Bobby Jindal. Where do I start? I had a lot of faith in his abilities when he first campaigned to be governor in 2003 and even more when Kathleen Blanco failed so miserably during the debacle that was the federal and Louisiana’s Hurricane Katrina response. Once he was elected governor in 2007, I was proud – an Indian-American making a difference in a state where diversity is not usually celebrated. He was going to give us Indian-Americans a good name and show people that we are not just your doctors, engineers or business owners. 

Through his terms (he was re-elected in 2011), I supported Jindal. He would cut higher education and healthcare, but I figured he had a good vision. I mean, he was a Rhodes Scholar with an Ivy League education – they had to have taught him some sense. Unfortunately, a year after he was re-elected, I started to realize just how little Jindal and I had in common regarding our viewpoints. This was the guy who had done nothing to pave the way for equal pay or equality (in general) for all, no matter gender, creed or sexuality. How could someone, who himself grew up as a minority, believe that Louisiana could prosper without supporting the many minorities that make up his constituency? In addition, Jindal had a vendetta against creating lucrative higher education opportunities in Louisiana. Why would he remove incentives to keeping bright minds in-state? Lastly, Jindal continually criticized federal mandates and aid, explaining that Louisiana does not need the help of the national government. But, the truth of the matter is that Louisianians actually do need help from the federal government; Louisiana is almost always in the bottom 10 of all negative lists (HERE, HERE, HERE, HERE and HERE). I’m talking about unhealthy living, education, murder rates, everything. How could Louisiana be in good hands with someone who keeps playing into party politics? How could someone fulfill his requirements as an elected official to the state of Louisiana and not try to remedy the pertinent issues that plague our state?

This is the same guy who supports creationism to be taught in science classes (and does not care about the fallout his decisions cause), who cares only for businessmen and who thinks that there is no such thing as a hyphenated identity. He said that a hyphenation of identity should not exist and that he had never felt the effects of racism (Here’s a nice little rebuttal to Jindal’s ill-informed suggestions). Well, real talk – I grew up in New Orleans, one of the more diverse and progressive cities in the South, and I had faced and continue to face discrimination daily. His policy on full assimilation does not take into account how much this approach caters to the majority while drowning out the minorities just floundering in the water trying to make sure they can survive. This is a politician who is too far removed from his own self to really understand others. He calls out other religions and alienates his own minority constituents. Whether he proclaims specific areas (he has no business talking about) as “no-go zones,” where the Muslim population levels are higher (and doesn’t even try to apologize after even Fox News said their speculations were incorrect), or he organizes a prayer rally on LSU’s campus with organizations that blame LGBT populations for the current state of the world, Jindal excels at shunning and overlooking diversity.

This is a guy that has embraced every aspect of Louisiana politics. He embodies the stupidity and self-serving ideals that Louisiana politics is known for. It is unfortunate that he brings down other Indian-Americans and Louisianians through his actions. Hopefully someone in his PR team will sit him down and explain to him that he is polarizing his potential supporters. I personally am disheartened by his tactics; as a champion of human rights and equality for all, Jindal continues to estrange his constituents and serve the interests of those who may be funding his imminent bid for the 2016 Republican nomination. I just don’t understand how he plans to run for presidency when his views are so polarizing. So, thank you, Bobby, for making me second-guess identifying myself as a Louisianian Indian-American.

From the opening scene of “American Sniper” (the same one of the kid being handed a bomb from the trailer), the audience knows this is a film dealing with the internal struggles in the mind of Bradley Cooper‘s character. What I liked most about ‘Sniper’ was the lack of explicit patriotism that runs rampant in many films about war. Instead of it being a film about the US invading or retaliating for terrorism acts, the film focused on one man and his dedication to his team. It portrayed the many variations of evil as we know it today: a dog biting a little boy, a kid beating another kid, a suicide bombing. But, the film also showed redemption: a little kid dropping a bazooka before pulling the trigger, second chances at a marriage, and coming to terms with mental illness (PTSD).

“Sniper” featured multiple conflicts, like one’s duty to what one perceives as right and wrong, to move the plot and Cooper’s character’s life forward. Some highlights included his brother’s jarring admission that the war on terrorism was not worth the pain it caused, and even Cooper’s character experiencing post-traumatic stress disorder to the point that he freaks out in front of civilians (and almost kills his own dog for playing roughly with a child).

Cooper’s character being a good friend and visiting one of his friends in a hospital.

