Missing Chicago? Here Are Some Movies To Watch

If you’re like me, you might be stuck at home missing Chicago. Since we can’t be there in person right now, the next best thing is to watch some of the countless movies shows filmed there. Here are a few such movies to keep you entertained during quarantine and feeling closer to Chicago.

While You Were Sleeping (1995) - dir. Jon Turteltaub

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While You Were Sleeping stars Sandra Bullock as Lucy, a CTA worker who has a crush on a stranger who regularly rides the train. On Christmas, the stranger is attacked and left on the train tracks. Lucy takes him to the hospital, where his estranged family misunderstands her to be his fiancée. Not knowing how to break the truth, Lucy continues to pretend to be engaged to the stranger, Peter, who remains comatose. She spends more time with Peter’s family and grows attached to them. While the premise may seem a little creepy at first, this movie is ultimately an incredibly cute and enjoyable rom-com featuring lovable characters. If Sandra Bullock and the CTA aren’t already enough to entice you to watch the movie, let the promise of a feel-good rom-com without a super-predictable plot convince you.

Ferris Bueller’s Day Off (1986) - dir. John Hughes

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Is there a Chicago movie more iconic than Ferris Bueller’s Day Off? Filled with memorable lines like “If you don't stop and look around once in a while, you could miss it,” this movie also features scenes in downtown spots like Sears Tower and the Art Institute. When you’re missing Chicago, this movie is always worth watching and re-watching.

The Break-Up (2006) - dir. Peyton Reed

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Another cheesy rom-com for your viewing pleasure. Brooke (Jennifer Aniston) and Gary (Vince Vaughn) are a Chicago couple. They break up, but neither of them is willing to move out. As expected, lots of drama ensues.

Southside With You (2016) - dir. Richard Tanne

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Southside With You tells the story of Barack and Michelle Obama’s first date in 1989. The movie is filmed in and around Hyde Park, with Kimbark Plaza making an appearance. The Obamas are undeniably an important part of Hyde Park history, and this movie is a wonderful celebration of their relationship.

Divergent

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Yes, this movie screams junior high awkwardness. And while it’s not exactly what you would describe as a cinematic masterpiece, it does present an interesting rendering of a futuristic, post-apocalyptic Chicago. There’s even a scene filmed in Mansueto, with the brutalist silhouette of the Reg visible in the background. Let’s face it: it’s nice to see the place where we’ve all spent countless nights crying into our books portrayed in a somewhat happier manner.

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Skills and Hobbies You Can Pick Up Online to Stay Sane

The combination of being stuck at home, not being able to see your friends, watching Legend of the Seeker on repeat, and taking virtual classes can really play tricks on your mental state. For UChicago students, far from feeling like a carefree summer break, this period of time can feel extremely tedious. Nevertheless, the quarantine can be a blessing in disguise. Apart from slowing the spread of the virus, it slows life down and grants us the gift of time. Here are seven skills and hobbies that you can pick up online in order to stay sane:

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1) Learn a language - Learning a language opens a whole new world, and being able to communicate with someone in his or her language is an incredible gift. If you’re bored at home, take the opportunity during lockdown to learn to speak and write a new language. Even picking up a few phrases and using them on your parents can be amusing. For example, I learned from my roommate that “ndank ndank” means “slowly” in Wolof, which is a language most widely spoken in Senegal. This phrase is actually so deep and reflects an entire psyche of letting things follow their own progression and pace. This is especially relevant these days and a fitting reminder against the rushed productivity culture in general. Anyways, one useful free app is Duolingo. I’ve been using Duolingo to awaken my dormant Spanish skills and to maintain my Mandarin skills during the quarantine. If you are looking to learn Spanish, Señor Jordan has easy-to-follow lessons. Another useful app is Babbel. College students in the US have unlimited free access for the next three months. Babbel offers language lessons that you can curate to be relevant to your personal interests. Finally, Lingodeer is a fantastic choice for Asian languages like Vietnamese, Korean, and Japanese. Users have reported high satisfaction at understanding their favorite K-dramas. You can also practice the language online by starting conversations with friends who already speak the language you are trying to learn.

2) Games: 

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• The classic Settlers of Catan, online

• Dominion - A deck-building card game, I like to play this whenever I feel like losing

• League of Legends - An addicting online solo or multiplayer battle game, free to download

• Type Racer - You may still get nightmares from Type2Learn keyboarding classes in elementary school, but Type Racer is a surprisingly fun short competition. Race your friends and see who has the fastest typing speed!

• Town of Salem - Town of Salem is essentially the online version of the classic deception party games Mafia and Werewolf

• Skribbl - A multiplayer online drawing and guessing game, akin to DrawMyThing

• Uncharted: The Nathan Drake Collection - Uncharted used to be one of my favorite video game series of all time (mainly the multiplayer). As part of Playstation’s Play at Home initiative, you can download Uncharted (as well as Journey) for free from now through May 5, 2020. Join Nathan Drake and other iconic characters on some thrilling action adventures.

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3) Jazzercise! - If jazzercise brings joy to the Grinch’s life and has a dedicated place in his schedule, it should for you as well. Working out at home can be such a drag. Maybe all that your workouts need these days is some flair. This fitness challenge is a fun, high-energy blast from the past.

4) Trivia - Trivia is an exciting pasttime. After that leisurely jazzercise workout, it’s time to take your brain to the gym (which complies with lockdown regulations). Here are several ideas to sharpen your skills and place you on the road towards MVP status for your trivia nights at the Pub when this is all over:

• Read about subjects you are curious about, whether that is U.S. presidents, Best Picture winners, or Olympians. Start at “Toronto” and somehow fall through the Wikipedia wormhole to end up at “Pliny the Elder.” Absorb information about the New Deal through song parodies. Go through old quizzes at Sporcle.

• Keep up with the news and pop culture! Even if you only spend a few minutes every day reading world news, you’re going to pick up on world leaders, geography, and important events simply because you see them over and over again. Bit of News is an easily digestible daily newsletter that summarizes the most important news of the day.

5) Learn to enjoy classical music with this free course.

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6) Origami - Origami is the art of paper-folding, its name deriving from Japanese words ori (“folding”) and kami (“paper”). My first foray into origami was in second grade after reading Sadako and the Thousand Paper Cranes. There is a Japanese legend that says that if a sick person folds 1,000 paper cranes, then that person would soon get well. Hospitalized with leukemia, Sadako spent long hours in bed folding paper cranes and never losing hope. The story and the art of paper folding is fascinating, and you can learn to fold anything from a crane to a star to reindeer. Jo Nakashima’s Youtube channel and this blog are good resources to learn.

7) Reading - For me, there’s no such thing as reading too much. Reading literature is one of the great joys of life and does wonders for restoring my mental state. Luckily, it’s pretty easy to find entire libraries of books online. Whenever I feel depressed or just exhausted with life, reading becomes my escape. A couple of recommendations:

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• The Strong Shall Live, Louis L’Amour - In a collection of short stories, Louis L'Amour tells of the true heroes of the frontier, the survivors for whom remaining tough was as natural as drawing breath

• Midnight’s Children, Salman Rushdie - An enigmatic, drawn-out story that deals with India’s transition from British colonialism to independence

• Pale Fire, Vladimir Nabokov - A 999-line poem from murdered poet John Shade, followed by an unreliable commentary (and earlier intro) from his stalker Charles Kimbote

These are tough times, but hopefully some of these suggestions help. See you on the other side!

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Hausu: A Quarantine Fever Dream

The social conditions we have to adhere to during this pandemic are tricky. It’s a bit of a regression, a lapse into what it feels like being a teenager or a child again stuck in your childhood home. After spending months on campus in a tiny, cramped dorm, or in an apartment with your friends paying rent like a real adult, making your way back home (and so suddenly, at that) feels a bit like reliving your adolescence. 

I was never one to go outside that often. I found peace and solace in lazing around my house, watching the world go by with a window cracked open. Now, I’m sure I’m not the only one who feels a bit trapped, like your home is slowly swallowing you whole. 

It wasn’t until I re-watched the girls in Nobuhiko Ôbayashi’s Japanese horror-comedy Hausu (1977) in honor of his recent passing, that I realized all my fears and quarantine fever-dreams were already put on film.

The vision was born when Toho Studios approached director Nobuhiko Ôbayashi to craft a film akin to Jaws—taking inspiration from the ideas, dreams, and fears of his pre-teen daughter, Ôbayashi composed the frenzy that is Hausu. Instead of a man-eating great white shark, Ôbayashi gave us a teen-girl-eating-house.

Poster for House (1977)

The film follows young teen girl Gorgeous–named for her exceptional beauty–and her six friends Prof, Melody, Fantasy, Kung Fu, Mac, and Sweet. Gorgeous, once excited for summer vacation plans with her father, soon finds them to be ruined when she’s told that her new stepmother would be tagging along with them.

She decides to write a letter to her late mother’s sister, Auntie, asking to come visit her in the countryside instead. Auntie readily responds, and Gorgeous extends the invitation to her six friends as well.

Not long after the girls arrive at Auntie’s manor, they begin to go missing one-by-one, and an initially idyllic vacation soon goes awry. 

It’s not an exaggeration to claim that the eccentric comedy-horror feels nothing short of an acid trip. The syrupy-sweet sunset visuals and cartoonish, bubblegum gore is nearly hallucinogenic. The garish saturation, vibrant color palette, and surreal editing are eerily comical. Piano keys chop off playing fingers; mattresses, pillows, and sheets swallow them whole; and mirrors engulf them as they apply makeup at their vanities. It’s an amalgamation of the dream-like fears of young girls—and it absolutely makes sense that Ôbayashi recruited his daughter for inspiration. It’s much too specific. 

Cinema has a tendency to keep girls inside—from Disney classics like Tangled (2010) and Frozen (2013), to renowned films such as Room (2015), Portrait of a Lady on Fire (2019), and The Virgin Suicides (1999). Though Hausu can be read as a commentary about young girls’ fears of the transition from girlhood to womanhood, much of it has to do with, not what the girl fears, but what society fears about the girl. Make of that what you will.

I’m sure many of us, like the seven girls, would love nothing but to flee to the warm countryside, away from everything and everyone. As I watched them giggle and walk hand-in-hand through the forest to reach Auntie’s manor, I felt a yearning to do the same with my own friends. As I watched the doors swing shut to trap them inside, I wondered how they were going to escape. As I watched the house slowly eat them alive, I mused about whether or not I saw this in my own dreams.

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Artist to Watch: BabyJake

BabyJake, real name Jake Herring, is an artist whose music is a mix of R&B, hip-hop, rap, and soft rock. From Fort Myers, Florida, he calls his style “urban pop,” first gaining notice in 2016 with his single “Little Mess.” His music was originally inspired by a range of artists from Tom Petty and Crosby, Stills, & Nash to Lil Wayne. This 6’6’’ musician has begun his rise to fame in the past few years now working with Republic Records and most recently releasing “Confidant” which (plug) everyone should check out! 

