Aaron Worley | Arts & Entertainment Editor

When the rock band Fleetwood Mac released “Tusk” in 1978, it shocked critics and audiences alike. It sounded like a new genre of music, something much more experimental than what was done by the band before. That was the intention of one of the band’s members, Lindsey Buckingham, who was influenced by some of the other styles of music at the time, particularly punk rock and a choppier version of blues music called, “New wave.”

With their next album, “Mirage,” the band ventured back into the roots that made them so popular; a soft rock journey which gave them the appeal of many listeners worldwide and that commercial-friendly sound that was almost universal in emotional connection towards the same people. The album, also drawing from varying areas of pop rock, revealed the key features of the band that made them so popular: harmonies, smooth guitar, and Stevie Nicks’ mystical, yet captivating voice.

“Book of Love,” for example, showcases the raunchy fierceness of Buckingham’s vocals, coupled with an electric guitar overdub which gives the song a groovy feel. Perhaps the most organized of all the tracks on the album, the harmonies are soft enough in the background to keep from overwhelming the song, while giving it the tried-and-true commercial sound. This technique is again replicated on the preceding track, “Gypsy,” which is disputably one of the most popular songs on the project.

Nicks makes the song personal as she should; behind the scenes, it serves as a testament to her life before joining the band, including a brief musical group called, “Buckingham Nicks.” Obviously this is a juxtaposition formed by the last names of the two members, who would of course join Fleetwood Mac later. It describes their struggles, the poor conditions that they had to endure to eat and sleep properly. A prime example of the soft rock turn, the drums fully complement Nicks’ vocals, as she sings, “And you see your gypsy” as one of the standout lines of the track.

As a track by itself, “Hold Me” gives many of the elements present for an enjoyable listen; one that is both comforting and gratifying. The guitars screech in conjunction with soft piano, and the complemented sound that this gives off highlights the production on the album, and arrangement techniques. Made for the average listener, yet complex enough for an aficionado of the band to appreciate in a deeper way, the widespread versatility of the composition is something to be genuinely admired.

“Wish You Were Here,” the closing track of the album, traverses into the territory of an almost romantic side of the band. Bass and unified synchronizations between the band’s singers pepper the track, adding more definition to the sensitive excursion that is meant to be taken. The best part of the project as a whole, though, is not that it blends multiple genres successfully, while making them unique to the band; instead it is the heartfelt tugs that Nicks pulls within the listener. They are captivated by the experience, drawn closer to it, and unconsciously react to the lyrics that give them a true sense of the album’s timeless sentiment. That, therefore, is the true beauty of “Mirage.”

Aaron Worley | Arts & Entertainment Editor

An Englishman born in Highbury, London in 1926, George Martin had a profound passion and interest in music from the age of six, which was influenced by his parents when they bought a piano for their house. He would later work for Electrical Musical Industries, taking role as the head of Parlophone Records and acting as a producer for the label.

As a composer, producer, and musician, George Martin became an influential figure in the shape and form of music during the 1960’s. His work, being most popularly associated with helping the rock band group, “The Beatles,” aided in introducing their talent in a groundbreaking manner and them all much critical success. Their image was shaped from being a typical boy band, to being an important and influential group of the rock n’ roll music genre.

“Please Please Me” was their first album aided by Martin and exposed them to the aspects of creating music, and the encouragement of their separation from the amateur style they originally used. The group made a transition from writing and recording short songs to experimenting with different combinations of sounds and tape arrangements in the studio.

When the Beatles began to have greater access to instruments that allowed for these combinations, Martin expanded upon the sounds that were possible from this grouping, often twisting the recorded tapes to high speeds and playing them backwards or overlaid with new sounds.

Martin’s production talents began to achieve new heights when it began to seem as if he was under the hazy atmosphere that the Beatles invoked, bursting of tranquility and novelty. People soon began to admire his techniques and identified uncommon aspects that existed in the recordings, which were characteristic of his ideas and aid with the band.

