a real house: the set was built entirely from scratch, a tremendous feat by production designer Lee Hajun. 

Housekeeper Moongwang (Lee Jungeun) walks through the Park family’s home. Image via

Digital rendering of the Park family’s home by Lee Hajun. Image via

Park Dahye (Jung Jiso) spies on Kijung. Image via

Kitaek observes the sleeping Parks in their home. Image via

It’s through the meticulous delineation of Bong, though, that the vision of Parasite as a whole could come to life. Not only did he create a full storyboard of the film himself (each scene sketched out one by one), he also outlined a detailed floor plan of the Park family’s house, taking into account the blocking elements presented in the script. The set acts as a psychological map, almost, the architecture and spatial connections between the characters suggestive of the secrets each one of them is hiding. 

Though the Park family home is luxurious, it’s anything but flashy: sleek, modern, and open, the jewel of the house lies in its beautiful front lawn, green and drenched with sunlight.

The Kims, on the other hand, reside in a dingy semi-basement, windows allowing the family to sneak just a peek above ground. It is with this established that the viewers begin to understand that the class warfare simmering beneath the surface of the film is not only metaphorical. It is physical, and not solely due to the jarring aesthetic differences between the two homes: it’s the spatial disparity, the substantiality of the “upstairs” family and the “downstairs” family that hones in on the Kim family’s desires and aspirations for more.

The use of sunlight and water as motifs in particular key us into this discrepancy. The Kim family’s semi-basement, dense and cluttered, gives them just a taste of what’s up above. Juxtaposed to the floor-to-ceiling windows and glimmering front lawn of the Park family’s home, the airy freedom that wealth yields, we see that there is hope here.

Park Yeonkyo (Cho Yeojeong) looks out the window of her home. Image via

Kitaek looks out the window of his apartment. Image via

Water, usually a common symbol for purification and renewal, is a motif most devastating in this film. Acting as our line of continuity, the water from rainfall flows down, down, down, flooding into the poorer districts, and Kitaek, Kiwoo, and Kijung have no choice but to follow it home. Though it poses no threat to the Parks, it is the impact of something as familiar as water that transforms not only the motives of the Kim family, but their livelihood. 

Kiwoo, Kitaek, and Kijung in the rain. Image via

“It’s important that the characters are moving down, but what’s more important is that water is moving with them: Water is flowing from top to bottom, from the rich neighborhoods to the poor ones, and these characters, they have no control over it.”

- Bong Joonho on Parasite. Via Indiewire

Bong claims that one of the greatest parts of cinema is the fact that you can make your audience feel exposed, stripped raw for all they are. The painfully vulnerable nature of the characters, in all of their delusion, selfishness, and naivety, remind us of ourselves. They instill in us an uncanny self-awareness, and yet, he is not preaching to us: he is showing us that the dreadful weight of reality on our shoulders is unshakeable. 

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What to Watch: Great British Bake Off

Excited about your new classes? Ready for the snow that is most definitely in our future? Ready to be back on break already? Whether you answered “yes” to any of these or are somewhere in between, I have something you need: a show recommendation!

The Great British Bake Off, for those of you who don’t know, is the most blessed version of the cooking show that has ever, or will ever, exist. This is not hyperbole. Watch it. You’ll agree. (It’s fine if you don’t, but also good lord how can you not?)

What I find so special about this show is it’s genuine kindness. The bakers form lifelong friendships, and there is no prize money. They are there because they love to bake and they want to show what they can do—and hopefully win the glass “Great British Bake Off” cake plate that is the material prize. This show is perfect for snowy days, watching with family, when you need to escape for some alone time, getting ideas for new things to cook, and enjoying an hour of beautiful bakes and warm-and-fuzzy heart-feelings.

The basic premise is that a dozen amateur British bakers are selected to compete in a massive white tent, completing 3 challenges each week: a signature (which they can practice beforehand), a technical (a mystery recipe set by one of the judges, very fiddly, and judged anonymously), and a showstopper (which is, as its name implies, meant to be a masterpiece).