In terms of the backlash associated with this film, some audiences may not be the sharpest tools in the toolshed. Instead of understanding that this film is just one of the many accounts of the US occupation in Iraq (here is a totally different account), people saw the moving images on-screen and equated the antagonists’ characteristics with evil and let that bias they formed within the film to trickle out into reality. The reason I say this is because some viewers had turned to Twitter to announce their distaste for Muslims, or as a couple of viewers called them “towel heads,” commenting that all the viewer wanted to do after watching the film was kill a bunch of Muslim terrorists. I understand that the book this film was based upon was actually pretty racist, but I did not feel that the film itself was that racist in its portrayal of evil… If anything, the film shows audiences the risks associated with unchecked violence and rage. I think what people need to understand (especially idiots who say things like “Nice to see a movie where the Arabs are portrayed for who they really are – vermin scum intent on destroying us” – really?) is that terrorists and radicals come in all shapes and sizes. Look at the Crusades. Look at the factions of ISIS and other radical, threatening organizations. There are so many types of terrorists out there – not all of them happen to be brown and wearing a turban.

CLICK HERE to see some of the hateful comments by Twitter users like this one below

And it is because of this fallout that I believe the film is not that great. The producer and director could have taken a moment to preface with a quote about how terrorists come in all shapes and sizes, or at least gone onto work with equal rights groups or even Islamic culture centers around the US to bolster relations. Sure, it would be a publicity stunt, but it would show others that the film world is separate from reality and that people who happen to look like those from the film are good people just trying to live the American dream. I mean, think about who killed the main character: a white male who had served his country (and was suffering from mental illness). You don’t see people up in arms about that… It reminds me of Rupert Murdoch’s ignorant comments on the state of Islam in today’s world. For a better description as to why Rupert was stupid for saying what he said, read here.

No matter what, though, Bradley’s performance was legit (except for him taking away from a great emotional moment because Bradley Cooper sucked at holding a fake baby), and I understand how he garnered a Best Actor nomination. I feel like he excels when exploring mental health issues (or maybe I just like seeing him shed light on them). His lack of external emotion and portrayal of someone undergoing extreme amounts of stress was everything I thought it would be before watching the film. He did not disappoint.

Just next time, filmmakers, please be cognizant of the effects your film will have, and make arrangements to combat the negative consequences. That would help educate the general public on proper treatment of other human beings.

I knew going into this film to not have lofty expectations… And I really didn’t. But the film “50 Shades of Grey,” based on the novel 50 Shades of Grey by E. L. James, failed to live up to any semblance of an expectation I could have had for it. From the terrible dialogue to the atrocious acting from both Dakota Johnson and Jamie Dornan (both of whom are supposed to actually be decent actors), I was appalled at the depths to which Universal fell in order to push out a chick-flick-friendly version of a pretty terrible book.

A brooding Dornan. Cute, but once he starts delivering those lines, I can’t contain my laughter and it really just ruins the mood :(

I felt like the producers tried to “Dear John” the story, over-romanticizing much of the interactions between the principal actors (Dakota and Jamie). The weirdest part of it all was their jump from sappy love story to raunchy softcore HBO or Showtime late-night television. The sad part is that those scenes (well, at least the first two) were probably the best scenes “acted out” (what does that say about the performances themselves? :( ) throughout the 125 minute film; the last one felt as much of a stretch as the storyline did.

In terms of how the film shaped up against the book itself, I daresay the book was better (which really is not saying much). Having only read the first of the erotic trilogy, I can say with confidence that the plot was, in idea, great, but in execution, it faltered. The writing, just like the dialogue, sounded tired and incapable of stimulating more than the reader’s primal desires. In other words, it played into the sex, while leaving the narrative to flail in the sea that was this whole book. The same could be said about the film in every regard. The only difference is that the film left out multiple memorable scenes. And if I have learned a thing or two about films based on books, it is important to include those most memorable plot points from the novel that fans hold in high esteem within the film itself.

Those eyes. Dornan was not “peak-attractiveness Dornan,” as pictured above. It was as if Jamie himself had emulated Samson: without his facial hair, he had lost his “powers” over audiences everywhere :(

Side note: one problem I had with both the book and the film was its portrayal of the dominant and submissive populations. As people with sexual orientations that deviate from heteronormative behavior, much of their “culture” (for lack of a better word) is misunderstood and misrepresented. I believe, from my limited studies in Queer Theory, that those who engage in such relationships tend to respect the boundaries of others at all times and that both parties are fully aware of the consequences of their actions. This diverges from the meanings that many have pulled from the novel and film itself. (as I tend to suggest in my posts these days,) This could have been a teachable moment for the film to engage mainstream audiences and educate them on what the whole sexual orientation paradigm really is about. This way, people would not be mis-appropriating the meanings associated with such acts. 