Their universally accepted magnum opus, “Sgt. Pepper’s Lonely Hearts Club Band,” could not have achieved such a seminal and loved status without the help of Martin. In particular, the songs, “Lucy in the Sky with Diamonds” and “A Day in the Life” shaped the way rock and roll was perceived in the public due to their innovative dubs by Martin during mixing.

While “Lucy in the Sky with Diamonds” stretched a psychedelic headspace over the public, “A Day in the Life” demonstrated Martin’s composition of the orchestral arrangements that were present in the song, and his premier quality level was evident in nearly every bridge of it.

After Martin’s lack of

involvement on “Let it Be,” the final Beatles album, the crafty sound that the band had was stripped down and organized differently, with work by producer Phil Spector. The change was obvious to both fans and critics alike, as the production was not as reminiscent as their earlier work and was not synonymous with what Martin would have done. His help with the assembling of their albums ultimately gave the Beatles their signature sound and it is why he was sometimes referred to as the “Fifth Beatle.”

The result of Martin’s sound with the Beatles was not limited to just the band. Artists in the rock genre such as the group “Nirvana,” used similar recording techniques to influence the genre even more, citing Beatles albums specifically. The way production in other genres is ordered is an effect on how Martin very precisely achieved a sound to give the songs more meaning and organization; songs are separated by bridges and bars to allow a specific sound to be heard during that part of the song.

Quincy Jones, the legendary producer that helped shape Michael Jackson’s “Thriller” and was a staple at Grammy nomination shows spoke about Martin’s death. “We were friends since 1964, and he was my musical brother. Rest in peace.” Even though some people may have believed that his work only  affected the “grainy” and overly simplistic nature with the Beatles, few understand that the era of production was different at that

time.

It was not just a sense of how a song sounded, but how it was arranged, composed, organized, split, and formulated. Specifically regarding rap and trap music, the process of taking apart a song to add effects and overlays of voices was popularized by Martin and used to great critical success. Producers such as Kanye West and Earl Sweatshirt have used this technique extensively, though, if they may be unaware of its origins in regards to the prime era that Martin created.

Martin was therefore one of the greatest producers to have ever lived and his production work will nonetheless continue to impact arising groups and musicians, if they observe his musical bravura.

Aaron Worley | Arts & Entertainment Editor

2 Chainz and Lil Wayne are a subliminal dynamic duo when it comes to making absurd and over-the-top rap songs. Wayne’s features on every 2 Chainz album comes at no shock, as a combination that they observed with each other was a formula they were determined to make succeed; or at least make an album with each other where they traded verses and bounced off of each other’s chemistry.

While credited as a solo album by Chainz, “ColleGrove,” this eponymous project that they agreed upon making, was actually a collaboration album. Every now and then, with each listen, Wayne’s voice either gets trumped by Chainz’s lyrics, or he fails to offer something that pops his head out of the bushes he remains hidden behind as a ‘contributor’ to the album.

For starters, one should not take this album seriously. It was obviously made for the pure joy of both Wayne and Chainz to create a “bangerz” project which stings as indifferent towards its hits and misses in this aspect. An example of this technique is utilized in the song, “Bounce,” which is low and behold the most memorable and exhilarating track. Credit to this goes to the siren-like background repetitions that add hype to whatever Chainz is saying; standout lines include, “Got a mansion, a condo, a cabin, I sleep in my Phantom/So high dancing with the stars to the Star Spangled Banner.” In any case, the placement of these culture references are not meant to make sense, or even meant to be understood. They are added for the simple fact that Chainz can rap about “Dancing with the Stars” in his own Chainz style of dialect.