The original judges were Mary Berry and Paul Hollywood, and the “MC” type people were Mel and Sue. The more recent seasons are judged by Paul and Prue and hosted by Noel and Sandi, and, while I am definitely biased towards the original judges, the new folks are doing a great job.

Each week one baker is awarded the title “Star Baker”, and one (or sometimes two!) of the bakers must go home. The cycle continues until there are just 3 bakers left. The victor of that weekend’s competition is the winner of the entire show!

Do yourself a favor:

Images via here, here, here, here, here, and here

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Stanley Donen Revitalized Hollywood and Rejoiced in Its Magic

The day before the 91st Academy Awards, director Stanley Donen passed away at the age of 94, leaving a gaping hole in the Hollywood firmament. Donen’s magnum opus, Singin’ In The Rain, is often hailed as the greatest movie musical of all time. Its timeless humor, critique of Hollywood and endless joy all combine to make pure movie magic, even decades after its initial release.

The 40’s saw a sharp decline in both the quantity and quality of movie musicals as World War I hardened public sensibilities. Donen observed this change and used Singin’ to poke fun at cultural transitions (represented by the switch from silent films to sound in the movie) with heaping doses of hope and sentimentality. Since its release in 1952, you’d be hard pressed to find a person in America that wouldn't recognize the classic title song or picture Gene Kelly’s iconic umbrella/lamppost pose.

Stanley Donen films are characterized by their ability to deliver sweetness while retaining human authenticity and a sharp wit that keeps them from becoming too saccharine. His directorial debut, On the Town, is a classically cheesy musical staring Kelly and young phenom Frank Sinatra, majorly grounded by Donen’s on-location filming in New York, against the wishes of MGM. Donen saw that the city was practically another character in the movie, and to fake it would be to compromise the story.

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One of my personal favorites, Funny Face, features Audrey Hepburn as a bookstore clerk turned model and Fred Astaire as a photographer in a film that sweetly reconciles intellectualism, fashion and love. In his commitment to authenticity, Donen even drew from Diana Vreeland, a former Vogue editor-in-chief, for musical number “Think Pink”–the editor had sent a memo to her staff saying "Today let's think pig white! Wouldn't it be wonderful to have stockings that were pig white! The color of baby pigs, not quite white and not quite pink!"

Donen’s directorial genius shone brightest through his handling of dance in film. Along with frequent collaborator Gene Kelly, he created the “cine-dance,” integrating the musical medium with film in order to have dances become more than Broadway-style numbers, but rather an artistic collaboration between dancer and cameraman. His ability to strike harmony between so many elements of a musical has made him the director of some of the best movie musical dance sequences of all time, such as Fred Astaire dancing on the walls and ceiling in 1951’s Royal Wedding.

Donen was notably overlooked by the Oscars throughout his legendary career, only awarded for his artistic contributions to film with a Lifetime Achievement award in 1997. Upon receiving the award, the legendary director burst into song and dance, giving us one last piece of that classic Hollywood joy he overflowed with.

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A Year in Review: Culture, Fashion & the Arts

2016 was a standout year on various fronts, from political races and celebrity deaths that left us reeling to counter cultural movements across fashion and the arts that reflected our disenchantment with the current state of affairs. Included below are several of the highlights and low points across the fashion, beauty, arts and entertainment industries from this past year. 

January

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David Bowie's death left many saddened at the loss of such an unparalleled talent. Beyond his iconic status in the world of music and fashion, Bowie's nuanced portrayal and discussion of his own sexuality and spirituality proved inspiring to many; "that’s who he was to all of us. He was a piece of bright pleated silk we could stretch out or fold up small inside ourselves when we needed to" (Lorde). 