Currently his most popular song on Spotify, Cigarettes on Patios, is one of my personal favorites, and, after some exploring, my friend discovered that BabyJake puts his phone number in his Spotify bio for any of his fans to text him. I was able to (and still am) get to know him over text and interview him about his music career.

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Tell us a little bit about yourself? 

I'm a normal guy, love working out, nature, big outdoors guy. And I just happened to fall in love with music at a young age and it panned out!

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Why is your name BabyJake?

It started as a joke and then just stuck. I’m 6’6’’ and a grown man so it was funny!

What got you started in the music industry? 

I released music under a different alias and got a little traction and then started learning about the music industry and really diving into the details.

Where do you get your inspiration from? 

I gather inspiration from people and experiences. I'm always on the go so I experience a lot of different things pretty regularly. 

What other hobbies do you have? 

Workouts at the gym, basketball, fish, shop, and creative design

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What's your favorite of your songs or collaborations you've worked on? 

My favorite song thus far is “Confidant.” It’s most true sounding to the sound I’m going for. 

Who are some of your favorite artists? Maybe any up and coming artists to look out for?

Lookout for Nate Traveller, Last Minute Consumer, Bredan Bennett, ripmattblack, Justlo, Sham etc. Anyone from Florida really. That's my spot. I'm from fort myers florida so I really try to support the roots there. I think if we all try we can really grow a community out there for the long haul.

As far as favorite artists/songs I’m a big oldies guy so right now I'm listening to Silver Seas- Get yer own train, The Cars -Just what I needed, some old reggae classics etc. Always listening to old live music, house, or salsa, or reggae!

What are you up to during quarantine?

WORKING. Staying busy. Cleaning up my diet and getting my body right. Trying to take full advantage of this time to better myself. The grind doesn't stop baby!!!

What are you looking to do next or excited about for the future whether music or non music related?

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I'm excited for this EP to come out. I'm excited to be able to tour (hopefully soon we’ll see with corona). I'm excited for people to actually say that they are a BabyJake fan, not one of my songs but actually my entire artist project. I feel like that doesn't happen till you drop a project.

Any advice for college students in general or college artists? 

Keep going. I was there once, and I'm not better than any of you. Stay patient, develop a consistent workflow and shoot for the stars.

Check out BabyJake on Republic Records, Spotify, Soundcloud, Twitter, and Facebook!

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A Beginner’s Guide To Punk Rock

The first wave of punk lasted only two years, yet it made so much noise that it divided the history of rock and roll in two. The wealth of writing on punk – from the tell-all oral histories to think pieces and academic studies – makes knowing where to start feel overwhelming to many. But there’s no better time to start than now, and no better way to get into punk than listening to the seminal (with a healthy and very punk suspicion of canons, of course) albums of the first wave, which lasted from roughly 1977 - 1979. Here’s a list of some of my favorites to add to your quarantine list (in no particular order). If you want further recs, Rhino has a great compilation of many of the classics and forgotten also-there’s.

1. Patti Smith – Horses

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Patti Smith had perhaps the most iconic opening line in music history. It was an auspicious opening to a confident debut, which put Rimbaud-inspired poetry to Garage rock inspired jams. Her music moves with the rhythm of her poetry, from the rocker “Gloria” to the sublime tension and release cycles of the album’s center, “Birdland.”  Smith would go on to become a legend, and listening to Horses you begin to see why.

See Also: The Only Ones, Pere Ubu

2. Television – Marquee Moon

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Television, like Smith, cut their teeth in the infamous New York club CBGB and inflected their love of guitar rock with Impressionist poetry. But where Smith creates dizzying soundscapes with her poetry, frontman Tom Verlaine opts for unadorned sketches. Verlaine and Richard Hell’s alchemic dual guitars create something rare in punk: tense jams which slowly build themselves up, containing lightning in a bottle and then releasing it. Listen to the 10 minute title track: not a single wasted note. 

See Also: Wire, Modern Lovers

3. Ramones – Ramones

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Punk is so often depicted, by both artists and reviewers, as opposed to popular culture, as beacons of authenticity in a fake world. Listening to the Ramones will disabuse anyone of the notion that this was both inevitable and necessary: they made pop, but stripped it down to bare necessities. Everything the Ramones made sounds basically the same, but it’s hard to tire of: the bubblegum choruses, matching outfits, and appealingly faux-dumb songs are a strange combination of visceral and endearing. When the zine Sniffin’ Glue printed a few chord diagrams and inveighed “Now go make a band,” they owed that democratizing spirit to the Ramones, a spirit without which punk wouldn’t exist. 

See Also: The Undertones, Siouxsie and the Banshees

4. X – Los Angeles

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L.A. is unfairly overshadowed in punk discussions by New York and England. They developed a distinct style parallel to those more well-known scenes, one often characterized as less political and wilder (and featuring far more minority bands than other scenes). X were the face of the scene: they sang dark tales of L.A. materialism, murders and upper-class vacuousness. Lead singer Exene’s post-band boutique store captures well their frequent subject matter. She deals in kitsch and bad-taste, the overlooked crap of America. 

See Also: The Dils, Germs

5. Richard Hell and the Voidoids – Blank Generation

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Richard Hell had bounced around some of the most important punk bands of his time (the Heartbreakers, Television), but felt that he had yet to make something truly his own. He brought in guitarist Robert Quine – whose caustic, stripped-back playing would help define the band – and formed the Voidoids along with Ivan Julian and Marc Bell. Hell’s writing finally got a chance to shine, mostly taking on themes of love (or lack thereof). Love in Hell’s world is betrayal, its empty sex, its blank. He is the prototypical disaffected punk subject, one with a talent for capturing its spirit in 2-minute sprints. 

See Also: Johnny Thunders and the Heartbreakers, New York Dolls

6. The Slits – Cut

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Punk, it is often forgotten, drew much from reggae. The Clash’s “White Riot” was based on the Nottingham Hill protests, at a reggae concert, and they later went on to cover the reggae hit “Police and Thieves.” Punks incorporated reggae themes and style directly into their songs and fashion, and, in the early years, openly forged a link with reggae listeners and artists. The Slits, like the Ruts and later work of The Clash, make that link explicit in their music – they move to the rhythm of reggae, but have a distinctly punk abrasiveness, and lack of playing ability. No other album is as important to later grrrl punk movements, nor as fun to listen to. 

See Also: The Stranglers, The Raincoats

7. The Clash – London Calling

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The best album from the only band that matters – London Calling has more ideas, energy, heart and conviction than most bands manage in a career. All I can say is that you should go listen to it, now. 

See Also: The Ruts, Nick Lowe

8. Buzzcocks – Singles Going Steady

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The Buzzcocks seminal Spiral Scratch pioneered independent production in punk at a time when all the major bands in England were signed to the largest, most conservative labels, and led to their best known song, “Boredom”; but it was on the collection Singles Going Steady that they truly hit their stride. Pete Shelley took up the role of frontman and infused his vulnerability and pop instincts into their punk (in this way they owe far more to The Ramones than Sex Pistols). Shelley’s lyrics are more sensitive and playful than other punk bands could dream of being. Sex was no longer just squelching noises, and love was finally in punk’s vocabulary. 

See Also: Ultravox, Blondie

9. The Sex Pistols – Nevermind the Bollocks, Here Comes the Sex Pistols

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I can hear the objections already. How can I leave The Sex Pistols until now on this list, you ask? This is the band critic Greil Marcus called “formal (though not historical) conclusion” of punk. Nevermind the Bollocks is essential listening, but Rotten’s nihilism can soon be overwhelming and the music heavy. Nonetheless, Marcus is certainly right that listening to this band you can hear the beginning of the end of the first-wave, the logical conclusion of what came before and the template of what was to follow. Only by abandoning punk could other bands progress.

See Also: X-Ray Spex, The Stooges

10. Gang of Four – Entertainment!

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Punk imploded as quickly as it initially exploded. By 1979, the year Gang of Four dropped their art-punk debut, post-punk was already taking over as first-wave punk fell out of style. Gang of Four sit on the edge of that transition. Their music is conducive to dancing, rather than moshing, because of Dave Allen’s fluid bass, and has a jagged edge thanks to Andy Gill’s guitar work. Their Marxist politics also deeply informed their music, forming the backdrop of every song. They never act above late-capitalistic fervor – the songs are almost all in the first-person – but by reducing everything to its terms they reveal its vapidity. 

See Also: Devo, Talking Heads

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MODA Lookbook Episode 7: The Great Illustration Exchange

Welcome to Episode 7 of MODA Blog’s Lookbook series! We wanted to offer our wonderful team the opportunity to create and direct more editorial content for your viewing pleasure. Completely student styled, modelled and produced, the MODA Lookbook hopes to inspire, empower and challenge the talent of our community. Keep your eye out for more lookbooks coming soon~!

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Curating these Lookbooks always feels like I’m putting together a mini exhibition, and as we find ourselves at Lookbook Episode 7(!) I think I really wanted to dive deep into that kind of curation. Many of you might know that my first engagements with fashion were through fashion illustration, and my love for fashion grew out of this love for recreating and often reinventing what I saw walking down runways in Paris. For me, fashion illustration has always been an interesting intermediary of fashion, where the elements of a collection or show become the ingredients to something completely different. And so I’ve wanted to do some kind of project that had to do with fashion illustration for a while now, and given the circumstance we’re in, I figured now would be as good a time as ever to try and pull it off.

So Welcome to Lookbook Episode 7: The Great Illustration Exchange.

For this project, I wanted to explore the conversation between fashion and art. It’s apparent that many designers in the industry take art as their inspiration for their collections, from Jeremy Scott’s Picasso Extravaganza at Moschino to Lee McQueen’s flemish painting print suitjackets at McQueen, yet I wanted to probe at how this conversation is not necessarily one sided. We’ve seen Vogue Italia take on this type of editorial for their January Sustainability Issue, and while this process was certainly more zero-waste, I also want to emphasize the artistry of fashion illustration as a form of legitimate fashion media. Rather than looking at fashion inspired by art, I wanted to produce a Lookbook that was all about art inspired by fashion.

So in this two-part project, I called a handful of stylists to go wild with the biggest “pull” MODA has ever experienced. Whereas the last Lookbook was all about making whatever we had work for us, this fashion exchange was all about narrowing down an unlimited pool of resources. Our stylists roamed the web for items that stood out to them and that they thought could stand as both fashion and art. And many did not hold back.