Lil Wayne, on the other hand, takes on the role as the subliminal hype man behind Chainz’s lyrics, not even appearing on every track, but spitting mercilessly on about half of the songs you can hear his voice in. His solo albums which were, at one point, devastatingly good and well received, began to take a drop following “I Am Not a Human Being,” and some reviewers and listeners found him to be stale and ultimately bored with the process of making music.  Some could even argue that Wayne is past his prime; this may be the case, but he really tries to make himself a contender on his appearances with Chainz on the project.

It becomes clear that when they trade verses and go over-the-top, they want to compete with each other, and urge the listener to quote something they said as unlike any other artist. The problem with this concept is that Chainz almost always dominates over Wayne, and it is sometimes questioned what actual impact Wayne has on the project, or how readily Chainz could do without him.

Wayne makes his trademark squeals on “What Happened” specifically, as he begins rapping about a girl who cannot seem to get over Chainz and Wayne. The cues show how crazy the girl is, and how, despite both of their voracious sexual appetites, the relationship does not work out and every encounter is referred to as the “last time.”

Despite the humorous lyrics and zaniness in these tracks, the rest of the album does not follow the same enjoyable path, and which each passing song, a level of tiredness is easily achieved by the listener. “Blue C-Note” has too many sounds going on that do not compliment each other in any way, and the songs “Bentley Truck,” “Smell Like Money” and “Rolls Royce Weather Every Day” are boring and sonically bland. These could have surely been scrapped or put in a throwaway album, but one should have expected some songs to be filler content and not special in the least. While not altogether mind-blowingly terrible, one should expect some diversity from 2 Chainz, given that a majority of his albums sound the same, and they do not offer that much of a unique experience to anyone who wants to become a fan. The lyricism is one, thing, bold and brash, while the beats are similar to what you would expect from a non-diverse music producer.

“ColleGrove” has hits, but some punches could have been pulled to spare the listener from some garbage and mediocrity. Either way, some fun could be found in this project, so it works to the faintest degree.

Chental-Song Bembry | Contributing Writer

In 1999, 18-year-old Eric Harris and 17-year-old Dylan Klebold sent America into a state of shock after initiating one of the most dreadful massacres at Columbine High School. Today, Klebold’s mother, Sue, seeks to right the wrong of her deceased son in her new memoir, “A Mother’s Reckoning: Living in the Aftermath of Tragedy.”

Writing such a memoir was not an easy journey for Klebold, who was forced to relive the day her son took the lives of 12 innocent students and one teacher, while wounding over twenty other bystanders in the process.

“It still shakes me,” Klebold said during an interview with MarieClaire.com. “But I’ve come a long way. Fifteen years ago, that would have sent me into a panic attack.”

The Klebolds have overcome a trying set of circumstances since 1999, when they completely excluded the press out of fear for their integrity and public image. The couple even feared for their lives because of numerous death threats following the massacre.

“It has taken a lot of courage. I’ve had to overcome a lot of fear to be able to do this, and it has not been easy,” Klebold said.

The two Columbine shooters meditated their attack for one year, focusing primarily on the location of their bombs. They obtained their firearms from an older friend, Robyn Anderson, and a fourth firearm from their coworker at a local pizzeria.

“It’s just such a tragic irony that my husband and I were not gun enthusiasts,” Klebold said. “We didn’t want them in our home or in our lives. But in my state of Colorado, a lot of people had guns.”

The Columbine shooting received worldwide attention and sparked a barrage of copycat shootings across America. Schools and college campuses enforced stricter safety precautions and made efforts to control peer bullying. The Klebold family were parties in a series of lawsuits while the public began to question their abilities as parents.

“I started searching Dylan’s room really diligently after his arrest, because he had gotten into trouble and I was watching to see if he stole something,” Klebold said. “But he was demonstrating to me that he was…handling his life. You come to a point that you trust your children have come to a threshold or adulthood and there’s not really much else you need to do in that regard. But I was wrong.”

The Klebolds realized much too late that their son had adopted the mind of a murderer. Sue’s rationale for writing “A Mother’s Reckoning” is to create awareness of mental disabilities and signs of suicide.