BDSM (submission/dominance) according to #50Shades

One of the only bright moments of this whole ordeal was the soundtrack, though. Today’s biggest names – everyone from Queen Bey to The Weeknd to Sia – were featured on the soon-to-be No. 1-debut album. Some of the standouts from the soundtrack include “Earned It” by The Weeknd, “Meet Me In The Middle” by Jessie Ware, “Undiscovered” by Laura Welsh, and Ellie Goulding‘s “Love Me Like You Do.” The whole album itself is a treasure trove featuring great renditions of classic hits or new material from some amazing established and newbie performers.

Overall, if you are interested in seeing Dakota Johnson in the buff – and I mean seeing everything – or Jamie Dornan’s EVERYTHING (well, almost everything), shell out the $11 it will cost for a ticket. Otherwise, just wait for it to come out on Netflix or Redbox and watch it in the privacy of your own home without being subjected to the judgment of others.

Movie Rating: ★½☆☆☆

Soundtrack Rating: ★★★★½

Novel Rating: ★★☆☆☆

Forty-four No. 1s. That is a lot for one artist to amass. And Madonna has done that time and again on the Billboard Dance Club Charts. Her latest smash “Living For Love,” a thumping call-back to her “Like A Prayer” choral productions and ’90s club stompers (see “Vogue“) for good effect, “officially” introduced music enthusiasts and critics alike to Madonna’s latest reinvention. Take a look/listen below:

Side note: I say “officially” because this whole Rebel Heart era has been a fiasco. But, I’ll cover that later…

“Love” joins the ranks of other hits such as “Holiday,”  “Like A Virgin,” “Frozen,” and “4 Minutes.” Here is a list (taken from the Billboard article above) of her 44 No. 1s on the chart:

1. 1983, “Holiday”/”Lucky Star” (five weeks at No. 1) –> a double-sided release
   
2. 1984, “Like A Virgin” (three) 
3. 1985, “Material Girl“
4. 1985, “Angel“/”Into the Groove” –> also a double-sided release
5. 1987, “Open Your Heart“
6. 1987, “Causing a Commotion (Remix)“
7. 1988, You Can Dance (LP Cuts) –> the whole EP charted, but the main single was “Spotlight“
8. 1989, “Like A Prayer” (two)
9. 1989, “Express Yourself” (three)
10. 1990, “Keep It Together“
11. 1990, “Vogue” (two)
12. 1991, “Justify My Love” (two)
    
13. 1992, “Erotica“
14. 1993, “Deeper and Deeper“
15. 1993, “Fever“
16. 1994, “Secret” (two)
17. 1995, “Bedtime Story“
18. 1997, “Don’t Cry for Me Argentina“
19. 1998, “Frozen” (two)
20. 1998, “Ray Of Light” (four)
21. 1999, “Nothing Really Matters” (two)
22. 1999, “Beautiful Stranger” (two)
23. 2000, “American Pie“
24. 2000, “Music” (five)
25. 2001, “Don’t Tell Me“
26. 2001, “What It Feels Like For A Girl” –> most probably because of the Above & Beyond Remix, which was trance at its best
27. 2001, “Impressive Instant” (two)
28. 2002, “Die Another Day” (two)
29. 2003, “American Life” –> check out the banned video version here
30. 2003, “Hollywood“
31. 2003, “Me Against the Music” Feat. Madonna (By Britney Spears) (two)
32. 2004, “Nothing Fails“
33. 2004, “Love Profusion“
34. 2005, “Hung Up” (four)
35. 2006, “Sorry” (two)
36. 2006, “Get Together“
37. 2006, “Jump” (two)
38. 2008, “4 Minutes” Feat. Justin Timberlake & Timbaland (two)
39. 2008, “Give It 2 Me“
40. 2009, “Celebration” –> Madonna only created a video for the Benny Benassi Remix
41. 2012, “Give Me All Your Luvin’” Feat. Nicki Minaj & M.I.A.
42. 2012, “Girl Gone Wild“
43. 2012, “Turn Up the Radio“
44. 2015, “Living for Love”

In terms of the songs not featured on the mammoth No. 1s list, I have broken them down by decade. The most surprising part of this whole exercise was that many of Madonna’s staple dance classics from the ’80s did not reach the pinnacle of the dance chart as expected. For example, singles like “Dress You Up” and “Burning Up,” which characterized that ’80s dance-pop sound and influenced numerous ’90s and more recent pop-electro hits, were just shy of the top spot. And also, there were only TWO songs that did not hit the No. 1 spot from 2000 to 2015. Only two singles!