Once compiled, these lists of garments were distributed to my amazing team of illustrators, and they were left to interpret these lists as the elements for their next great works.

For the longest time, I wanted to feature talent on this blog that traditionally hasn’t had the opportunity to shine in the same way that other fashion media has; all the artists featured in this Lookbook are not only incredible examples of this kind of talent, but they’re also very good friends of mine, and truly, it was their work that inspired this project. I always want to engage with every detail on a shoot, so I tried my hand at both styling and illustrating, and on both fronts I was blown away by my peers. I think I actually learned quite a bit about both styling and illustrating from watching my team work their magic, and in fact, many of the works I put together were influenced by the first submissions that began to filter in.

I think if there are takeaways from such a project, it’s that circumstance does not have to define or limit creativity - I watched works of art arise from nothing and that is truly the essence of the creative process. Not only was this something that excited me as an illustrator, but it was a project that reaffirmed what I thought MODA was about: it’s really just a community of individuals who love fashion, who engage with it critically (in true UChicago style), and whose commitment, imagination and spirit merge together to create an amazing end product. At the end of the day, it’s still Fashion, it’s just not really how we’ve seen it before on the Blog.

We extend a gracious thank you to our four wonderful stylists whose imaginative styles captured both the extremity and individuality of fashion; and likewise, we extend a huge thank you to the amazing illustrators who brought their incomparable skills to the table for the first ever illustrated Lookbook. I hope you all enjoy MODA Lookbook Episode 7!

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“With the idea of creating an outfit that would be transformed into a different form of art, I tried to curate clothing that would exude a certain energy or vibe that could be translated in an unexpected way through the artist’s interpretation ”

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Drawn Together: On left model: Custom Gucci Jeans, Gucci Ace Floral Embroidered Sneakers, Custom t-shirt, Louis Vuitton Headscarf and AREA Studded Suit Jacket. Dreamland Evil Eye Ring, Lupsona Double layered Choker and ASOS Safety Pin Earring. Styled by Arjun Kilaru. On Right Model: Vetements Leopard Print Cropped Turtleneck Sweater, Lanvin Blue Belted Jeans, Acne Studios Leather Biker, Dr Martens 8053 Platform Shoes, Dalmata Hoops, Ambush Chain Clasp Bracelet, HANGER X CC-STEDING CLIPPER CASE & CHAIN Necklace. Saint Laurent Schoolbag. Styled by Matthew Sumera, Illustrated by Andrew Chang.

“With illustrations, I could include whatever I possibly wanted, so I knew I had to go big”

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MODA-Cycle: Gucci embroidered Jacket and jeans, Gucci ace Floral Embroidered Sneakers, Louis Vuitton Headscarves, Calvin Klein CKONE Boxers, Black customized tee. Cartier Ring, YAMAHA Motorcycle YZ450F. Illustrated by Andrew Chang, Styled by Arjun Kilaru,

“I guess maybe with illustrations we can begin to blur the borders of reality and involve non-human or even abstract agents as the models. ”

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Handmade Tale: Central figure in Alexander Mcqueen Floral Dress, Leather Corset Belt and Stone Pendant Necklace, with Maison Margiela Logo Pearl Necklace, wielding Sacai x LD Waffle Sneakers in ‘Pine Green’. Models at bottom wearing Richard Quinn Floral Printed Turtlenecks and Leggings. On left hand: Rodarte Antique Silver Rings . On Right: Alexander McQueen Twin Skull Rings and Spider Double Ring. Styled by Andrew Chang, Illustrated by Jad Dahshan.

“I had to invent this whole character based on how the pieces spoke to me.”

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Coming Up Smiling: Charles Jeffrey Loverboy Black Logo Beret, Sweater: Raf Owens Yellow and Beige Oversized Collage Sweater, Chopova Lowena Pleated Tartan Check Wool Miniskirt, Gucci Spike Suspenders, Fendi Tulle Socks, CommeDesGarçons x Doc Martens Brogues . Junya Watanabe Gold flake Edition Pearl Stud Choker, Yohji Yamamoto Vampire Ring, Maison Margiela Screw Ring, Gucci Ghost Ring, Fendi Gunmetal Bag Bugs Ring. Illustrated by Vivian Li, Styled by Andrew Chang

“That look was sort of a disavowment of questions of taste or how things should be worn in favor of an all out celebration of color which the wearer of the outfit would certainly enhance,”

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Fly and Low: Balmain Flared Jumpsuit, Iris Van Herpen Sensory Seas Shoes, Fendi Leather, Fur and Shearling Baguette, Roxanne Assoulin “This and That” bracelet stack, Roxane Assoulin “Rainbow Brite” chokers, Bulgari Serpenti Spiga watch, Roxanne Assoulin Technicolour earrings. Illustrated by Andrew Chang, Styled by Miles Harrison.

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Puffer Pastry: Prada Glasses, Dior Sweater, Jacquemus Floral Boxers, Gucci Socks, Dior B23 Sneakers, Gucci Zumi Strawberry Bag, Moncler Genius 01 Richard Quinn Striped Puffer Jacket. Rings: Davidor Enamel Rings stacked in ‘Flamant’ ‘Riviera’ ‘Davidor Bordeaux’ and ‘Aubergine’, and Tiffany Blue Topaz Ring. Earrings are David Yurman Stax in Topaz and Diamonds. Illustrated by Andrew Chang, Styled by Miles Harrison.

“When you’re illustrating, you can make certain styling choices that is not limited by any monetary resource, just your imagination, its pretty neat. ”

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Deep Fried Fashion: On left model: Gucci Bodysuit, Chanel Choker and Necklace, Gucci Crystal Double G Ring, Bvlgari Ring, Bag, Versace Hair Pin, Rolex Watch. On Right model: Dress by Christopher Kane, Hat by Chanel, Shoes: KFC x Crocs Illustrated by Wendy Xiao. Styled by Andrew Chang

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Cast and Crew:

Directed by Andrew Chang

Styling: Andrew Chang, Arjun Kilaru, Matthew Sumera, Miles Harrison

Illustrators: Andrew Chang, Jad Dahshan, Vivian Li, Wendy Xiao.

Quarantine Skillshare: The Kaleidoscopic Animation of Elizabeth Myles

Elizabeth Myles is a fourth year majoring in Cinema and Media Studies and minoring in Visual Art. She was a board member of Fire Escape Films and a FOTA Fellow. Off campus, she can be found on rollerskates. Her most recent documentary animation, Love Stories (linked below, in article), has been accepted to four film festivals. Find more of her animation on Instagram: @elizabethmylesart and @quaranzining and on Vimeo!

Elizabeth’s animation communicates in a variety of multimedia and multisensorial languages, constructed through collage, drawings, music, motion, and found poetry. The effect is a frenetic feast for the eyes lovingly assembled, frame by frame, by only her hands. 

Our conversation is driven by the classes at UChicago that were pivotal to Elizabeth in learning how to animate, the way that the visual component of animation can both supplement and subvert the content of the audio, and Oklahoma. At the center of this is a deep-dive into Love Stories (video password: lovestories19), which premiered at the Ivy Film Festival. Below is our edited transcript.  

Still From Love Stories

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Ariana Garcia: How would you describe the art that you do? What did you produce as a FOTA Fellow?

Gif From Oklahoma City

Elizabeth Myles: My main medium is animation. I started this last year in Winter Quarter when I took a two-part “Experimental Animation” sequence with Scott Wolniak. I learned both manual and digital animation, but I prefer manual. This includes hand drawn things, rotoscoping [when you trace and sketch things over and over], stop-motion, and collage. 

[I made an animation about Oklahoma.] No one ever thinks about Oklahoma! It is never on anyone’s mind! Maybe I talk a lot about it, but whatever! Oklahoma is my home! I lived there and I love it. People assume that there are just cows there (and there are cows!), but it means so much more to me. I made an animation called Oklahoma City , that’s still a work in progress, and [the items I chose to showcase are nostalgic for me]. I show receipts from my favorite burger place, Braum’s, this kitchen towel my mom gave me that has little icons of state attractions, and the movie Twister that I bought at Best Buy. It also includes a sound collage of my voice and I sort of give a tour of these symbols. I just wanted to make an homage to my home, in my own weird experimental way, I guess. 

What is your process? How do you start an animation?

Sometimes I have an idea of the base materials. For example, I once had 39 drawings of a line that progressed from the top to bottom of the screen. In the editing room, I keyed out the background so I could only work with the line. Then I just copy-pasted it and could move it around. A lot of my animations are like that. I’ve done the same thing with a circle, but that was 120 drawings. It took 30 hours just to edit! Not even counting the hours it took just to draw the circle. My friend, Sam Basté, (@sam.baste.media), who graduated last year, does really great [multimedia art and sounds] and is in this group called Bad Optics Collective (@badopticsco). [Under the alias ‘Not Yet’], she released this cool track, “Eartha May” featuring interviews with Eartha Kitt and she let me animate to it. I wanted to start with a circle, and once I started editing, it lined up pretty well with the audio. The animation got crazier and crazier as the music turned more into house music. It was just a really fun project and amazing to collaborate with her. 

Gif From Eartha May Animation via Vimeo

I think that collage is harder for me to plan because I have all of these different images. I like collage animation more than just collaging and glueing something down because I am really indecisive. With animation, I can continually change things. 

There aren’t many other disciplines where literally every single thing in the project is moved and molded by a single pair of hands. Who or what inspires you?

Lowkey I’m very bad at, like, art history and name dropping, but I really like the music video “Feels Like We Only Go Backwards” by Tame Impala. That is a collage animation using plasticine, which is a type of clay and a team of animators with over a thousand segments. It kinda just blows my mind. It would be cool to get to that level and make something as complex and intricate as that animation is. That size of a project definitely necessitates a team. I think if one person took that on, they’d go crazy. 

Stills From “Feels Like We Only Go Backwards”

Also my professor, Scott Wolniak, who I’ve taken two animation classes and a collage class with, has had a huge influence on my craft. He’s an amazing professor and also advocates for my art. He gets you to think about art in a different way. I never would have made most or all of the animations that I’ve made without his prompts or feedback. 

I also really like this film called Mothlight by Stan Brakhage that I watched as a second year when I started taking a lot of film classes and before I started animating. Basically, he put things like moth wings and leaves in between two clear strips of 16mm film, then made a print of that, and projected it. The result was a barrage of densely packed images. It got me thinking about what a moving image even means, which sounds heady and theoretical. With more experimental films, you can do more with each frame because you have more autonomy over it. That film got me out of my head, and [showed me what taking risks in animation can look like]. 

Stills From “Mothlight”

Would you say that shorter, more experimental films need to have some sort of internal arc or narrative?