“I try to keep focusing on the larger good that I’m trying to accomplish, which is to raise awareness and using the book to raise funds for research and suicide prevention and mental-health programs,” Klebold said, “I felt that I had some things to say that might be beneficial for people to hear, might make their loved ones safer.”

Klebold’s memoir has received mixed reviews from the public. One positive reaction came from Anne Marie Hochhalter, a senior at Columbine who was paralyzed during the shooting.

“I have no ill-will towards you. Just as I wouldn’t want to be judged by the sins of my family members, I hold you in that same regard. It’s been a rough road for me, with many medical issues because of my spinal cord injury…I have forgiven you and only wish you the best,” Hochhalter said in a post on Facebook.

Despite this uplifting response, the Colorado Attorney General posted several angry tweets, in which he referred to Klebold’s interview with ABC News “20/20” as “irresponsible” and “inflammatory.”

“I realize that I really can’t run from this,” Klebold said. “I can change my name, I can move, but I still have to live with the fact that my son killed other people.”

Aaron Worley | Arts & Entertainment Editor

The career goals and aspects of students on Hampton University’s campus have differed from one to the next. One of the smallest and most intuitive studies is art, and students that are able to express their positions and thoughts about issues through their masterpieces. Two students, Andre Martin and Chase Blackwell, have developed their crafts to appeal to a wide variety of both teachers and fellow students.

Fascinated by art in the third grade, Andre Martin, a sophomore, graphic design major from Aurora, Illinois originally thought of it as something to do, or more specifically, like a casual hobby. He was introduced to the process by a mandatory art class in his middle school; his interest only propelled from that point, up until the sixth grade, when he began to think of it as more of a serious career choice.

For most of his life after that, Martin learned to craft his own personal artistic style more sharply. However, this is not the only difference that can be noted from his style. Contrary to most, he prefers the beginning of making a project, trying to find what to draw about or deciding which way to approach the picture that will highlight its features in the clearest way possible.

The end of the endeavor is rewarding nevertheless, and the relief of finishing it trumps nearly every ounce of frustration and difficulty that comes along with it, said Martin. For starters, he has gained support from his friends, and most importantly, his family members who have influenced the process by providing him with supplies and motivation to continue to do his best and achieve greatness.

“I’ve noticed that the artist’s outlook on life is something that you have to grow accustomed to, but because of my exposure with the elements, I can pinpoint those artistic values and shading or whatever with a richer intensity than others,” Martin said in response to how his perspective on the environment has changed because of his passion.

Even though some people may not understand this viewpoint, Martin insists that it is because they have not opened their minds up to the appreciation of these fundamentals for observation, but can easily learn how to.

With this concept in mind, Martin has applied it from all possible angles, and still gains knowledge every day from regular interaction and continuous observation.

The other student, Chase Blackwell, began to draw as early as when he first was able to pick up a pencil and write. He would draw shapes and figures in art classes for when he was younger and showed early interest from the start. His passion for drawing then escalated through that point when he drew frequently through middle and some of high school, where it overtook his earlier career interest as a zoologist.

Although he still liked animals, he was encouraged by his family members, friends, and teachers to pursue his talent which they said should not go to waste. However, his mother still advised him to pursue a minor in marketing, which she believed would also help him be successful in the long run. “The perspective that one looks at in surroundings,” he said, “is maybe something an artist learns over time, and only with time. I don’t think that it’s someone everyone possesses.”

Obviously by this, he means that soemone cannot just pick up an art textbook, read, and expect the material to flow effortlessly with no other development course involved. Someone who is interested has to interact with their environment heavily; they have to make progress in trying to create objects that personify their ideas on paper, and have to continue through the process without succumbing to frustration.

The broadly defined “artist” genre has therefore reinforced Blackwell’s interest in the subject and with these values, he has continued to create portraits of celebrities and animals in his sketchbook and has created canvases on display in Armstrong-Slater.