• From the ’80s Madonna/Like A Virgin/True Blue/Who’s That Girl/Like A Prayer eras:
  • “Everybody“
  • “Burning Up“
  • “Borderline“
  • “Crazy For You“
  • “Dress You Up“
  • “Live To Tell“
  • “Papa Don’t Preach“
  • “True Blue“
  • “La Isla Bonita“
  • “Who’s That Girl“
  • “Cherish“
  • “Oh Father“
• From the ’90s I’m Breathless/Immaculate Collection/Erotica/Bedtime Stories/Evita/Ray Of Light eras:
  • “Hanky Panky“
  • “Rescue Me“
  • “This Used To Be My Playground“
  • “Bad Girl“
  • “Rain“
  • “I’ll Remember“
  • “Take A Bow“
  • “Human Nature“
  • “You’ll See“
  • “Love Don’t Live Here Anymore“
  • “You Must Love Me“
  • “The Power Of Goodbye“
• From the ’00s Music/American Life/Confessions/Hard Candy/Celebration/MDNA eras:
  • “Miles Away“
  • “Revolver” Feat. Lil’ Wayne

So essentially, twelve songs from the ’80s, twelve songs from the ’90s and only two from the ’00s to present.

“Living For Love” sounds right at home within the spectrum of the Madonna canon while maintaining that re-invented feel we have grown to expect from Madge herself. Lyrically, it inspires listeners to live for the positive moments in life. Madonna stresses that her love (probably for herself) will lift her up to new heights. An ode to all of the haters out there, Madonna wants them to know that she has no need for their approval. Even in her visuals for the music video, the Queen of Pop remains victorious while faceless minotaur-like Swarovski-donning strapping men charge at her (I’m guessing they represent ex-lovers, hackers, members of the press, rival popstars, their fanbases, etc.).

And this lady has dealt with her share of adversity in the past five months. From the premature leaks of almost every demo from this album back in December to the leak of the official album versions on the Super Deluxe Edition (I’m talking 25 tracks in CD quality), I’m sure Madonna and her team have had one too many sleepless nights the past couple of months. She essentially half-Beyoncé’d an album on accident! The last time demos like this leaked it was for Brit Brit’s masterpiece Blackout. Initial sales for that LP were so low compared to the rest of Spears’ albums that it became one of her only albums to debut at No. 2 (at the time; Britney Jean certainly solidified the fact that not everything Britney releases will be accepted by the public). Side note: Björk also suffered a CD leak months ahead of her official release; but then is the public really quitting their day job to purchase her music? (IS the public quitting its day job to purchase Madonna’s either, though? Sadly, I think not :( ) 

It’s a PR nightmare – a whole CD available in an unfinished format for listeners to critique and judge months before an official release – and Madonna and her team have had to refocus efforts to keep people interested. I believe they have made the best lemonade given the lemons they have been handed, but I think this release should make the industry really question the sanctity of unfinished products and how they can really screw up public perception of a project. It should challenge record labels to think outside of the box and create contingency plans when things of this nature occur.

To add to her troubles, radio has refused to play her new music, citing that listeners are just not interested in hearing it. If that were truly the case, though, why would people be purchasing her music on iTunes in droves and tuning into award shows like the GRAMMYs to catch a glimpse of her doing what she does best? Her fans are clamoring for stations like Radio 1 to get with the program, and I agree.

Whether she will be paving the way for a new genre to take over pop is another story, but based on what we have heard through the leaks and released music, her sound is definitely not outdated and encapsulates the current state of pop music. Overall, I am very impressed with her work so far and can’t wait to see what else she has in store for this era and her eras to come. I’ll be waiting for her to pull out another 44 No. 1s! :)

If there’s one thing Carly Rae Jepsen knows how to do, it’s get a song stuck in your head forever and ever. This time around, Jepsen throws away her #OneHitWonder status (see No. 6 on my “Best of 2012″ list) and goes for gold with “I Really Really Really Really Really Really Like You.” Take a listen below.

Let’s get this out of the way first: it sounds like Carly took the best parts of Taylor Swift‘s 1989 crossed with Betty Who‘s “All Of Me,” one of my jams from the past year. Which isn’t the worst thing, especially since all three artists have stated that they were heavily influenced by the ’80s pop movement. So, at least we can all say that these artists have captured the spirit of the ’80s for today’s generations…

Tom Hanks lip-syncing Carly Rae’s “I Really Like You”

Also, the music video: it’s really really really really really really cute. Major props to whoever thought bringing Tom Hanks (and a rehabilitated Biebs) in was a good idea. Not only does it give this song that fresh, innocent feel, it also makes the music video stand on its own merits. Neither the song nor its accompanying video are carbon copies of each other, making both their own events. It allows both to be celebrated in their own rights. Just as she did with her “Call Me Maybe” video, Jepsen adds even more flair to a song that has the charisma of a pageant beauty queen (in other words, these songs have enough personality to begin with).

