These weekly mixes will include what’s in my current rotation. I like to think I have a pretty diverse taste in music, so there should be something for everyone.
With the release of “The Millicent Quibb School of Etiquette for Young Ladies of Mad Science,” the beloved comedian and actor has added another title to her resume: author of middle-grade literature.
On Sept. 27, Nicks released a solo single called “The Lighthouse.” Nicks said she wrote the song a few months after Roe v. Wade was overturned, and her way of responding was to write a song.
Between the songs on “Harlequin” and the way Gaga speaks about Lee, I think it’s fair to say that we can expect a more emotional and complex version of the character.
This was Carpenter’s first ever sold-out arena show, and she certainly expressed her gratitude more than a few times. At one point, she took out her earpiece to listen to how loud the crowd was, and she looked like she was about to cry. As special as the night was for the audience, it was just as special if not even more for her. Our girl has finally made it.
The two-hour concert was nothing short of fun and exciting moments, as well as absolute chaos. It is definitely a high-energy concert without a single dull moment.
The entire album feels disingenuous and just an excuse for artists to put their name on a track next to SOPHIE, especially due to her status as a trans icon. SOPHIE has been inspiring trans artists to make music in the hyperpop space. The album should have never been released, and it feels disrespectful to her legacy.
John Green, a podcaster, philanthropist, YouTuber and author of seven New York Times bestsellers visited as part of Miami University’s lecture series on Sept. 23. The Miami Student got to sit down and talk with him about anxiety, vulnerability and 2014 Tumblr.
Watkins’ “Speak No Evil” is a faithful adaptation, hitting the same beats as the Danish original. However, whereas the original ends on a decidedly bleaker note, Watkins adds a 20-minute-long final act.
This summer, several of my friends raved about season six of “Love Island: USA” and convinced me to watch it. Finally, at the end of the summer after the season ended, I went back to the beginning to see what all the fuss was about.
The 18-song track “Memoir of a Sparklemuffin” came out on Sept. 13. On “Sparklemuffin,” Waterhouse seems to discard the previous gloominess that was featured in “I Can’t Let Go” and her EPs, trading it with a new pop-punk persona.
This was one of many wholesome interactions between Green and his fans. Others at the mic requested video messages for their friends and family, while others told him his work helped them through personal struggles.
Much like a majority of Gen-Z, I mainly know her biggest hits like “Firework,” “Roar,” “I Kissed A Girl,” etc. Aside from the occasional “American Idol” clips, I do not keep track of Perry and her whereabouts.
Green didn’t stick to just the end of the world. Moderated by Rosemary Pennington, chair of the media, journalism and film department, Green took the audience on a whirlwind journey of topics, including his fascination with tuberculosis, his storied writing career, thoughts on book banning and his struggles with OCD.
In the past month and a half, I have watched every single “X-Men” film, some multiple times (“Logan,” I adore you), and while I thoroughly enjoyed most of them, I have compiled this ranking from the least to most enjoyable viewing experience.
Edwards is one of the main sources of this season being as controversial as it is. Many users on TikTok believe that this installment of the “Drag Race” franchise is a setup for an Edwards win.
There were many historic moments at the awards ceremony this year in Los Angeles’ Peacock Theater, with an overwhelming amount of wins from “The Big Four” of the night: “Hacks,” “Shogun,” “Baby Reindeer” and “The Bear.”
I have been listening to Sloan Struble, better known as Dayglow, for less than two years now. I remember the night I was up late talking to a friend, and when “Dear Friend,” came onto my Spotify playlist, every note and lyric resonated with me perfectly.
“Infinite Icon” shows significant growth as an artist for Hilton, especially when compared to her debut “Paris,” but is beleaguered by one major issue: Hilton is consistently the worst part of the whole production.
Despite its modernization, the film still has a classic energy-packed score and a slightly gory, gothic horror aesthetic at its core. It could not be more Burton.