I don’t think it needs to have a narrative, it can [just exist as something that you wanted to create]. I made an animated documentary last year called Love Stories, where I interviewed people and they told me their love stories. It was a really sweet project. For example, I used another line animation to supplement a scene about a dad storytelling to his children. I also included the love story that my granddad recounted about my grandma, who passed away a few years ago. I think that one had the strongest narrative because it was unfolding like history. However, I still don’t think experimental films and animation necessarily need to have a narrative. Sometimes it’s important to just see how far you can push the medium. 

Still From Love Stories, Showing Elizabeth’s Grandparents

Animation is a really potent way for an artist to move their thoughts and feelings. How has it affected your way of communicating and engaging with the viewer?

I still stay in contact with the couple I interviewed for Love Stories. [I met them on Facebook, after I sent out a call looking for people to interview for that documentary. They were incredibly open, vulnerable, and tender.] They sent me a beautiful mood board of visuals that were pertinent to their story and I distilled it down to two elements: warmth and the color blue. [I used a gold tinsel and a blue agate slice] to abstract this. But, for the story about my grandparents, I knew I didn’t want to abstract anything. I wanted people to see the black and white photos, see the package that my granddad sent me, and see the realness of their story. Talking to the people who have seen the film, and what they thought about it, and which stories resonated with them personally means a lot to me because animation is such a solitary act. I invested so many hours making the film and it excites me when I see its own life, or afterlife. 

Are the images you used for Love Stories found or things that you specifically looked for?

I think a lot of them were found. There were two collage animations in that film. One of them started as an assignment for class, before I started making the film, and was a silent animation with images I cut out from Vogue and other art magazines. For that class, we had to make five animations in different styles and I was looking for inspiration, so I just focused in on the theme of Love because of what was available in the magazines. The two phrases that are rapidly switched out in the beginning (“what it means to love” and “to know someone deeply”) answer its own question. That’s how Love Stories came to be, and that specific animation became the bookends for the film. 

Still From Love Stories, Showing “You Are My Sunshine”

The other collage animation in that film was for Peter Forberg’s story about his grandma who has Alzheimer’s. For that, I was really struggling with how I wanted to visually supplement that. I had some collages for another animation I made for a film I produced called Habibah, that was directed by the amazing May Malone. She gave me some of the items and materials that she had used. I supplemented these with some cutouts from a book [about the Great Depression, so all of the words and phrases I had to choose from were dark and I had to use the most basic ones I could find,] like: “Mother”, “Grandson”, “Love”, and “He was only 11 years old”. I ended up just making them circle around on screen and the words themselves are not the focus. Sometimes the movement itself is more important than the content. Peter also specifically mentions a song that his grandma used to sing to him, which is “You Are My Sunshine” by Johnny Cash, so I decided to write out the sheet music and animate a few verses. That was the most difficult animation to conceptualize because the story was so powerful and I didn’t know how to pair the visuals with the narrative. It turned out to be my favorite, though. 

Do you think quarantine has changed the way you animate? 

I actually got to borrow some equipment from the Logan Media Center over Spring Quarter, so I currently have a scanner and a copy stand to hold my camera vertically as I animate. In terms of what I choose to animate, my subjects tend to be kinda random. For example, I started this new animation last week for my art class, which was just meant to be a sketchbook assignment, but it progressed into something I’m working on now. I painted each section on this piece of paper, waited for it to dry, and then scanned it. Being in quarantine has given me more time and freedom to animate. If we were on campus for classes I would have to find time to go to Logan and balance my time there with my studies. Since it’s such a time-consuming process and I’m in my apartment, I can watch TV while I animate. I can take the time I need to do it, and not feel trapped in an editing suite for 5 or 10 or however many hours. 

At the medium’s most bare bones, it is approachable to anyone. What things does someone in quarantine need to get started?

You can really just use the materials you have around you. If you have a camera (and it can even be your phone) you just set it up and move objects around. Videos on YouTube really just show you how easy it is to teach animation to yourself. I don’t even technically need a scanner, I could’ve just used my phone to take pictures. This is really a medium where you can play with things and get to know the techniques as you do it, which is fun. There is a lot of freedom in animation.

Gif From Love Stories

Featured Image via Elizabeth Myles

A Guide to "Virus-Escapism" : 4 Shows to Stream Now

My younger brother claims he hates shows featuring “women in period dress.” Such shows are especially dull, he says, if they’re inspired by the works of a novelist, like Jane Austen. However, weeks into quarantine, my brother has joined my family in streaming many historical dramas (including one about Jane Austen’s unfinished novel, Sanditon). And the thing is, despite his jovial and witty complaints, he stays in the living room each time we hit play - suggesting that he might actually enjoy these shows more than he would like to admit.

And while I may be abnormally fascinated by period dramas, I’ve found that such shows offer much-needed escapism, right now. After all, I can’t travel to the English countryside or the coast of Greece. I haven’t left my neighborhood or ridden in a car in a month. And I have no idea when my life will return to anything resembling normalcy. However, there are many great shows streaming right now. And for just a few hours at a time, I find myself transported somewhere virus-free. Although, there are, admittedly, many women in period dress.

#4 The Durrells in Corfu: Season Four

I absolutely LOVE this series. Based upon naturalist Gerry Durrell’s three autobiographical books, the show follows the lives of a British mother and her four endearingly bizarre children, as they make a new home for themselves on the Greek island of Corfu.

However, while the show is filled with many picturesque scenes of picnics and drives along the Greek coast, Season Four is not as light-hearted as viewers might expect. As the fourth and final season culminates, the residents of Corfu are keenly aware that World War II is brewing. And the Durrell family finds themselves once more torn between two countries: their native Britain, and the surreal Greek island that they have learned to call home. And despite the presence of the show’s characteristic witty humor, season four is also a powerful narrative of a family impacted by events much larger than themselves. The narrative is thus made even more powerful by the fact that it is true.

And yet, to depict the show as “wholly dark” would be misleading. After all, Margo decides to become a beauty specialist and awkwardly shares much more personal information than her family would like to hear. Leslie still loves guns, and Larry is as self-important and dramatic as ever. Meanwhile, Gerry builds a zoo, while viewers wonder whether Mrs. Durrell will ever end up with Spiros. And despite the looming war on the Continent, the island itself remains as beautiful as ever. Otherwise stated, the show provides ideal escapism - made no less so, by the fact that the characters themselves are happily engaging in their own form of escape.

And for those who still want to know more about the family, PBS recently released a Masterpiece Special about What The Durrells Did Next.

#3 Vienna Blood

While Vienna Blood does not take place on the coast of Greece, its filming is similarly beautiful. The show follows the lives of a young doctor and a detective, as they work together to solve police cases in early 1900’s Vienna. Inspired by Frank Tallis’ Liebermann novels, Doctor Max Liebermann is an early follower of Sigmund Freud - and he controversially encourages Detective Rheinhardt to solve crimes by analyzing the psychology of his suspects. In this way, Doctor Liebermann attempts to revolutionize the fields of criminology and psychology.

From investigating bizarrely “artistic” serial killings, to exposing the violent traditions of a local military academy, Doctor Liebermann and Detective Rheinhardt travel across Vienna. And in so doing, they encounter everyone from mental health patients to pompous military leaders. Meanwhile, the show powerfully indicts the growing antisemitism of pre-World War Austria.

#2 Sanditon

Andrew Davies used Jane Austen’s unfinished manuscript, Sanditon, to bring this drama to viewers. And while Austen provided approximately 24,000 words of the novel, she only supplied the plot of the first episode. After that, the plot becomes Davies’ own. And this is very important, because this series is not typical Jane Austen. To avoid any spoilers, I will merely write that the series does not end in a very “Austen-like” manner - and this provides ample material for a potential (and currently unconfirmed) second season. However, while the series finale is uncharacteristic of Austen, I found the show no less interesting.

When the story commences, Charlotte Heywood (Rose Williams) finds herself unexpectedly spending the summer in the seaside town of Sanditon. And Charlotte is so likable, intelligent, and tough, that I couldn’t help myself from becoming attached to her story. Despite being a new acquaintance of the Parker family, Charlotte quickly becomes an integral part of their household. She has a rocky relationship, and eventual romance, with the younger Parker brother, Sidney (Theo James). And she quickly befriends a wealthy young woman who arrives - against her will - from Antigua. Meanwhile, the Parker brothers strive to expand the town, corrupt relatives plot to secure the inheritance of the ailing Lady Denham, and the town leaders attempt to taste a pineapple for the first time.

And while the show is composed of eight episodes, it was hard not to finish the series in one sitting. From a kidnapping to a boat race, the plot was continuously surprising. And more than that, the script is written intelligently - and I found myself wishing that we talked as eloquently in present-day society as the characters did.

However, while I loved this series, I purposely chose not to rank it first on this list - for the sole reason that I found the ending infuriating. This, of course, does not mean that the ending was “bad.” It just means that the series did not end as I wanted, and that I’m still holding out for a second season to “correct the record.” As strange as it might sound, viewers should pause the season finale when Sidney gets off of his horse (at the very, very end of the show). I wish Davies would have cut the story here; it would have been better to leave viewers in suspense, than to end the narrative as it did. However, the fact that I feel so strongly about the series finale is a testament to the success of the show. Sanditon is well worth the watch.

#1 The English Game: A Netflix Original Series

Developed by Julian Fellowes (the creator of Downton Abbey), The English Game depicts the dramatic origins of football in England. However, the show is much more than a sports show; it is a highly-intelligent window into the class conflicts, experienced in 1870s England. From riots to a factory strike, the show closely follows the lives of working-class football players - who are tasked both with feeding their families and with democratizing the game of football.

When the show commences, the pompous Old Etonians football players demand that the sport remain for “gentleman” only. Meanwhile, the working class residents of Darwen fight for an opportunity to play the sport - and they hope to make history by winning the FA cup. However, the story is not quite as one-sided as it might first appear. Arthur Kinnaird (Edward Holcroft) is the captain of the Old Etonians team, but he is much more democratic and kind than his teammates. And with the help of his wife, Arthur slowly begins to change - ultimately becoming a strong voice, in support of allowing professionals to play the game.

The show is therefore a very happy one. The protagonists are extraordinarily likable - and it’s easy to become attached to the plot. And it’s worth noting that I’m not even remotely a “sports person.” The story is just that good.

And Next on My Watchlist… Belgravia

Belgravia was just recently released on Amazon. And the drama (once again written by Julian Fellowes) is at the top of my watchlist.

Click here, for thumbnail image source.

Earworms: “Radio, Radio”

Earworms is where we talk about pop from the classics to hidden gems and forgotten hits.

