Cartoon: Human rights are non-negotiable, Mr. President

Cartoon: Raining cats and coursework

Cartoon: Last few weeks of the semester 

Video: Progressive Student Union protests immigration policy

After releasing the bloated, three-act rock opera ATUM in 2023, it became debatable if the Smashing Pumpkins would ever expand on the sound that made them alt-rock gods on “Gish” and “Siamese Dream.” While I’m all for experimentation, it hasn’t worked in the band’s favor on any of their releases since 2012’s “Oceania.” However, “Aghori Mhori Mei” sees the band going back to the basics while maintaining a sense of musical maturity. Billy Corgan’s screeching guitar tones and Jimmy Chamberlin’s signature drumming take you back to the band’s heyday in the mid-90s with the rocking riffs of “Sicarus” and “Edin.” While also featuring plenty of dreamy synth leads and soundscapes, this record feels like the Pumpkins have finally figured out how to harness what made such different albums like “Gish” and “Adore” work together. I think the Pumpkins might be back.

FAV TRACKS: “Edin,” “War Dreams of Itself” and “Sicarus”

LEAST FAV TRACK: “Pentecost”

9. “Only God Was Above Us” – Vampire Weekend (Columbia)
Indie Rock, Chamber Pop

It’s a real shame when an extremely successful band drops what is their best album to date and it doesn’t get nearly the same hype as their previous efforts. Coming off of three straight #1 albums in “Contra,” “Modern Vampires of the City” and “Father of the Bride,” Vampire Weekend released the gritty, complex and direct “Only God Was Above Us,” which so far has only peaked at #27 on the Billboard 200. This new effort from the New York City natives fires on all cylinders with abstract instrumentals, youthful vocals and Ezra Koenig’s erudite writing. Throughout the track listing, the band seems to dive into its past musically, but in a way that’s both fresh and familiar and the same time.

FAV TRACKS: “Ice Cream Piano,” “Gen-X Cops” and “Mary Boone”

LEAST FAV TRACK: “The Surfer”

8. “Hit Me Hard and Soft” – Billie Eilish (Darkroom, Interscope)
Alt-pop, Bedroom Pop

A dramatically dynamic record, the listening experience of this new album from Billie Eilish is best described by its title. “Hit Me Hard and Soft” is certainly Eilish’s most musically mature album to date, ebbing and flowing between gripping lows and soul-crushing highs. Tracks like “The Greatest” see Eilish writing from an incredibly vulnerable place, detailing her experience with an unrequited lover while gradually building to a climax that is one of the best moments on any track she has released to date. The album is also a top-tier producing hat trick from the singer’s brother and studio virtuoso Finneas, following in the footsteps of “When We Fall Asleep, Where Do We Go?” and “Happier than Ever.” The record’s instrumentals are rich, emphatic and inviting. “Hit Me Hard and Soft” is yet another massively enjoyable record from Eilish.

FAV TRACKS: “The Greatest,” “L’Amour De Ma Vie” and “Blue”

LEAST FAV TRACK: “The Diner”

7. “Tigers Blood” – Waxahatchee (Anti-)
Folk Rock, Alt Country

This most recent installment of Katie Crutchfield’s folk/country project Waxahatchee is a warm, yet gritty follow-up to 2020’s “Saint Cloud” that sees Crutchfield in a far more grounded and peaceful place. “Tigers Blood” is loaded with Americana storytelling that tackles frayed relationships, family conflicts and the faded memories of a once blissful past. The album’s authentic writing, paired with a pop approach to production creates an eclectic, yet relatable record that grips you slowly but tightly for all of its 42 minutes. While maybe not as mainstream as some of the other entries on this list, “Tigers Blood” has much to offer for any music fan who values great songwriting.

FAV TRACKS: “Burns Out at Midnight,” “3 Sisters” and “Tigers Blood”

LEAST FAV TRACK: “365”

6. “Alligator Bites Never Heal” – Doechii (Top Dawg, Capitol)
Alternative Hip-Hop, Trap

Although technically a mixtape, I would be remiss if I had failed to show some love for “Alligator Bites Never Heal,” the most recent release from Top Dawg Entertainment’s new signee Doechii. The first female rapper signed to the famed label has somehow fallen under the radar, despite releasing some impressive EPs in 2021’s “Bra-Less” and 2022’s “She/her/black bitch.” “Alligator Bites Never Heal,” however, has garnered widespread acclaim– including some Grammy nominations– and for good reason. It is a 47-minute showcase of lyrical and stylistic versatility, white-hot braggadocio and hard-hitting bars. While I still feel we’ve yet to see Doechii’s best work, this mixtape should put the rest of the industry on notice.