Overall, Jepsen has had the fortune of producing something in the same wheelhouse of her previous MAJOR hit without seeming tired or too trying. Great job, Carly, and I can’t wait to see what else you have in store for us this year.

—–

GRADE: ★★★★☆

—–

Can we address how sequels are now becoming much more legit? I talk about the magic of Hunger Games’ Catching Fire here, but there are many more that are really bringing it and can definitely hold their own in trilogies nowadays. Case in point: Insurgent.

Okay. It wasn’t the best film and I probably was fangirling a lot, but Insurgent pretty much blew me away. From the beautiful shots and playable action on-screen, to the relatively predictable (and some genuinely surprising) plot points, I was on the edge of my seat throughout the film. Shailene, an actress I believe has not reached her full potential acting-wise (meaning that I HOPE she has better acting skills that will reveal themselves in the future) and Theo have an on-screen chemistry that works well for the film franchise. While some of their interactions may be cheesy, I still enjoy their little moments. Also, the film grapples with the strong and feminine female leader dynamic, also giving the audience foils to which they can compare our main lead (Shailene). These foils include the leaders of the Dauntless, Factionless, Erudite, and Amity clans. Each one of these leaders embodies feminine characteristics while kicking ass in their own way. It’s a great lesson to pass onto young girls everywhere (which is why I saw it with my niece)!

Factionless leader and Theo’s mother in the film, played by Naomi Watts.

Of course, certain details failed to truly capture the moments and could have been picturized differently. For example, the use of flashing lights while at Candor to signify that the protagonists were under attack seemed to take away from the urgency of the scene itself. With multiple soldiers zipping through the scene and trying their best to hit Shailene’s character, the action switched to an establishing shot on outside lighting flashing yellow. This flashing seemed almost out of place with the craziness of the action surrounding Shailene and her Dauntless counterpart. I just felt like the director could have orchestrated a better shot to capture the revelation and exhilaration associated with an enemy springing out of nowhere. Besides this, though, there were no real complaints regarding how the film was shot. 

Shailene just being a baller and breaking boundaries everywhere.

Now, can we talk about how Theo James’ character treats Shailene’s throughout the film? Um… If guys who actually behave like that in life exist they are probably all snatched up. From the way he dotes on her and treats her like an equal, to his ability to remain moody but never lash out at Shailene, Theo’s character really sets the bar high in terms of relationship goals. Add he supports all of her decisions, tries to protect her no matter what, AND looks the way he does? I mean, come on! I’m never going to find someone good enough.

One more thought on this film: I like how they gave it a satisfying ending. Having never read the books, I expected the characters to be stuck in a similar situation as the end of part 1 or even part 2. In times past, the second film of a trilogy served as the information-heavy film, explaining to audiences what exactly is going on and setting up the action for the third film. This film definitely wraps up all plot points from the first two except for one outlying point to which I know I hadn’t given much thought. And the way in which they hinted at it was so subtle that it flew under the radar for me. Those sneaky directors and screenwriters :) (mind you I had also never seen the regular trailer for this film, so many of the revelations pictured in the trailer were new to me…)

Overall, this film, while it may not win any awards, was cute, enjoyable, and compelled audiences (or at least my niece and me) to sit and watch the film throughout. Not many films can command such attentiveness, so major props!

Movie Rating: ★★¾☆☆

Okay okay. It IS true that “these men are from Mars,” and yes, it’s why “they act so bizarre” – I mean, here’s your proof… But one thing is for sure. From the first listen, this Britney Spears–I-G-G-Y collaboration gets stuck in one’s head, rendering the listener incapable of doing anything but gyrating and trying to break it down inappropriately. You know why? It’s because when “the girls roll up, the windows roll down.” That’s why everyone and their mother will have this song stuck in their heads.

Everyone after listening to #PrettyGirls.

Real talk: the more urban-sounding #PrettyGirls incorporates iconic singing-rap collaboration rules, almost as if it’s following a blueprint (of success). That’s what makes this song sound so familiar yet so borderline fresh. Think “1, 2 Step” by Ciara and Missy Elliott crossed with what you’d expect “Fancy 2.0” (Iggy’s breakout summer jam made possible by one of pop’s most amazing songwriters of last year Charli XCX) with a sprinkle of recent hits like “Drop That Kitty” by Ty Dolla $ign, Tinashé, and Charli XCX, and last year’s smash “Problem,” Ariana Grande‘s breakout bolstered by the Iggy-Igs. In line with this, BritBrit sounds as if she were emulating the signature Charli snarl, especially when she exclaims at the end of the chorus, “We’re just so prettay!” The song is also reminiscent of previous Britney R&B-heavy hits like “Boys (The Co-Ed Single Mix)” with Pharrell Williams, “Outrageous,” or that annoying “Scream & Shout (HitBoy Remix)” with like fifty rappers. In other words, “Pretty Girls” could comfortably fit in BritBrit’s canon.