The music of Elvis Costello and his then-new band, The Attractions, had all of the bite of punk but none of the bark. The Attractions were, for one, competent at their instruments – far better than competent, in fact. Their distinctive strength was not in the fierce guitar assault which defined punk, but their use of negative space. Their songs were crafted around the bass and keyboard, and were often as notable for what they didn’t do as for what they did. The twitchy guitar on My Aim Is True was that of a young man with something to prove; with his music with The Attraction, Costello is totally in control of his form. They achieved a balance of punk energy and pop construction that Costello – and many others for that matter – would struggle to achieve again. 

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Costello’s songwriting has always been fantastic, but rarely as perfect as on This Year’s Model. Though many try, few make songs about their ex-girlfriends that are both clever and meaningful. He is one of the few angry men types with enough self-awareness and acerbic wit to pull it off. His anger is allowed more shades of grey than typical punk – some complexity tends to get lost when you’re screaming. His attacks are just as often self-directed as they are at the girl: “Thinking all about those censored sequences / Worrying about the consequences / Waiting until I come to my senses / Better put it all in present tenses.” (But that doesn’t mean he has no harsh words reserved for the other person, for example: “You’re easily led but you’re much too scared to follow.”) As would become clear on Armed Forces, concealed in his songs are social commentaries, disguised as targeted tirades.

The star of the show, though, is the single that didn’t make the cut (in the UK at least): “Radio, Radio.” The song is the punkest thing to come from the album, lyrically and musically. Costello is madder than ever, this time at the parochial BBC playlists – which infamously blacklisted many punk bands, including “God Save the Queen” – and the promise of technologically-mediated salvation. “Radio is a sound salvation / Radio is cleaning up the nation,” he sings. Like Wire’s “Ex Lion Tamer,” with its sardonic entreaty to “Stay glued to your TV set,” Costello thinks the radio run by “a lot of fools”; unlike that song, “Radio, Radio” supports a reading of it as finding real salvation through the music. 

It’s built around a recurring keyboard riff which is as forceful as anything a punk band has ever mustered, and The Attractions manage to impart an urgent undercurrent throughout which gives force to Costello’s singing. Pete Thomas’ drumming is a show of restraint, accenting exactly where it's needed. As with all their songs, The Attractions know when to build tension and when to release it, mirroring the themes of the lyrics. Pressure builds during the verses as Costello tells of anger and apathy, before finally the keyboard comes back: salvation.

Costello is sympathetic with, but still manages to see above the punk mindset. He complains that the radio is “Tryin’ to anesthetize the way that you feel,” with their presentation of only “polite” – bland – playlists. He also correctly identifies the self-destructive streak in punk: “I wanna bite the hand that feeds me / I wanna bite that hand so badly.” But he avoids the nihilism of The Sex Pistols and the political impulses of The Clash for a chance at aesthetic revolution, of finding meaning through art. When he finally sings “Wonderful radio / Marvelous radio,” you almost that he means it.  

Cover image via

Feeds to Follow: @pimplesandprada

This week I had the pleasure of speaking with @pimplesandprada, arguably the most exciting of the recent wave of archival fashion/pop culture accounts with over 3,000 posts and nearly 50k followers. I use the qualifying terms “archival” and “fashion/pop culture” with the utmost liberty, as the account’s curator, Madison Potter, notes that her page might more aptly be called a moodboard which contains at once pop-culture memes, paparazzi photos from all of the great moments of the last 30 years, film stills, and even photos of the curator herself. Asked about the inspiration for the account, she relates; 

PimplesandPrada curator, Madison Potter. Image Via

“So in high school I was super into tumblr (like I’m talking 2013-2014 tumblr, the peak!) and I grew a large following there. But, as tumblr died and people moved on I didn’t have anywhere else to get content. I hated pinterest (don’t know why I love it now, no hate on Pinterest) but I’ve always needed this sort of expression I get out of creating mood boards. I got really into photography which led me to looking at editorials, fashion photography books, and photographers. Again, I hated Pinterest so I had this envelope on my phone where I kept all my inspiration. I had an iPhone 5 with NO storage (rip) and eventually would have to delete personal pictures to keep my inspiration photos. I decided to just make an instagram account as a place to keep these photos. That’s how it happened, I didn’t even know about other “mood” accounts or anything.”

PimplesandPrada feed at time of interview. Image Via

Given away in the very name of the account is the fact that the Potter’s favorite designer brand is Prada, and, being based in Chicago and now finishing her senior year at Columbia College with a bachelors in advertising and a concentration in strategy with a minor in fashion, one can understand the attraction to Miuccia Prada’s chic, metropolitan practicality.

Potter crossing the street in an all black outfit, punctuated by a classic Chanel double flap. Image Via

For those who just became followers, @pimplesandprada is definitely worth stalking, but the future of the page is just as bright as the past; concerning future content Potter says, “Well, more of me! Before COVID19 I was pushing styled content and more photos of me! I had to take a pause on that, but you’ll definitely be seeing a mix of my current content and photos of me after the stay at home order is lifted!” 

So, unable for the time being to admire fits on the street, @pimplesandprada is a wonderful way to stay inspired.

Put on something comfy and browse @pimplesandprada. Image Via

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"This World is Bullsh**": Iconic Acceptance Speeches from the Analog Era

Fiona Apple’s highly acclaimed new album is a continuation of the subversive, enigmatic work that has shaped her entire career. Her first album, Tidal, thrust her into the mainstream in 1996 and she grappled with the implications of her success in an industry she found deeply problematic. She famously expressed her disdain at the VMAs when honored for her music.

When awards season rolls around, the variety of political, wacky, and emotional acceptance speeches are always something to look forward to. Between Jennifer Lawrence’s “quirky” fall up the stairs at the Oscars, Lin-Manuel Miranda’s impromptu poetry at the Tonys, and the intensely political bent of the last half decade of awards shows, acceptance speeches have remained a viral fixture in pop culture. But before Twitter’s inception, these speeches were immortalized in awards show history:

Fiona Apple at the VMAs (1997)

At the 1997 Video Music Awards, Fiona Apple took home the prize for Best New Artist in a Video for Criminal, and stirred controversy when she slammed the very establishment “legitimizing” her work. To the predominantly teen viewers of MTV, she proclaimed:

“See, Maya Angelou said that we as human beings at our best can only create opportunities, and I’m going to use this opportunity the way that I want to use it. So what I want to say is, everybody out there that’s watching this world? This world is bullshit. You shouldn’t model your life about what you think we think is cool and what we’re wearing and what we’re saying and everything. Go with yourself.”

Watch the whole speech:

Julie Andrews at the Golden Globes (1965)

In under a minute, Julie Andrews ended Jack Warner’s entire career. Context: Andrews famously originated the role of Eliza Doolittle in My Fair Lady on Broadway, but in an attempt to maximize box office success, the role went to superstar Audrey Hepburn when Warner Bros. adapted the play. Andrews was then free to star in a little film called Mary Poppins, a role for which she won both the Golden Globe and Oscar for Best Actress over Hepburn. In a perfectly demure “f-you,” she thanked Jack Warner for making her wins possible. Iconic.

ODB at the Grammys (1998)

Before Kanye, ODB was the original podium crasher. When Shawn Colvin went to accept her award for Song of the Year, ODB snuck on stage, kissed presenter Erykah Badu, and went off on the Wu-Tang Clan’s loss of Best Rap Album to Puff Daddy earlier in the evening. He was especially put out by the fact that he had bought an expensive outfit for the occasion! In explaining why they should have won, ODB spoke the immortal phrase “Wu-Tang is for the children.”

Sally Field at the Oscars (1985)

Apple’s polar opposite, Sally Field’s Best Actress acceptance speech for Places in the Heart was aggressively sweet and endlessly mockable. It was her second Oscar—which she casually informs us of—but to her, the first that she “really felt.” Quoted to death, this speech went word-of-mouth viral.

Marlon Brando (in absentia) at the Oscars (1973)

The tidal wave of political speech at awards shows are all indebted to Marlon Brando’s choice to reject his Best Actor award for The Godfather. He boycotted the show, sending Native American activist Sacheen Littlefeather in his place to blast the government’s refusal to honor treaties and the stereotypical portrayals of Native Americans in the media.

Halle Berry at the Oscars (2001)

Brando may have set the stage, but Halle Berry was the blueprint for the 21st century acceptance speech. When she became the first black woman to ever win Best Actress for her performance in Monster Ball, in an oft-imitated move she credited her peers and those who paved the way:

“This moment is so much bigger than me. This moment is for Dorothy Dandridge, Lena Horne, Diahann Carroll. It's for the women that stand beside me: Jada Pinkett, Angela Bassett, Vivica Fox. And it's for every nameless, faceless woman of color that now has a chance because this door tonight has been opened.”

Meryl Streep at the Emmys (2004)

Meryl Streep is a veritable pro at acceptance speeches, something that must naturally follow being such a pro at winning things. Her Lead Actress in a Miniseries or Movie award for Angels in America gave us this gem: “You know there are some days when I myself think I'm overrated…but not today.”

Alan Alda at the Emmys (1979)

Sure, it was fun watching Roberto Benigni jump over seats and Cuba Gooding Jr.’s excited dance when they received their respective Oscars, but they simply learned from the best. When winning one of his six Emmys for the world-changing show M*A*S*H, Alan Alda did an impressive cartweel on his way to the podium.

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A "Philadelphia" Retrospective

Philadelphia (1993) has rarely been judged as a movie in itself; it was judged as merely a step forward (perhaps too little too late for Hollywood) or a failed attempt at propaganda, depending on your political views. The closest we get to a judgement of it as a work of art, rather than as a social campaign, is exemplified in brief comments like Roger Ebert’s: “Philadelphia is quite a good film, on its own terms.” Mostly it was analyzed with the ongoing AIDS crisis starkly in focus, and oftentimes it was compared, usually favorably, with other Hollywood movies; Ebert likened it to Guess Who’s Coming to Dinner (1967), a film which dramatized a white family coming to accept a woman’s black boyfriend. He called Philadelphia a “righteous first step.”

Tom Hanks plays Andrew Beckett, a lawyer at a high power law firm, who has just been made partner and given a case with the firm’s most important client by Charles Wheeler, head of the firm. When one of the other partners notices a lesion on Beckett’s forehead and determines he has AIDS, an important document goes mysteriously missing. Andy is subsequently fired for the supposed oversight. When Andy – suspecting he’s actually been fired for his illness – decides to sue his old firm, the only lawyer in town who will take his case is the homophobic ambulance chaser Joe Miller (played by Denzel Washington). As the case progresses, we glimpse more of Andy’s personal and family life. The night that he learns he has won his case, Andy dies in the hospital. 