FAV TRACKS: “Bullfrog,” “Catfish,” “Nissan Altima” and “Fireflies”

LEAST FAV TRACK: “GTFO”

5. “You Won’t Go Before You’re Supposed To” – Knocked Loose (Pure Noise)
Hardcore, Metalcore

In a musical landscape currently dominated by squeaky-clean pop and radio-friendly hits, Kentucky-based hardcore outfit Knocked Loose burst onto the scene with their new record “You Won’t Go Before You’re Supposed To,” a brutally triumphant metal album that’s as catchy as it is abrasive. It’s got all the key elements of a great hardcore record– chunky, down-tuned guitars, soul-crushing drums and guttural vocals–diversified with elements of funk, and even reggae, with the clave-style riffs on tracks like “Suffocate” and “Piece by Piece.” The record also made a significant cultural impact thanks to its commercial success. “Suffocate” peaked at #10 on Spotify’s Viral 50 charts back in May, topping industry giants such as Taylor Swift. The album’s success even landed the band a spot on Jimmy Kimmel Live, which garnered massive praise from the metal community, and major pushback from the show’s fans. “You Won’t Go” was not just the year’s most enjoyable metal album, but the swift kick in the tail the mainstream needed.

FAV TRACKS: “Piece by Piece,” “The Calm That Keeps You Awake” and “Sit and Mourn”

LEAST FAV TRACK: “Take Me Home”

4. “Songs of a Lost World” – The Cure (Fiction)
Gothic Rock, Space Rock

When veteran bands attempt to make huge comebacks after long hiatuses, they seldom hit the mark like The Cure did with “Songs of a Lost World.” The first full-length project from the goth rock icons in 16 years, the album’s flamboyantly grim lyrical themes and droned-out instrumentals take the listener on a sonic journey through time and space as they come to grips with loss, grief and mortality. Tracks like “A Fragile Thing” and “I Can Never Say Goodbye” illustrate the inner doom of dying love, while the production on “Warsong” and “Drone: Nodrone” are warm and thick enough to wear as a coat. Featuring eight tracks that span just under an hour in length, the record takes its sweet time getting into its main course. It takes nearly three minutes into the opener “Alone” before we get lead singer Robert Smith’s first vocal. Despite such a slow and almost “glacial” pace– as fans and critics alike have described– “Lost World” still keeps the listener’s attention with every note. This record is dark, pensive and delightfully alluring. “Songs of a Lost World” see The Cure simply doing what The Cure do best.

FAV TRACKS: “Drone:Nodrone,” “A Fragile Thing” and “Endsong”

LEAST FAV TRACK: “All I Ever Am”

3. “GNX” – Kendrick Lamar (PGLang, Interscope)
Rap, West Coast Hip-Hop

Just when we thought 2024 couldn’t be a better year for Kendrick Lamar, he blessed his fans with a certified West Coast classic on a Friday morning in November. A few months removed from his high-profile beef with Drake– where Lamar won in dominating fashion– the Compton native surprise-dropped his fifth studio album, “GNX.” The album sees K-Dot championing the West Coast with beats inspired by the G-Funk era of the 1990s, while displaying a level of aggressiveness not seen since his infamous verse on Big Sean’s “Control.” Opener “wacced out murals” sets this tone, with Lamar addressing Lil Wayne’s response to not being selected for the Super Bowl LIX halftime show, as well as Snoop Dogg’s role in sharing one of Drake’s diss tracks, “Taylor Made Freestyle.” Even with this newfound anger and resentment toward the rest of the rap game, Lamar’s introspective side still shines through on the tracks “man at the garden” and “reincarnated.” While there is no clear conceptual direction for the record, the track listing serves as a brutally honest love letter to Los Angeles and West Coast hip-hop, as well as a personal statement from Lamar on how he truly feels about himself and the rest of the industry. MUSTARRRRD!!!