BritBrit being more urban.

Onto the merits of the song itself: it’s definitely a song that you can hear BritBrit just having fun while recording this song. While it’s no “3,” “Piece Of Me,” or hell even “Toxic,” the song has the potential to ride the coat tails of its famous parents all the way to the top spot. It’s perfect for starting the night off: rolling up to the parties and clubs (or whatever summer night activity planned that evening). Lyrically, it’s simple enough to have people singing along quickly, not to mention its status as a bonafide earworm. And, in terms of learning, I’m sure the choreography in the video will be on-point and kickass in its own way).

Overall, between this collaboration and her recent one with THE Giorgio Moroder (one of the fathers of electronica – listen to their remake of the iconic “Tom’s Diner“), I’m very excited for BritBrit to put the relative disaster that was the result of a record company entrusting Will.I.Am to push Britney in a radio-friendly crapfest that she is so much better than instead of what was supposed to become BLACKOUT 2.0 Britney Jean behind her and just make fun music again. With BritBrit gaining her confidence back as a performer and actually promoting things and not looking like she’s just going through the motions, I have high hopes for this new era :)

You betta Work, Bitch!

——

GRADE: ★★★☆☆

Aggravation with Iggy Factor: ★★☆☆☆ (not as aggravating as she can be – but I think she scored lower here because of Brit’s inclusion)

Excitement regarding Britney and her recent string of collaborations: CANNOT BE MEASURED

Seven years. That’s the amount of time I have spent in Baton Rouge. It’s where I grew from awkward, nerdy, fresh-out-of high school Kittu to older, more confident Kittu. The funny part about all of this is that Taylor Swift had been an integral part in my growth. I know it sounds cheesy, but bear with me.

What I would sing to all the haters in my life before “Shake It Off;” crazy part is that it’s actually happening now (the whole living in a big ‘ole city part)!

It all started with an unlikely music suggestion from a now-dear friend, Molly Ronan. After taking in the breadth of my iTunes Library, she asked me why I had never listened to TSwift. I told her that I refused to have any country music on my iPod. She insisted that I would like it, so I went to my local BestBuy and purchased Fearless, the LP that, at the time, had been dominating the Billboard 200 Albums Chart (11 non-consecutive weeks at No. 1). I figured I had nothing to lose if America had kept her at No. 1 for so long. As soon as I popped it into my CD player, the title track flooded my sound system, and with that first guitar pluck, I knew that my life would never be the same.

Since then, TSwift had been a staple in all of my playlists. She has dominated my own play count “charts,” with 22 songs hitting “platinum” or “diamond” status (played more than 200 or 500 times, respectively), and 25 songs hitting “gold” status (played more than 100 times). In other words, Swift has been a major part of my musical growth. From her songs with topics ranging from love and loss to empowerment and self-respect, to her personal demeanor, Taylor has always remained a class act and someone who was not ashamed or afraid to address those concerns that most of us have when trying to make sense of this thing we call life. Her vocal abilities, though not the best, have gotten better with time, just as her understanding of her environment and the people she surrounds herself with. But, at the core of her musical presence is her ability to write meaningful hooks and connect with fans through her songwriting. She’s grown up and made mistakes like the rest of us, but she has always learned and chosen to grow from them. This, along with her quirkiness, has been a leading reason for her sheer magnetism and public fascination.

While Taylor made mistakes with boys, I myself was wading into the dating pool. And trust me, nothing can prepare you for the hardship and vulnerability that entails dating. But, her music, however fantastic, gave the romantic in me hope that one day things can work out. There is something so innocent and romantic about her view on love when she croons on songs like my favorite “Enchanted,” from Speak Now:

The lingering question kept me up
2 AM, who do you love?

 It’s at times like this that Swift excels at capturing just how exhilarating love and dating can be. It’s obviously a more romantic understanding of love, and it works for me. Because, without this romantic lens on love, you’re left with the dregs of regret and apathy – at least for me. See “Begin Again” for a better understanding. But I digress.