Perhaps a better comparison than Guess Who’s Coming to Dinner would be To Kill a Mockingbird (1962) – both are courtroom dramas that appeal to white liberal sympathies; both star charismatic white actors (Hanks and Peck) to make their messages more palatable to a presumably hostile segment of the audience; and both sideline the othering aspects of their story. Mockingbird denies both voice and agency to its black characters, instead choosing to center its story on the white lawyer. Philadelphia, while one of its two main characters is gay and has AIDS, takes great pains to normalize Andy; he is kind, charming, hardworking, and has a good relationship with his family. Scenes of intimacy between Andy and his boyfriend were also reportedly removed for the theatrical cut, to avoid “grossing out” audiences (one scene, of them lying in bed together, was added back to the DVD version). 

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Still, the comparison feels unfair to Philadelphia, which makes the more deft use of its courtroom setting and has a more sensitive portrayal of the tragedy it depicts. Philadelphia has flashes of brilliance, even against the hackneyed backdrop that, as contemporary commentators were right to note, was likely responsible for the film’s existence in the first place. The film must then toggle between the comforting – to both audience and studio executives, no doubt – familiarity of the courtroom drama, and its far subtler, if still obligatory, human drama. 

A traditional courtroom drama forms the backbone of the story, for good reason: courtroom dramas are perfectly suited to arouse sympathy. The rigid conventions of the courtroom drama allow the filmmaking to deny any complexity to the villains of our story, a complexity which might edge sympathy away from Andy and towards them. In one scene, the partners of the firm walk down a dark hallway, shot from behind by director Jonathan Demme, their grandiose villainy made obvious solely by the filmmaking. They stop, and we turn to them, looking up at their faces as Wheeler bellows to a younger lawyer, “He brought AIDS into our offices – into our men’s room!” Demme and writer Ron Nyswaner even have them making vulgar jokes in comically on-the-nose supervillain cigar clubs, while they're at it. Andy is made our hero practically by default.

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The courtroom, however, offers much more than just an opportunity for cheap characterization of our villains (which is, admittedly, par for the course for legal dramas – see Mockingbird and The Rainmaker for canonical examples). It offers an avenue for a literal debate of the ethical considerations in the AIDS crisis. Opinions which were widely circulating – Pat Buchanan was not far from public opinion in declaring that gays “have declared war upon nature, and now nature is exacting an awful retribution” – could be tackled head on, with the opposing counsel already at an emotional disadvantage. (For that is something all good courtroom dramas recognize; the film wins by the emotion it manages to impart.) The jury acts as an audience stand-in, allowing the film to make emotional appeals and present evidence to them directly. This is why so many of our morality tales take place in the guise of the courtroom drama.

The courtroom scenes nonetheless constitute the weaker parts of the film. They are paint-by-numbers filmmaking at times, despite Demme’s and Nyswaner’s attempts to insert traces of originality. By following the expectations of a courtroom drama exactly, the film makes its message seem trite. In reaching for a crass emotionality they only debase the issue. Realizing this, the film smartly shifts focus in the second half by forefronting Andy’s declining health and his moving relationship with his family. By the time his courtroom victory happens, the real jury is already won over. 

The content of these scenes are equally as expected as the courtroom element, but here the artfulness of the filmmaking gets room to breathe. For example, there is the inevitable conversion scene: Joe must learn to respect Andy and lose his prejudice, his legal battle for fame and money must become a genuine search for justice. But its execution is more sensitive than most and is easily the most arresting scene in the movie. Demme places the characters in intimate close-ups as they go over the case in Andy’s apartment after a party. They are separated both emotionally and by the framing; Joe resists Andy’s personal questions, trying to keep him on business. Andy’s favorite aria comes on. “La Mamma Morta.” He ambles around the apartment, IV drip in tow, eyes closed, while the camera glides above him. As the singer crescendos Andy is bathed in red, translating her lament for Joe while crying softly. It ends, and as Joe leaves, he hears the opera begin again. He considers knocking, but decides to walk away, smiling as he does. By the time he gets home and holds his baby and wife, it has already happened.

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The film is often faulted for two facts about it: who made it and who it stars. For a virus which disproportionately affected gay and black men – which it still does, black men in particular – to be written and directed by two straight white men feels like a cynical marketing move at best, a cheat to those most impacted at worst. While this was not unusual for the time – Rent’s (1993) cast was also mostly white, and even Paris Is Burning (1990) had a white director – it does still feel wrong. What is at issue here is not just representation, but the very depiction of life with AIDS. In both Rent and Philadelphia, for example, those suffering from the virus have for the most part a distinctively upper-class and white experience with AIDS. Andy is never depicted as short on money, has a supportive relationship with his family and boyfriend, and until his infection is revealed he is able to pass comfortably as straight. The mostly black and latino subjects of Paris Is Burning clearly lead very different types of lives, and the depiction of AIDS changes for it. I don’t have to say which is more faithful in its depiction of most AIDS victims, or more tragic. 

But sacrifices had to be made for the film to even exist, and for the goal of the filmmakers to be achieved. “We wanted to reach the people who couldn’t care less about people with AIDS,” Demme recalled; Paris Is Burning didn’t make $206 million at the box office. And, small a gesture as it may be, 53 extras in the film were diagnosed AIDS victims. Philadelphia inhabits what Tarkovsky called “Cinema’s equivocal position between art and industry,” a balance which still exists, perhaps even more so now in the age of conglomeration, declining theater ticket sales, and relatively safe superhero blockbusters. If the films of today are braver than Philadelphia was, it is only because the line between profitability and art has shifted with us.

The Doom Generation: Fashioning the End of the World

Director Gregg Araki, from the start of his career, never adhered to the norm. His involvement as part of New Queer Cinema in the 1990s defied the mainstream, and his films tell the tales of young, disillusioned queer youth struggling to find their way in a world not meant for them. They’re bold, beautiful, ridiculous, violent, and cynical. And sometimes abducted by aliens.

There’s a rawness and a sensitivity to his films that, though often wild and explicit and not for everyone, reveal a truth that many teens face: no one understands. It’s teen angst capital T, and yet it’s so much more. It’s recklessness and experimentation, a portrait of the alienation and frustration felt by queer youth, especially in the 90s, that only they are forced to bear. 

Gregg Araki

“We were very young, dumb, and innocent.The New Queer Cinema was very much a product of its time. It was the height of the AIDS crisis, and as a young queer artist, you were just feeling very energized, like you need to say something. It was the time of ACT UP. There was this need to express what was going on in a way that wasn’t being expressed in the mainstream.”

Araki, with 11 films under his belt, finds most of his cult following through his Teenage Apocalypse trilogy: Totally F***ed Up (1993), The Doom Generation (1995), and Nowhere (1997). His other works, such as Mysterious Skin (2004), a personal favorite of mine, and his recent series Now Apocalypse (2019) are also highly adored. The uncertainty that comes with being a highschooler or twentysomething is ground that Araki likes to touch upon, and the sense of impending doom and apathy that the youth, especially at the time, often faced, breeds stories that deserve to be told.

“When you’re in your 20s or a teenager or whatever,” says Araki in his interview with The Ringer, “you’re so unformed. You don’t know what you’re gonna be or what’s gonna happen. There’s such an uncertainty there and so much confusion and you’re really just trying to figure your sh** out. For me, that’s always been such fertile ground creatively and dramatically.” 

Araki’s films stand out, in particular, due to their visuals. The fashion is bold. The kids are beautiful. The backdrop of a nearly apocalyptic Los Angeles combined with characters that are just looking to find their way anywhere and nowhere heightens their imminent downfall. His characters, fashionable as they may be, use style as a way to rebel against a world looking down on them. 

Sometimes, that cynicism is obvious. One of the most viral screenshots of Araki’s movies is James Duval donning a shirt that blatantly states, I BLAME SOCIETY. In The Doom Generation, Johnathon Schaech’s character Xavier Red is often seen in a black D.A.R.E t-shirt—a direct mockery of society itself at the time. Two girls of Nowhere walk around with matching clear tops—one says WHAT, the other says EVER. It’s almost laughable how prevalent their displeasure is, but it’s obvious because it simply can be. The messages that the kids in Araki’s universe are receiving is that being angry at the world is a normal thing, that vulnerability is out and apathy is in.

Left to Right: Jordan White, Amy Blue, Xavier Red

The Doom Generation (1995), second in the trilogy, showcases this apathy tenfold. The film follows Amy Blue (Rose McGowan) and Jordan White (James Duval), two teenage love birds that pick up drifter Xavier Red (Johnathon Schaech) on a trip to nowhere. All the while, as they make their way through an apocalyptic America, Amy’s previous “lovers” are out to get them.

Amy Blue is the epitome of indifference and anger, and it shows not only in her dry one-liners, but her style as well. She’s often seen with a pair of big, dark shades on to hide her eyes. Her chunky silver rings, skull lighter, blunt black bob, blood-red lip, over-sized leather jacket, and huge combat boots show that she’s not to be messed with. If her aloof and often callous personality isn’t enough, then the word KILL written across her knuckles should do the trick. 

It’s quite the contrast from her boyfriend Jordan White. His personality, sweet and dopey, doesn’t seem like it would mesh with Amy’s at all. But, in fact, it does. They share the same anger at the world, the same desire to leave and never look back. He fits by her side perfectly well—visually, too, in his ripped jeans and baggy flannels. With the addition of an eerily charming and reckless (and, often shirtless) Xavier Red, they seem to make the perfect, fearless trio. If you’ve seen the film, you know that’s debatable. 

As the trio pass through mini-marts, drive-thrus, and motels on their journey through Nowhere-America, they’re stalked by a (very obvious) sense of impending doom. Their totals come out to $6.66. Billboards and signs in the stores read Shoplifters Will Be Executed and Prepare For The Apocalypse.

In a world like this, how could they care about anything?

The youth of the finale of the Teenage Apocalypse trilogy, Nowhere (1997), are nearly futuristic. The film follows a day in the life of teens in Los Angeles merely attempting to survive the strange and out of the ordinary. That sense of impending doom is still there in odd ways.

Araki’s it-boy James Duval makes another appearance here as Dark Smith, who often dreams of the end of the world. Over the course of the day he gets warnings of the Armageddon, witnesses an alien vaporize three girls with its ray-gun, and watches his friends self-destruct in the process. 

Their blunt-cut hair, colorful garb, and funky sunglasses, combined with the vivid saturation of the film itself, amplifies the fact that everything is not what it seems. They utilize bright colors to not blend into a dying world, and stand out to keep themselves afloat. 

Sometimes, Araki gives us the opposite, using style as a way to create a caricature out of those who “fit in.” The three valley girls in Nowhere have no sort of identity or autonomy separate from each other, save for the different colors of their clothes. They have no names, simply casted as Val-Chick 1 (Traci Lords), Val-Chick 2 (Shannen Doherty), and Val-Chick 3 (Rose McGowan). Their hair is teased high. They wear their sunglasses on their heads, not on their eyes.