FAV TRACKS: “man at the garden,” “reincarnated,” “luther” and “hey now”

LEAST FAV TRACK: “dodger blues”

2. “No Name” – Jack White (Third Man)
Garage Rock, Blues Rock

Jack White is a rock n’ roll renaissance man. Whether it be his work with The White Stripes, The Raconteurs or his record label/vinyl production company Third Man, White has always gone his own way creatively. His latest beat is that of his new solo record “No Name,” a rambunctious hard rock album that honors its Detroit influences flawlessly. White’s signature blues-punk riffage and wailing vocals are as good as they’ve ever been, cementing the album’s “all killer no filler” vibe. There isn’t much else to say about “No Name,” but for good reason. It’s simply a raw and relentless hard rock record that is sure to be the source of plenty of speeding tickets.

FAV TRACKS: “Old Scratch Blues,” “It’s Rough on Rats (If You’re Asking)” and “Missionary”

LEAST FAV TRACKS: “That’s How I’m Feeling”

1. “Chromakopia” – Tyler, the Creator (Columbia)
Alternative Hip-Hop, Neo-Soul

In the current landscape of mainstream hip-hop, where deep concepts and a commitment to personal reinvention are few and far between, Tyler, the Creator is the rare artist who greatly embodies both elements. The Hawthorne, California native’s most recent full-length effort “Chromakopia” takes a personal dive into his experience growing up in Los Angeles. Throughout the record, Tyler explores the lessons he learned from his mother during adolescence, and ultimately his paranoia and anxieties around growing up, fame and his navigation of romantic relationships. Whether it be the exploration of polyamory on “Darling, I,” or the rambunctious freak anthem “Sticky,” “Chromakopia” is deep and relatable for anyone coming to grips with early adulthood. Combined with the luscious production and energetic instrumentals, the record makes for an introspective yet thrilling hour of listening.

FAV TRACKS: “Rah Tah Tah,” “Darling, I,” “Sticky” and “Take Your Mask Off”

LEAST FAV TRACKS: “Judge Judy” and “Noid”

Cartoon: Lucky to have had a grandma like you

While I myself do not frequent Swift’s music, I am at my core deeply passionate about music and am always looking to broaden my horizons. So, to hopefully open my mind a little, I listened through the singer-songwriter’s discography from front to back in an attempt to differentiate her best from her worst. The ground rules for this list are simple. I am ranking her core studio releases as they were originally released, so any of the deluxe or “From the Vault” tracks from any of the re-recorded “Taylor’s Version” albums will not be considered. Swifties, please don’t come for me. 

#11 – “Taylor Swift” (2006, Big Machine)

Swift’s 2006 self-titled debut is an album so cliche and generic it could be made by AI. It includes 11 total tracks, nine of which are essentially about the same thing. The whole thing is pretty bland and sounds like any other female country album from the 21st century. I’ll try not to be too hard on it though. Swift recorded it at 15 and frankly, it sounds like it. 

FAV TRACK: “Cold As You”

LEAST FAV TRACKS: The rest of the album

#10 – “Fearless” (2008, Big Machine)

Taylor’s 2008 sophomore effort shows some gained maturity from a songwriting standpoint, with slightly heavier emotional appeals and hooks. “Fearless” also sees Taylor planting the pop-hit seeds that would grow her career into what it is today. Although I can’t stand them, songs like “Love Story” and “You Belong with Me” prove that at just 18, Taylor knew how to write a massive radio hit. All in all, the album isn’t that big of an improvement to her debut, and still leaves much to be desired. 

FAV TRACKS: “White Horse,” “Breathe” and “You’re Not Sorry”

LEAST FAV TRACKS: “The Way I Loved You,” “The Best Day” and “Forever and Always”

#9 – “Red” (2012, Big Machine)

Right when it seemed like Taylor would release her most consistently solid country album, she took a rather large left turn and decided to explore the pop realm. 2012’s “Red” is littered with electronic elements and pop sensibility, but is ultimately all over the place. Transitioning from “Treacherous” to “I Knew You Were Trouble” is such a shift that it’s almost abrasive. While Swift was able to snag a few big pop hits, her fourth record listens like she’s lost creativity. “Red” ultimately doesn’t know what it wants to be and serves as a pretty tiring listen. 

FAV TRACKS: “State of Grace” and “The Last Time”

LEAST FAV TRACKS: “Red” and “Stay Stay Stay” 

#8 – “Reputation” (2017, Big Machine)

“Jumping the shark” might be the best way to describe 2017’s “Reputation.” Three years after the massive success that was “1989,” Swift dives further into the waters of conventional pop, introducing elements of hip-hop and EDM throughout the track listing. Taylor also seems to adopt this new edgy “tough-girl” persona that ultimately just comes off sort of forced and fake. Cringeworthy moments such as “Look What You Made Me Do” come off more as an insecure attempt to prove toughness rather than a triumphant stand against her haters. While there are a few minor highlights on the record, “Reputation” delivers very little to write home about and only adds fuel to the fire for her biggest critics. 