February

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The Oscars fell under scrutiny for the blatant lack of diversity in its nominations across various categories. #Oscarssowhite outrage sparked a series of important debates about diversity in the film industry, shedding light on the lack of recognition and opportunity afforded to non-white actors and directors. These discussions seemed to have generated tangible results, however. The BAFTAs recently announced that starting in 2019, "movies will only qualify to be nominated for two of the most coveted awards if they meet specific diversity standards" (Refinery29). 

March

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Anticipation for Game of Throne's sixth season reaches a fever pitch. The ensuing season does not fail to disappoint with its endless plot twists, untimely deaths and cinematically epic battle scenes. The show goes on to the sweep the Emmys yet again. Keep a look out for season seven, airing spring of 2017.  

April

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Many lost another hero following the announcement of Prince's sudden death. Countless accolades and achievements in music aside, to many, the musician represented hope and acceptance, regardless of race, gender, sexuality or upbringing. His credo of love and tolerance is important to keep in mind as we face political uncertainty in the coming years.

May

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Beyoncé Lemonade craze hits full force following its surprise release, a string of successful single drops, a stint at the Super Bowl, performances at the BETs and MTV award shows and endless discussions about who Becky with the good hair could be. Queen Bey goes on to sell out her entire Formation World Tour, grossing $256 million worldwide. 

June

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Lin Manuel Miranda moved many to tears with his emotionally honest acceptance speech/sonnet at the Tony Awards this summer, reminding all of us that amidst a year of political turmoil, humanitarian crises, violence and injustice that "love is love is love is love is love is love is love is love, cannot be killed or swept aside... now fill the world with music, love, and pride.”

July

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After a series of creative director shakeups at a handful of major fashion labels, Maria Grazia Chiuri was appointed Dior's first female creative director. Chiuri has taken the historical precedence of her role to heart; her debut collection for Dior had a decidedly feminist message, with bold statement looks and slogans emblazoned across t-shirts and dresses that underscored her commitment to empowering women. 

August

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Sports arguably served as our saving grace this year, with athletes from all corners of the globe donning medals emblematic of hope and human achievement at the highest of levels. Ryan Lochte drama aside, the Olympics were an important reminder of the meaning of good sportsmanship at an international level.

September

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Kendall Jenner snags the cover of US Vogue's September issue, eliciting mixed responses from fashion world leaders and readers alike. Controversy aside, Jenner's rapid ascent into the upper echelons of the industry has solidified her status as a major force in the fashion world and beyond, alongside fellow social media born talents such as Gigi and Bella Hadid, Hailey Baldwin, Cara Delevingne and Emily Ratajkowski. 

October

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High school senior James Charles is announced CoverGirl's latest ambassador and first ever cover boy. Charles' contract with the makeup behemoth is an important step towards diversifying the beauty industry. CoverGirl made headlines a second time after appointing fellow YouTube star Nura Afia as the company's first Hijab-wearing brand ambassador. View Charles' YouTube channel here and Afia's here. 

November

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To say supermodel and body activist Ashley Graham had a breakthrough year is an understatement. From hosting her own TEDxtalk, to landing the cover of Sports Illustrated and starring in DNCE's latest music video, Graham shows no signs of stopping her star trajectory. She also received her own Barbie doll, raising further awareness for body positivity. "This past year, along with creating dolls modeled after Beyoncé, Zendaya, and Ava DuVernay to add greater racial range, Barbie also released three new body types: curvy, petite, and tall in seven skin tones" (Forbes). 

December

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The fashion world bid farewell to Franca Sozzani, the revolutionary creative genius behind Italian Vogue. The editor-in-chief was renowned for her rebellious take on fashion and ready embrace of diversity in an industry infamous for its narrow perception of beauty. Most recently, she was the subject of her son's film Franca: Chaos & Creation, an intimate portrait of a woman fearless and endlessly forward thinking in her vision for Italian Vogue and the fashion world writ large. Read Anna Wintour's reflection on the iconic fashion figure here. Watch her son's full documentary here.

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