Years later, in Mysterious Skin (2004), Jeffrey Licon’s character Eric looks as if he was plucked out of the Teenage Apocalypse trilogy and dropped into the early 2000s. His dyed hair, dark liner, black lipstick, and silver hoop earrings allow him to stand out amongst the rest of the characters. 

Much like us, these kids walk around confiding in their friends with foreboding thoughts. I feel really weird tonight, like something’s gonna happen, Jordan White admits to Amy Blue. I just wish things weren’t so messed up and confused is all, Dark Smith laments. With feelings of anxiety and dread peaking in young people today, stories of struggling teens are relevant now more than ever. Without the aliens, that is.

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Kawaii meets Indie: 4 Japanese Acts to Check Out

Keep quarantine loneliness at bay with these new catchy additions to your playlist!

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I first came across these songs, as one normally does: through YouTube recommendations. Fresh off my trip back home to Japan, I wanted something that reminded me of home, and YouTube delivered. These songs are just a peek into the wide world of Japanese music. Check them out - there is definitely something for everyone!

1. Necry Talkie

Don’t let the singer’s saccharine-sweet voice fool you: this band knows how to pack a punch. Formed in 2017, this group of 5 are newcomers to the stage, but their songs show surprising maturity: the group’s self-composed songs cover themes from individuality and self-esteem to the unrelenting pace of society. With a major-label album, ZOO! released this February, their journey to kawaii-conquer is just getting started.

Recommended song: Kitakamino Susume, an encouraging song about moving forward from their new album ZOO!

2. Queen Bee

Fashion? Check. Killer vocals? Check. Amazing stage presence? Check, check, check. This group goes above and beyond in everything it does with a unique flair. Although most of its songs are techno-based, the acoustic versions of their songs (check one out here) prove that this group has the chops to do anything. These self-proclaimed “fashion punk” are a definite must-have on anyone’s playlist.

Recommended: Fire, for that techno-meets-traditional-Japanese aesthetic, complete with an amazing wardrobe.

3. Fujii Kaze

This singer’s face might be familiar to some—his cover of Takeuchi Mariya’s hit song Plastic Love (complete with a meme-y thumbnail) went viral last year. This man is more than just a meme, though - with his smooth looks and humorously biting lyrics, this singer-songwriter blends easy listening with a jazzy flair to create catchy hits. With a new album coming out in May, he’s definitely someone to look out for.

Recommended song: Nan-nan, a smooth jazzy tunes on confusing, snakey love.

4. KEYTALK

Need a pick-me-up? KEYTALK, whose music discography ranges from the light to the downright bizarre, has a song for everyone. Active since 2007, these veterans know how to make anytime a good time.

Recommended song: Sunrise, a lighthearted song with a great guitar solo.

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Quarantine Skillshare: Charlie Kolodziej’s Fantastical Embroidery

Charlie Kolodziej is a second year student in the College considering a major in either sociology or psychology with a minor in creative writing, urban studies, or computer science. Outside of the classroom, they write for The Maroon, play the drums in the Percussion Ensemble, and work for the Neighborhood Schools Program. You can find more embroidery on Charlie’s Instagram: @charlie_stitched!

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Image via Charlie’s Instagram

The first time I met Charlie, they were wearing their signature bag with the UChicago phoenix embroidered on it, in eye-catching shades and textures of reds. I knew that it was born out of love and many (many) hours of careful and tedious stitching. Since then, Charlie has been cemented as “That Embroidery Kid”, and that’s a hand-stitched patch they wear with style. 

I have been very closely following the recent resurgence of textile art, especially as “Circular Fashion” has become a more prevalent consideration of the average consumer. I have noticed more people knitting hats, crocheting two-piece sets, and learning to sew clothes and, more recently, masks. Embroidery has also emerged as a way to rescue clothes or fabrics that have become lifeless with new designs and as a rising de-stress practice for many.

Through this conversation with Charlie, we discuss their particular work, the embroidery community at large, the gendered history inherent to embroidery, and how anyone interested can begin to engage with the medium.

This interview has been edited and condensed for clarity.

When and why did you start embroidering?

I started embroidering at the beginning of my senior year of highschool following a breakup. Partially to distract myself. Partially because I saw my friend embroidering in the school’s art room and I was like “Oh, that’s really fucking cool”; over a break I bought the stuff and taught myself how to do it. I had a lot of anxiety. Embroidery definitely helps with that. I usually compare it to meditation because doing an action over and over again makes me zone out and breathe, which is really nice. 

Is that repetitive action part of what inspires you to embroider?

Yeah, sometimes I embroider just for the sole action of embroidering and I don’t have any vision of what I am creating. I post a lot of the things I make on my Instagram, but 99% of what I make I don’t because I’ve just decided to stitch a cool pattern. There’s nothing really to these pieces, just the motion, and I find that relaxing. 

Image of “Pandemic” (2020) via Instagram

I saw your most recent project “Pandemic” on your Instagram (pictured) and it struck a chord for me. Can you tell me more about it

My other “Art Love” is graphic novels. I’ve made and written a number of comics and short stories in the past. The use of panels really appeals to me because they are nice and ordered. So that’s the inspiration behind that piece. It is part of a series that I’ve been working on. But, with that specific piece, I went back and forth on whether to name it “Pandemic”, because I did not want to make light of a serious situation. I intended to just reference the anxiousness that everyone is feeling right now, and the general zeitgeist, so I ended up seeing that theme in the piece. 

Why not show off the incredible detail of the work, by wearing it as a brooch or patch?

I do wish more people could see the intricate nature of the pieces because it is hard to discern through photographs, and a lot of time goes into each of them. In terms of wearables, I’ve been incorporating more beads into my stitching projects, instead of one or the other. I find this really hard to do without it appearing too kitschy or crafty-looking, not that that’s necessarily a bad thing. 

Image of “String Theory” (2020) via Instagram

Is there a specific style that you tend to gravitate towards?

I think when I started I was very into hyperrealism and artists who make thread-based pieces look like paintings. Now, I’m totally the opposite. That style is still incredibly impressive, but, to me, it seems to take away the fun of embroidering. It is not painting. It does not need to imitate other opposing art forms. Why not create something new that is specific to this medium? Now, I use larger gestural stitches with chunky thread in combination with beading. It’s a little more camp… and there’s something inherently queer about camp. 

Why do you think the embroidery community is expanding? Why are people gravitating towards this medium?

Obviously social media is playing a part in the distribution of embroidery work. There’s also been a resurgence in non-traditional ways of consuming and producing garments. Upcycling and thrifting have become more popular because of their lower toll on environmental waste. The Romanticist in me, however, would argue that because we are so tied to our devices, and embroidery is just the complete opposite of that, that maybe we are trying to escape and unplug. It is also just a really accessible art medium because it accepts all skill levels and requires very few materials. 

Featured work from artists (from left to right): Jessica Gritton, Charlie_Stitched, Fistashka.Art, TheNudeNeedle, and Archcurate.

To follow up, in terms of the gendered history of embroidery work, which can be viewed as a functional technique of mending clothing and as embellishment, do you think those expectations of the medium have impacted your own work?

In short, yes. I think, partially because I see myself as more genderqueer, I do put a lot of thought [to how I situate myself in that discussion]. But, I do kind of like that it has this feminine side. In terms of the Instagram community, I am one of two or three other people I can think of who were assigned male at birth, which isn’t to say there aren’t a lot out of others out there, those are just the ones I know. It does feel like we are received differently although I can’t exactly pin down in what way. But, there is a community of queer and trans  embroidery artists, who are producing valuable work about gender and [exploring themes and techniques that are unexpected for the medium]. For example, Jessica Gritton is an embroidery artist and a trans-woman who is processing her transition through embroidering and she is amazing.

How has embroidering your own clothing impacted the way you view your style?

Whenever I see someone who has hand-embroidered on their clothes — and you can tell it is hand-embroidered rather than machine-embroidered because there is more love in the stitches — I get super excited. I actually don’t have that many embroidered pieces that I wear regularly. My hat, bag, and jackets are all exceptions. I think at first this was because embroidery felt feminized, but since coming to college, I have felt more comfortable displaying my own femininity. 

Image of Jacket and Bag via @charlie_stitched

What is your opinion on upcycling clothing from thrift stores to embroider on?

I come at this discussion in two veins. On one hand, I admire that people are manipulating old things in new ways and reinterpreting their clothes. This is both stylistically forward and environmentally conscious. But the other side of me remembers “thrifting” because I needed clothes, and not because it was trendy. However, embroidery feels more benign [than upcycling clothes with just a “Vintage” tag and a higher price] because it is more about making something new and feels less problematic.

Image courtesy of Charlie

How has quarantine affected your embroidery?

I definitely have more time! I’ve been producing a lot more stuff. My sources of inspiration have changed because I can’t really go outside and see something that inspires me. This series of works based on comic books came from being inside and reading graphic novels and being bored. Looking around my tiny apartment, rather than out in the world. I never really buy new fabrics, instead I recycle fabric from garments. So, the materials I gravitate towards have changed slightly.

What advice would you give to someone who wants to give embroidery a go during quarantine?

Start. When I first started, I literally Googled “basic embroidery techniques” and then just used an old t-shirt as a canvas. You don’t need any fancy types of thread or needles—DMC thread and needles are the really nice stuff, but that doesn’t have to be the starting place for beginners. Don’t be afraid to fuck up.

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Featured photo via @charlie_stitched

YouTube's Late-Night

Is there anything worse than telling a joke and having no one laugh at it? For the past several weeks, this has been the reality for the hosts of late-night talk shows. Aside from being super awkward, the shift to online content is showing the vulnerabilities of traditional TV entertainment.

When the COVID-19 epidemic began to spread in the US, late-night shows removed their live audiences and kept only their production crew on site. As workplace restrictions increased, however, TV shows and movie productions everywhere came to a complete halt. Rather than going on hiatus, the show had to go on somehow, and the obvious place for this was YouTube.

Already late-night shows had relied on YouTube to maintain an online presence. Clips of episodes were regularly being uploaded, and for many that do not have a cable, YouTube has been the only way to keep up with late-night programming. John Oliver and Jimmy Kimmel have found particular success with their YouTube presence—often being at the top of the trending page.

Thus came the barrage of self-made Youtube videos by the hosts of late-night. Seth Meyers took to a hallway, Samantha Bee opted to the woods outside her home, and Jimmy Fallon had his dog Gary make a cameo. As endearing as Fallon’s at-home awkwardness is, what was incredibly clear (by Meyers’ horrendous audio) was that these hosts were simply that—hosts. While incredible comedians and entertainers, the ability to set up a camera or choose the best place to record is out of their wheelhouse.