FAV TRACKS: “Getaway Car” and “Dress”

LEAST FAV TRACKS: “Look What You Made Me Do,” “…Ready For It?” and “This is Why We Can’t Have Nice Things”

#7 – “Speak Now” (2010, Big Machine)

Although slow-starting, 2010’s “Speak Now” sees Swift penning much more sophisticated ballads with even harder-hitting emotions than her previous two efforts. However, the album’s main downfall is that its lows are just as impactful as its highs. Having to sit through Disney Channel-esque duds like “The Story of Us” and “Better than Revenge” after the powerful anthems that are “Dear John” and “Innocent” feels like having a sweet reward snatched away from you as soon as you receive it. All in all, “Speak Now” serves as a big step in the right direction for a then 20 year old Swift. 

FAV TRACKS: “Dear John,” “Never Grow Up” and “Innocent”

LEAST FAV TRACKS: “Mean” and “The Story of Us” 

#6 – “Midnights” (2022, Republic)

Two years removed from her twin portraits of pandemic blues, Swift returned to the studio with her synth-pop partner in crime, Jack Antonoff, to try and recapture the magic that made “1989″ and “Lover” the mainstream giants that they were upon release. While 2022’s “Midnights” certainly did similar numbers, it’s ultimately missing that sweet something that the aforementioned projects had. There’s a few lyrical highlights and fun hooks here and there, but the album just kind of fades into the background of the rest of Swift’s discography. It’s likely her time with Antonoff has run its course. 

FAV TRACKS: “Maroon,” “Labyrinth” and “Sweet Nothing”
LEAST FAV TRACKS: “You’re On Your Own, Kid,” “Bejeweled,” and “Vigilante Shit”

#5 – “The Tortured Poets Department” (2024, Republic)

If “Midnights” was the warning call for the waning creative relationship between Swift and Antonoff, “The Tortured Poets Department” is the nail in the coffin. The album is certainly a familiar and comfortable listen, but in the grander scheme of Swift’s discography it shows a Taylor that has become creatively stale. The same old production and lyrical themes are present and neither seem to offer anything fresh or interesting– not to mention the pretentious title for an album with fairly mediocre lyrics. With that being said, “TTPD” is still a good Taylor Swift album. Signature breakup tunes such as “So Long, London” show Swift in her element capitalizing on a failed relationship like only she can. 

FAV TRACKS: “So Long, London” and “Guilty as Sin” 

LEAST FAV TRACKS: “Who’s Afraid of Little Old Me?” and “Florida!!!”

#4 – “1989″ (2014, Big Machine)

Taylor Swift owes a massive thank you to Jack Antonoff and Max Martin for essentially saving her career. 2014’s “1989″ shows a Taylor that has completely reinvented herself, working out all of the awkward pop kinks heard on “Red.” The album is chock full of catchy hook after catchy hook paired with a dreamy feel heavily inspired by the synth-pop movement of the 1980s. While “Bad Blood,” “Shake it Off” and “Blank Space” catapulted Swift to the top of the mainstream, it’s tracks like “Out of the Woods” that show Taylor has really found her footing in pop, even being able to add some real substance to the genre. 

FAV TRACKS: “Out of the Woods” and “Wildest Dreams”
LEAST FAV TRACKS: “Welcome to New York” and “Shake it Off”

#3 – “Lover” (2019, Republic)

Fresh off the runaway train that was “Reputation,” 2019’s “Lover” sees Taylor returning to the synth pop form that she mastered just four years prior on “1989.” Jack Antonoff’s production is back in full form with dreamy synths, skipping drums and bright accents of strings and horns littered throughout. The album also sees more mature pop songwriting from Swift with the introspective “The Archer” and the triumphant “Soon You’ll Get Better.” Ultimately, “Lover” listens as if “1989” grew up, acknowledging the adversity it’s faced and the importance of sticking to its roots. Taylor certainly saved face with this one. 

FAV TRACKS: “The Archer,” “Paper Rings” and “Soon You’ll Get Better”

LEAST FAV TRACKS: “London Boy” and “ME!” 