So, Swift, through her albums, videos, life experiences, and more helped soundtrack my college life. Things would have been so different without those many nights belting out “You Belong With Me” and “Mine” with my best friends during my freshman and sophomore years. Hell, I wouldn’t have grown as close to one of my other best friends (Grace Montgomery) without us bonding over how amazing her music was. Needless to say, Swift’s music made for the perfect setting for my own growth.

During these seven years, I changed my major six times, graduated with three Bachelor’s Degrees, traveled to various continents multiple times, lived in the biggest cities in the US, dealt with adversity in multiple areas, and made countless amazing friends with which I have made numerous epic experiences. In other words, I have had much good fortune. People have asked me if I’m going to miss Baton Rouge, and I always say the same thing: I’m going to miss my friends that I made here. I’m going to miss the places where I made so many worthwhile memories. Whether it be my 18th birthday bash at 600 Main, running around LSU in the snow, or rushing the field in Tiger Stadium, I will always have those amazing memories to cherish forever.

And now, the reason I am writing this post: Taylor Swift’s 1989 Stadium Tour. When I heard that she was coming to BR, I was surprised and elated. I mean, the tour date was a week after graduation when I would still be living in Baton Rouge. She would be playing at Tiger Stadium, somewhere I had never been outside of attending football games. And, I figured it would be fate to finish my time in BR with the artist who helped me forge my own path here. So, I bought tickets in the general admission pit, sat outside for about seven hours, and then had the most epic concert experience ever. She began with “Welcome To New York,” another reason I felt like I was supposed to be at that concert (I’m leaving BR for NYC). From here, she delivered flawless vocals, a couple of pretty awesome choreographed dances and hair flips, and awe-inspiring spectacles. Whether she was walking through wheeled door panels or “attacking” her beautiful dancers, Swift proved just how much she had grown up since that first time she held her guitar close and sang her heart out. Swift was all about the showmanship, and she pulled it off perfectly.

Throughout the concert, Swift relied on video segments to segue into the various parts of the concert experience. For these, she used her now-famous squad to educate the masses on Swift’s persona and direction, all things that true Swifties knew already but I’m sure still appreciated (I know I didn’t mind). These videos, along with the lyrical content of the set list (she played almost all of the 1989 songs, save for “Wonderland“) helped maintain Taylor’s own vision for where she currently is in life: a young girl just trying to make sense of her mid-twenties while also striving to be the best version of herself. She stated multiple times that the album was conceived while she reflected on how society viewed love and romance, not from her own personal experiences (even though “Out Of The Woods” is pretty much about Mr. Styles).

I think that’s why this tour connected with me so much – I, too, happen to be in a similar boat (minus the whole young girl thing ;) ). When we finally get to our early- to mid-twenties, we tend to get thrown out into the world with no true instruction manual. And things can get messy. But life is supposed to be messy. That’s what makes it interesting. And that’s why I believe Swift has excelled in pop culture. She has that knack for understanding her fans by taking the problems that affect all of us and drawing attention to them.

All in all, the concert was the best way to bookend my time in BR. The experience helped me appreciate and understand what I will miss from this place. It’s not the location, not the bars where I spent nights and spent much of my hard-earned cash, but rather it’s the people, my friends, the community I managed to make for myself in this capital city. Thanks, TSwift, for letting me leave on such a high (note)!

I’ll leave you with my favorite performance of the night: the “Enchanted/Wildest Dreams” mashup.

Almost as a continuation of her new sound, Selena Gomez delivers a “Heart Wants What It Wants” 2.0 in the form of her new single “Good For You.”

Serving up a minimalist flow with chilled out vibes, Gomez croons about appreciating and doing things that would please her love. She discusses the merits of wearing her beau’s favorite dress, “doing her hair real nice,” and taking her special someone (not the Biebs) “there” (I’m guessing the “there” is a really good place to be with Gomez). It’s a departure from the beat-driven Cataracs-produced “Slow Down” and “Birthday” from her Stars Dance LP, but keeps in line with her signature style of innovative pop. It’s as if Gomez listened to Ariana Grande‘s “Love Me Harder” and The Weeknd‘s “Often” a million times and attempted to emulate that contemporary minimalist lo-fi sound, resulting in the perfect combination of hypnotic and genius.

The best part about the song is just how effortless Gomez transitions through the various parts of the song. From the first flourish of computerized organs to A$AP Rocky‘s quite listenable rap efforts (which definitely does not surprise me),”Good For You” in itself commands the attention of the listener. Gomez has the chance to cement her chart supremacy and reveal her musical prowess, proving that she is indeed more than just a beautiful singing voice. If this is an indication of the sound of her next LP, I’m quite excited to see how things will turn out.