Comments under “Weekend Update: President Trump Gives Coronavirus Update - SNL”

Outside of talk-shows, SNL was having similar issues while learning how to maintain the magic of live tv with video chatting. Taking one look at their comments section, and people were not pleased with certain decisions like trying to maintain a laugh track. Downsizing has not proved easy.

To the host and their team’s defense, there has been a steady improvement in the quality of videos. It appears that most are reading the feedback and are ramping up their at-home production. Rather than trying to act like things are completely normal, Fallon and Samantha Bee have opted to include their family wherever possible, which has brought a great sense of relatability that is often missing from late-night. Conan O’Brien, Seth Meyers, and most others have also continued guest appearances via video chat. Moreover, beside several videos, there is a direct tab to donate to various charity organizations, or the video itself is partnered with an organization that is providing relief to those in need.

Most interesting has been the continuation of musical appearances. James Corden and Fallon have both invited musical guests like Kesha, Gwen Stefani, and Blake Shelton to perform their latest hits from their home. Aside from some performances being more stripped back due to the lack of equipment, artists like Dua Lipa managed to incorporate her back up dancers, singers, and band despite being separated.

The big question is—how long can late-night stay home?

In 2015, Grace Helbig ventured out of YouTube into the late-night talk show world with The Grace Helbig Show on E!. The format included Grace inviting the guest into her “home” where she would play various games followed by an interview. She seemed to be so ahead of her time that the show did not get past season one. At the time it was clear that a YouTube star was not able to translate her viewership to a traditional TV setting. Even this year, YouTuber Lilly Singh has been the source is widespread criticism over her new late-night show. Like her predecessor, she has not hit the mark.

It seems that jumping between platforms has been hard for YouTube stars, and this may become the case for the other side. Despite late-night having found success online, it has been largely a result of viewers feeling like they are getting premium TV entertainment for free: a high budget production on a free site. Now that all crews are home, the hosts are being left to fend for themselves in the sea of Youtube personalities. 

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“Shout out to YouTubers who have been doing this for a long time,” Seth Meyers jokes at the beginning of another hallway video. Indeed, current YouTube giants like David Dobrik and Emma Chamberlain know how to frame, light, and edit their videos masterfully. What happens when these online pros are paired against the late-night icons? Of course both can co-exist—as do most YouTube stars. With so much extra free time, people can consume more content. However, YouTube is personality driven, and as the world faces the reality that large group gatherings like TV show productions may not return until 2021, hosts are going to have to adapt more than ever. Their writing staff can certainly write equally high value comedy remotely, and celebrities can Zoom-in, but late-night will not be the same once it returns to television.

Audiences are drawn to the down-to-earth celebrities, which is why YouTube has grown to dominate the entertainment industry in the last decade, slowly killing traditional cable TV alongside Netflix and other streaming services. The longer late-night hosts are immersed in the world of YouTube, the more likely that production companies may begin to shift their attention to YouTubers that are masters of at-home entertainment rather than stand up comedians. Current late-night hosts have established themselves well enough to survive this disruption, but the format and faces of late-night are being challenged more than ever.

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Questions Indie Boys Will Ask and How to Properly Answer Them: Surviving Conversations With Art Students Without Conflict

We’ve all been there. You approach the cute indie-looking boy with the Timothée Chalamet-esque hair and thrifted sweater in your SOSC class. You think it is going well until he hits you with the most important question in the world: “What’s your favorite Tame Impala* song?”

*Interchangeable with: Brockhampton, Mac Demarco, The Smiths, The Beatles, Radiohead, The Strokes, Rex Orange County

Though I might seem critical and condescending, my ultimate goal is to offer  some advice on how to confront these kinds of situations and come out of them alive. While I do not claim to be an expert on how to navigate the indie-alternative-e-boy mind, I can say that I’ve had plenty of experience in these realms. Think of this like preparing for a job interview… Maybe more of an internship, considering you are losing time, not getting paid, but doing it all under the guise that you are garnering some kind of valuable life experience. Whether your indie boy is into music, cinematography, books or philosophy, I’ve got you covered. 

For starters, the first piece of advice that I have for you is: run.

And if you’re still reading, I am going to assume that you have not followed that first step. For all of you brave souls continuing on this journey, I will be providing you with some ways to immerse yourself deeply into the art student «vibes» and achieve exactly what you want out of the conversation. 

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1. Music. Beat them at their own race. Ask them for their spotify before they ask you for yours. They will either have perfectly curated playlists with cover pictures on them and titles written in French featuring songs like “Flaming Hot Cheetos” by Clairo and “SUGAR” by Brockhampton, or their recently listened to artists look like an experimental mess that they think nobody has heard of before; examples include: Death Grips, 100 gecs, The Garden, Bladee, Machine Girl and Aphex Twin.

 What you want to do in this situation is stalk their Spotify and make sure you are in control of the music questions. You will now be in the position to ask them to name their top five Tame Impala* songs. Make sure to prove to them that they, in fact, are not the only person who has heard of Death Grips. As a cherry on top, make a comment about Laura Les of 100 gecs working in an empanada shop in Chicago. Take the reins. Win the race. 

2. Movies: This one goes out to all of the A24 cinematography loving indies. Don’t be intimidated when he tells you that he watched Midsommar with his boys last summer while tripping on shrooms. Or when he adds  that he had the greatest epiphany of his life during it. It’s really not that deep. You can calm your nerves when he relates Pulp Fiction to the philosopher you are discussing in said SOSC class, “You know, if you focus on the politics of Quentin Tarantino’s films, it’s just really refreshing, it’s quite philosophical, it’s like, oh never mind, you don’t know Descartes do you?” (Quote provided by my best friend and fellow indie-boy-connoisseur, Alexandra Fener).

This is your chance to flex your extensive knowledge on Tarantino or any A24 film. No pun intended, but the big takeaway here is to flip the script. Talk about how you used to get compared to Mia Wallace back in 2015 when you cut yourself Tumblr bangs in the middle of a breakdown. They will love that. Or, how you believe that Adam Sandler deserved an Oscar for his unprecedented performance in Uncut Gems. And finally, a perfect example for all of those UChicago soft boys, always remember that a commentary on how Wes Anderson’s films are not just brilliant because of their beauty, but because of the symmetry he presents in both the visual and metaphorical sense never hurts. Even when most of it makes no sense.

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3. Lastly, know your philosophers: If you are going to be engaging in conversations with a UChicago mansplainer, there is a very big chance that they read Nietzsche before going to sleep while listening to Neutral Milk Hotel. You must be able to bullsh*t your way through this conversation so elegantly that so when he says “I feel very in tune to Nietzsche, our views seem to parallel each other in a profound way. You should really read his stuff,” you can hit him with how familiar you are with Niezsche’s works on ethics and metaphysics and how, by saying that “God is dead,” he was pointing out the way that science and politics have rendered the belief in God redundant, therefore ceasing to exist. However, as our idea of God did previously exist, the idea of her is now pronounced dead.

Image via Laura Sandino

I hope that this article has served as an enlightening guide to demystifying the mind of a UChicago indie soft boy and that this information has brought you closer to achieving your goals; whether they be experiencing your own A24 coming-of-age love story, or presenting a convincing argument to shut up a mansplainer. Remember, at the heart of every indie soft boy, is someone who can’t recognize how nerdy it is to love Scott Pilgrim vs. the World, and that’s how you win. 

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Earworms: The Unicorns

Pop music simultaneously has a bad rep and gets off too easy. It’s seen by many as vapid and simple, consumed and produced by mindless zombies; but at the same time, we’ll forgive anything for a good hook. Because of this we let our pop stars misbehave, and let their music bore us. Meanwhile, music’s critical apparatus sees itself as above pop, or, when it does deign to review it, fails to engage with it. We are left with a critical establishment, and a culture more generally, that sees pop as something to accept or reject wholesale, rather than something worthy of critical thought. 

Recently, however, we’ve seen a surge of cultural criticism that takes pop seriously – and we’ve seen pop that deserves to be taken seriously, from Lemonade to Dua Lipa and Charli XCX and much, much more. (While the ice around pop culture began to thaw with the Frankfurt school, that trickle has transformed into an ocean in recent memory.) This influx of criticism suggests a blossoming awareness of the importance of pop. To that end, this is Earworms, where we think about pop in all its glory and, in this case, weirdness.

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The Unicorns released their second album, Who Will Cut Our Hair When We’re Gone, during a strange time in indie rock. This was when Arcade Fire, The Decemberists, and the leaders of the Montreal scene (also home to The Unicorns) Godspeed You! Black Emperor, were taking over indie with their self-serious, capital-I Important albums. The Unicorns, equally as ambitious, went in precisely the other direction, crafting catchy, silly songs that belie their innovative structure. 

Who Will Cut Our Hair follows a loose concept about the transition out of childhood that follows the acceptance of one’s inevitable death. The band use childlike themes (telling ghost stories around a campfire, contracting a case of the “jellybones”) to tell deceptively adult stories about the loss that accompanies the end of innocence. The album is book-ended by the outline of their story: “I Don’t Wanna Die” and “Ready to Die.” Their juxtaposition suggests the realization that an acceptance of death is the groundwork of really living – as Wilco put it, “You have to learn how to die/If you want to be alive.” 

But a tight concept album this is not; the real story is their ambitious pop song-craft. They shatter any notion of traditional verse-chorus-verse pop. Take “Jellybones,” where they take a chorus catchy enough to sustain most bands for an entire song and immediately change directions from a puerile tale of nervousness around a crush to a wide-eyed admonition of the power of love. They apply this managed chaos to half-jokingly poking fun at making it big (“If we work real hard, we can buy matching clothes/for our live shows”), Magnolia-style washed-up child stars (FAN: “I hate you”/STAR: “I hate you too”), and the all-important difference between horses and unicorns (who happen to be people too).

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Their songs are wonderfully frayed around the edges, like in their frequent instrumental freak-outs at the beginning of songs, as if each band member felt the need to take turns making sure their instruments still work. But they can also show real virtuosity (not to mention versatility) when the interplay of drums, guitars and synths align; but it is never too long before entropy sets in again. 

Centering the revelry is the by-turns productive and explosive tension between the two singers, Nick Diamonds and Alden Ginger. In their clashing sensibilities we find something like the locus of the band, where their push and pull – a balancing of noise and pop – results in the brilliant restlessness of their songs. They are neither in sync nor opposites which complete each other: too close and too far. Their relationship was also prone to devolving, as on “I Was Born (A Unicorn),” into petty squabbles. Perhaps they, too, were growing up on the album. Following a hectic tour promoting the album, the band quietly broke up. Nonetheless, Who Will Cut Our Hair When We’re Gone stands testament to a delicate process, and the great pop they made along the way.

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