#2 – “Evermore” (2020, Republic) 

There’s very little to say about “Evermore,” and honestly it’s for good reason. The second surprise record to come out of her spontaneous collaboration with Aaron Dessner ultimately just listens like “Folklore” part two, but doesn’t hit quite as hard. 

FAV TRACKS: “Tolerate It,” “Coney Island” and “Evermore”
LEAST FAV TRACK: “Gold Rush”

#1 – “Folklore” (2020, Republic)

With the addition of first-time collaborator Aaron Dessner, 2020’s “Folklore” retains much of its predecessor’s pop sensibility, but utilizes a much more stripped down sound. Swift trades heavy synths for light guitars, strings and muted percussion, ultimately giving the album a laid back and dreamy sound that listens as if you’re lost in the woods searching for your own soul. The album also includes her best lyricism to date, arguably ever, with tracks like “Exile” serving as one of her all time best songs. The album explores romanticism and escapism, most likely influenced by the isolation brought on by the COVID-19 pandemic. “Folklore” serves as an artistic statement from Swift that proves she can write deeper than once perceived. Damn good for an album that was recorded entirely remote. 

FAV TRACKS: “Exile,” “Illicit Affairs” and “Epiphany”
LEAST FAV TRACK: “Mirrorball”

After years of questioning whether or not Harbaugh was the right man for the job, the critics had (seemingly) been silenced at last. Except they weren’t. 

Now, Michigan is one of just six teams in the sport’s long history to go 15-0, but many detractors of the Wolverines are calling it a “tainted championship” that has an “asterisk.”

In case you’ve been living under a rock, Michigan has been under investigation for illegally stealing opponent’s signs via advanced scouting.

Michigan’s success rose out of the misty fog of the infamous scandal surrounding former staffer Connor Stalions. Pointing to the murky and scandalous drama surrounding the program as a means to discredit what Michigan and Harbaugh have accomplished, the detractors have a clear bias that is grounded in either hypocrisy or ignorance.

The Stalions saga has loomed large over one of the most storied, profitable and successful college football programs in the nation. It has been 26 years since the Wolverines last won a national championship and 56 years since they won a championship outright. Their status at the top of college football with the likes of Ohio State University, the University of Alabama, the University of Notre Dame, Oklahoma University, and the University of Southern California as blue bloods of the sport had previously been waning.

That is until Michigan’s prodigal son restored the program to its former glory. Over the course of the last three years, Harbaugh has brought Michigan back to the summit of the college football mountain while going through two fellow blue-blood programs just this past season. The Wolverines beat the Buckeyes for the third straight time and then took down Nick Saban and the mighty dynasty of the Alabama Crimson Tide, a team that broke Georgia’s 29-game winning streak. All of this was done before capping off their campaign against one of the nation’s top offenses and an undefeated Washington.

Michigan returned to the summit. They climbed the college football mountain, the same mountain that legendary Wolverines’ head coach Lloyd Carr used as a metaphor for the 1997 team in pursuit of their eventual national championship win. 

Many will argue, that this has likely proven to be the best team in the history of Michigan Football. 

They became just that through the course of beating both Alabama and Ohio State, among others, totaling four top 10-ranked wins in their final six games and an additional top 20-ranked win. All of it was done after news of the investigation broke, three wins of which came without Harbaugh at the helm while he served a suspension from the Big Ten. A suspension, mind you, that seemed to lack due process and came about by pressure from fellow members of the conference on the Big Ten Commissioner, Tony Pettiti.

It proved, in the most emphatic fashion, that illegal sign stealing had little to zero impact on their success, and that nothing can be taken away from this program.

It’s a grand accomplishment when you win a national championship. It’s a generational marker when you do so undefeated. The 2023 Michigan Wolverines football team created just that with their win on Monday night – a generational marker.

That said, doing so was quite bleak in week eight of the college football season. Right before a matchup with Michigan’s in-state rival, the Michigan State University Spartans, news of the impending investigation into the Wolverines’ football team for illegal sign stealing emerged.

According to the AP, the allegation was for violating rules against in-person scouting of opponents in advance of a game and using electronics (in this case cell phone cameras) to do so.

Harbaugh has vehemently denied any knowledge of Stalion’s wrongdoings and has even claimed innocence for him and the rest of the team. Still, according to ESPN, Pettiti felt that the suspension was necessary.