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GRADE: ★★★★☆

From my initial trailer viewing, I knew I was going to enjoy Inside Out – I just didn’t realize how much I’d enjoy it. The story itself revolves around the five major emotions that supposedly play integral roles in personality development: Joy, Sadness, Fear, Rage, and Disgust. 

I was interested in seeing how the producers and director (and screenwriter) would take on this arduous task of simplifying personality development to the masses (AKA dumbing it down). They handled the subject material well, relying on the “inner brain” imagery to convey this. And the inner workings the put into play… It was awe-inspiring!

Relying on our understanding of mechanics and factories, they created a whole “assembly line” of memories and brain activity. In addition, the designers created worlds based on the various forms of thought, taking into consideration how people would be able to make sense of it all. For example, take abstract thought: there was a whole sequence dedicated to the characters turning into what we perceive as abstract art, then into two-dimensional objects, and finally one-dimensional objects. It’s clever moments like this that really made the film worth it. 

The film itself is about understanding in order to appreciate happiness one has to live through sadness. In other words, each emotion balances the other out. The main human (where all of the emotions “live”) was able to create a core memory (AKA a memory that helps her develop) after undergoing a traumatic experience. It shows how various emotions can be associated with certain memories but still have a profound effect on one’s own personality. Usually, the memories that incorporate various emotions are sustainable and confer a greater role in personality development. At least, this is what I gathered from Inside Out.

Overall, the film is definitely worth the 12 dollars, especially if you enjoy understanding the inner workings of thought.

Amy Schumer, you breath of fresh air. How you were able to pull off one of the freshest rom-coms in a while is awe-inspiring. Really.

Let’s start with the cast. There were many chances taken in terms of casting. From LeBron James actually having a bunch of lines (and parodying the hell out of himself), to lesser-known supporting cast members – one of my faves – Brie Larson (of 2004’s “She Said” fame – Teen Pop at its best) really capturing the essence of the scenes, Schumer, Apatow and the rest of the production crew were able to create cinematic gold. And it didn’t hurt that the comedic genius that is Bill Hader was involved, too. The thing that makes this film much greater as a sum of its parts is that each aspect of the film is good (just good), but when all placed together, the specifics create this big picture that just engrosses the audience in a raw and true but still sweet story.

Onto the plot. Schumer, as always, played to her strengths, relying on her zingers, one-liners, and witty banter to sell the scenes to audience members. The best part was that the film itself felt like the greatest hits version of her own standup routines (check out her YouTube playlist here). And they were quite appreciated. In addition, much of the plot seems believable. In light of this, I should state that according to Schumer herself, much of the plot has been pulled from her own experiences, which makes this film that much better.

Now, the relationships. The relationships are what push the plot forward. Whether it be the shitty boss, the new love, the crazy ex-boyfriend (or whatever he was), the father, or even the strained sister dynamic, each relationship contributed to discovering Schumer’s character. As someone who loves to decipher the relationships that make a person who they are, this film really fulfilled that challenge for me. And the best part was that each relationship was just so different. Borderline-predictable, but still very much enjoyable. It’s important to draw light on Schumer’s own unapologetic stance on redefining what it means to be a young woman in today’s society. She shows two extremes of femininity: the woman who settles down early and builds a family for herself, and the woman who mocks all things traditional, taking complete ownership of her own choices. And the best part is that Schumer portrays neither in a negative light, instead allowing the characters (the main protagonist and her sister) to explore these paths. The characters finally come to an understanding about the other’s lifestyle choices without passing judgment. And it’s this understanding about acceptance that really makes this film stand out in this oversaturated rom-com market.

With this in mind, I find it refreshing how Schumer does not necessarily need to have a man to fulfill her life goals. Even when she runs into more real life issues (things unrelated to romance), Schumer plays to her own strengths to resolve them. This article does a great job at summing up how Schumer champions the independent woman (and, I believe, independent young professional) role.

Keeping in line with Judd Apatow’s canon (great comedies that tend to focus on reality instead of a constructed world), the film barely squeezed in a resolution, which, when finally revealed, immediately ended the whole film. In other words, I was not really surprised. Even if I was hoping for a nicer “bow” to tie everything together (which, btw, if you are a fan of resolutions, NEVER WATCH THIS IS 40 – you will be pissed off at how little Apatow will go to please you).

Overall, I would suggest catching a matinee or weekday evening showing of Trainwreck so that you can avoid the hoards of attendees who awkwardly sip their drinks and don’t find the hilarious parts of the film at all funny. Trust me, not being in the perfect watching environment can really take away from the whole experience. Especially when the audience you happen to be in is predominantly made up of couples and married folk who are afraid to laugh out loud at many of Schumer’s hilarious sex jokes.