“This is not a sanction of Coach Harbaugh. It is a sanction against the University that, under the extraordinary circumstance presented by this offensive conduct, best fits the violation.”

While the argument as to whether or not Michigan broke rules (and how) is a valid one, it seems almost blasphemous to suggest that the sign-stealing strategy offered a significant competitive advantage over its opponents. According to well-known college football reporter Brett McMurphy with Action Network, an unknown Alabama executive spoke words of support towards the team that just defeated his school,

“Everyone — and I mean everyone — is stealing signs. Michigan was not the only school doing this.”

After all, the NCAA is yet to release information stating that anyone in the program other than Stalions knew about his scheme.

In a CFP press conference following Michigan’s victory over Alabama in the Rose Bowl, quarterback JJ McCarthy made it clear that Michigan was forced to “level the playing field” because of Ohio State’s own sign stealing prior to the 2021 season. It would seem that there is a blatant level of hypocrisy at play here, especially when considering Day’s potential involvement in leaking evidence to the NCAA about Stalions and the university. 

So for all the rival fans who traffic in misinformation and fairy dust, this one has to hurt. The gloating on social media about any sort of NCAA “death penalty” punishment (which seems highly unlikely to this point) should not take any shine off this championship for the Michigan faithful. In a world where respect for the NCAA is lower than the modern-day approval ratings of former U.S. President Andrew Johnson, vacating this title would mean little.

After all, the likelihood that the NCAA sticks around as a governing body is getting slimmer by the day. Even then, their actions (or lack thereof) in years past regarding programs like the Kansas men’s basketball team leave them less than respectable.

Is this some major violation of the integrity of the sport? Did Michigan rob opposing teams of championships? The general feeling from people who know a lot about football is a resounding “no”. 

Furthermore, NCAA President Charlie Baker made it clear to reporters at the NCAA’s annual convention that Michigan’s season shouldn’t be diminished because of the controversy. 

“At the end of the day, no one believes at this point that Michigan didn’t win the national title fair and square.”

Baker also reiterated, however, that he does not regret his “unusual” mid-season decision to inform both the Big Ten and Michigan of the NCAA’s investigation into the sign-stealing allegations.

“I don’t regret doing it because sitting on that information, given the comprehensiveness of it, I think we would have put everyone including Michigan in an awful place.”

Despite Michigan’s dominance and Harbaugh’s consistent denial of his involvement in the sign stealing scandal, detractors were grasping at straws less than 24 hours after the championship. MSNBC’s Joe Scarborough made the claim that “what they (Michigan) did was pretty deplorable, and then they got caught lying about it.” 

Not only is Scarborough’s insinuation that Michigan’s alleged wrongdoings are somehow worse than what is already commonplace in the NCAA laughable–and they aren’t–the real kicker is his assertion that Harbaugh has been knowingly lying about it the whole time. 

However, perhaps the most interesting element of Scarborough’s delusion is his inability to acknowledge his own bias as a University of Alabama alum. Objectivity is an illusion, especially when we consider how it impacts our interests, which goes beyond just sports. 

Something that did come as a surprise to many was OutKick founder Clay Travis openly acknowledging the falseness of his previous claim that Harbaugh is “the most overrated coach in college football history”. Travis walked back his take on the most recent episode of his podcast, saying “I didn’t see this pivot coming in year seven, year eight or year nine; there isn’t really a precedent for this.”

As hard as it can be to say about him, Travis is right. There is no precedent for what Michigan accomplished at NRG Stadium on Jan. 8 by going 15-0 through a roster developed without “high-level” recruiting talent. Instead, the Wolverines set a new precedent for what a team of their caliber, that lacks several superstars, is capable of. Conversely, they also have a chance to set the precedent for what potential repercussions for the alleged NCAA infractions may look like. 

What is the point of all of this? Two things: first, the sign-stealing scandal mattered nothing to the end result. Michigan proved they were undoubtedly the best college football team in the nation by dominating Washington at the line of scrimmage–something they accomplished against all of their opponents this season. Second, Michigan cemented its legacy as one of the greatest individual teams in college football history. Whereas many previous national champions boast offensive units with bonafide top-10 talent, Michigan bludgeoned their competition without any of that. 

The result of Michigan’s win cannot be attributed to any one player or specific moment in the game. Instead, we will remember this team as a group of players who overcame everything put in front of them to restore Michigan back to its former glory at the college football mountaintop.

Released in 2015, “To Pimp a Butterfly” is an album that has been hailed as a masterpiece of modern hip-hop by fans and critics alike. The third studio album in Lamar’s discography, it has received critical acclaim for its thought-provoking lyrics, musicality and social commentary. The record just recently celebrated its eighth birthday, and its power has truly stood the test of time. In 2016, the album garnered 11 Grammy nomination with four wins.

The album is a reflection of Lamar’s experiences growing up in Compton, California, and his observations of contemporary Black culture in the United States. It addresses themes of systemic racism, poverty and police brutality. Lamar skillfully uses his music as a platform to highlight social injustice and racial inequality.

The album opens with the track “Wesley’s Theory,” a funky and rhythmic song that addresses issues of power and money. Lines like “What you want you?/A house or a car?/Forty acres and a mule, a piano, a guitar?/Anythin’, see, my name is Uncle Sam, I’m your dog” refer to the reparations proposed to newly freed slaves after the Civil War, which feeds the song’s theme of the struggle for economic growth. This track sets the tone for the rest of the album, which features a mix of jazz, funk, and soul elements that give the album a unique and distinctive sound.

“To Pimp a Butterfly” also features guest appearances from a range of artists, including George Clinton, Snoop Dogg and Bilal. Lamar even throws a bone to underrated female rapper Rapsody, who’s bars on the track “Complexion (A Zulu Love)” address the issue of colorism in the African American community. The album’s collaborations add to its diverse sound and showcase Lamar’s ability to work with other artists to create powerful and impactful music.

Standout tracks on the album include “Alright,” a politically charged anthem that has become a rallying cry for the Black Lives Matter movement. The song’s chorus, “We gon’ be alright,” has become an anthem for the fight against police brutality and systemic racism.

Another standout track is “King Kunta,” a song that references the African roots of Black culture and addresses issues of Black identity and pride. The track’s upbeat rhythm and catchy lyrics make it a standout song on the album.

Overall, “To Pimp a Butterfly” is a powerful and impactful album that addresses important social issues through the lens of modern hip-hop music. Lamar’s unique style and ability to weave together different musical influences create a sound that is both innovative and timeless. It is an album that deserves a place in any serious hip-hop fan’s collection.

The maize and blue faithful decided to take matters into their own hands, and earlier this month the “One More Year” fund was launched. Organized by Valiant Management, a sports marketing agency at U-of-M, the One More Year fund is a fundraiser that aims to support Michigan football players in their return to the team for an additional year. Fans hope that returning players will help lead the team to a 2023 CFP National Championship in what would be their first since 1997 and first outright since 1948.

The fund operates under the NCAA’s guidelines for name, image and likeness earnings (commonly referred to as “NIL”), already raising a total of $104,400 in supporter contributions.

Since its launch, the campaign has succeeded in bringing back all of the previously mentioned players in addition to key defensive members like DT Kris Jenkins.

While the One More Year Fund presents itself as an innovative NIL model at the surface, it raises a number of concerns. It most notably goes against the original idea behind why NIL pay was approved in the first place. NIL was designed so that players could receive a share of revenue, since their play is the basis of the profit that their universities make from ticket and merchandise sales.

This new model essentially functions like a GoFundMe page, in which funds are crowdsourced.

It’s almost as if the players are stock and those who donate are simply investing in their play. It’s a slippery slope. If this were to be adopted by the rest of the college football landscape, it could raise the same problems the sport had during the pre-NIL days when wealthy boosters would pay players to attend certain schools.

Without this model being regulated and contained, college sports would simply become a space in which success is bought and paid for. Whichever school can raise the most money would end up having the best team, killing competition and creating athletic monopolies. Smaller schools with lower budgets and less wealthy alumni would be left in the dust.

I do think that it’s important that college athletes are compensated for the immense financial value they bring to their respective schools, but wealthy donors and community members simply throwing money at them in order to dictate their future just doesn’t sit right with me.

Each Sunday in July, the public was welcome to come to the campus for a free open-air concert at the Cook Carillon Tower. 

The series was originally created in 1996 by former GVSU carillonneur Julianne Vanden Wyngaard. Vanden Wyngaard is a noted concert pianist and carillonneur who joined the music faculty at GVSU in 1967 and has been the principal performer and teacher at the Cook Carillon Tower since its dedication in 1994.

The unique qualities of the carillon inspired Vanden Wyngaard to begin the music series. The instrument has a set of at least 23 bells that are played with a keyboard and tuned in chromatic order to create harmonies.

With Vanden Wyngaard’s long history at GVSU and the Carillon Concert Series, she said she felt excited for the performance’s return after an over two year hiatus and was excited to share the live music with the public again. 

“It was a real pleasure to be able to book guests for an abbreviated recital series and our work has not been in vain,” Vanden Wyngaard said. “We have attracted many listeners to each recital.” 

Vanden Wyngaard said she felt it was important to share the carillon’s music with the public in a way that was more significant than short jingles at the top of the hour. 

“It seemed fitting to have guest performers share their musical skills and help the Grand Valley community learn to appreciate the beautiful instrument that graces our campus,” Vanden Wyngaard said. “Normally, most people only hear the clock chimes, a short piece at noon including the Alma Mater and the recitals offer the opportunity to hear the full scope of the capabilities of the instrument. And it is an instrument capable of much more than tolling the hours.”

Vanden Wyngaard organized this year’s series and specifically designed the performances to include a variety of musical pieces. Concerts have included selected pieces from carillonneurs all over the country including Helen Hofmeister, Eva Albalghiti, Laura Ellis and Jim Fackenthal. 

Each installment of the series featured pieces made specifically for the musical elements of the instrument itself and recognizable songs that can make an impact on the listener. In an interview with GVNext, Vanden Wyngaard noted that the instrument has the ability to create a natural connection between people. 

“I like to educate the audience, but I also want them to go away humming a tune,” Vanden Wyngaard told GVNext. “I try to play something that the audience can identify with.”

Vanden Wyngaard headed the concert held on July 3 which featured patriotic pieces in recognition of Independence Day. She said she wanted the music to be rather familiar to the audience, fun to play and appropriate for the holiday.

She played pieces such as “God Bless America” by Irving Berlin and “America the Beautiful” by Samuel A. Ward and Milford Myhre. 

The Carillon Concert Series series will make its return next year, however visitors to the GVSU Allendale campus can continue to hear the carillons chime each day until then.

These verbal protests have come in the form of social media posts, interviews and, to the most controversy, live shows. 

The most notable of responses came in late June at Glastonbury, an annual music festival held in Somerset, England. During the festival, artists such as Olivia Rodrigo, Kendrick Lamar, Billie Eilish and Pheobe Bridgers voiced their distaste for the court’s ruling onstage during each of their sets. 

Lamar graced fans with a fierce performance of “United In Grief,” a song about deep personal pain off of his long-awaited album “Mr. Morale and the Big Steppers,” which was released in May to critical acclaim. At the track’s peak Lamar broke into a powerful chant, repeatedly rapping the phrase “Godspeed for women’s rights, they judge you, they judged Christ” before dropping the microphone and walking off-stage. 

Olivia Rodrigo had a less cryptic response, but it was just as powerful. During her set, the 19-year-old singer had choice words for the Supreme Court. 

“I’m devastated and terrified that so many women and so many girls are going to die because of this,” said Rodrigo. “I wanted to dedicate this next song to the five members of the Supreme Court who have showed us that at the end of the day, they truly don’t give a s*** about freedom.”

After voicing her distaste for the Court, Rodrigo enlisted the help of British artist Lily Allen to perform her 2009 hit “F*** You,” which she dedicated to the five justices who decided to overturn Roe v. Wade including Clarence Thomas, Samuel Alito, Amy Coney Barrett, Brett Kavanaugh and Neil Gorsuch. 

While many were inspired and moved by the actions of these artists, some fans were angered, feeling that performers should stick to performing and not foist their political views upon concertgoers. This raises the question; should artists use live shows as a platform? 

If you know even a little music history of any kind, the answer should be fairly obvious. Since the rise of Rock n Roll in the 1960s, music has almost always been political. It is a reflection of the world around us. So many anthems we all cherish are political. 

Music is a platform in and of itself. So, of course artists should use their live shows as one. The beauty of a live show is that it gives the artist a way to communicate with the audience in a way that isn’t possible by just listening to a record.

Live music is present, authentic and extremely powerful. By using the stage as a platform to express ideas and beliefs, the artist can impact thousands and even millions of people in a positive way, they could shed light on issues that aren’t getting enough media attention and they can ultimately help grow important movements. 

The question should not be whether artists should use live shows as a platform, but why shouldn’t they?