Fleetwood Mac’s “Mirage” Returns

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.”


Drake’s visual album ‘Please Forgive Me’ is a must-see

Aaron Worley | Arts & Entertainment Editor

To describe Drake in a sentence would be impossible, and probably frustrating. He is a man of creative vision; a rap prospect that attempts to cross bounds to get what is inside of him out.

To him, there is no better way to do that than to introduce his fans to his love for visually telling a story. This past Sunday, Drake released, “Please Forgive Me,” exclusively on Apple Music, following the release of “Views” in April. This coincides with his trend of releasing a film after his album, like he did after “If You’re Reading This It’s Too Late,” with “Jungle.” Although “Jungle” was meant to analyze the rapper’s price of fame and the memories he had growing up in Canada, “Please Forgive Me” shifts into a dramatic vibration, showing a darker side of his life.

It seems that many artists nowadays are choosing to express themselves through a venture into filmmaking: Kanye West with “Famous,” Beyonce with “Lemonade,” and Frank Ocean with “Endless.” This is not to say that this idea is not original and should not be attempted by a music artist; instead it should be seen as an opportunity for the artist to expand upon what has been previously done in an attempt to separate them from the rest.

For a visual album, the main purpose is to show how the songs would string together with associated scenes in a movie, to give it a more subjective and entertaining feel. In “Please Forgive Me,” the point of it was to portray Drake as an action hero, or a marauder of some sort. The scenes that are acted in the film are very dramatic and fast-paced; one of these instances includes a proposition by a businessman to sleep with Drake’s love interest in exchange for a million dollars.

When they discuss the deal, Drake actually talks her into it, which might be surprising to some, given as though he has spent almost his entire career talking about keeping girls with him, and feeling hurt once they betray him. Of course, Drake is an actor, and a very interesting one to observe, so it should be obvious that he is not trying to play the character and soft-hearted romantic that he portrays himself as in his music.

When the film is looked at more closely, it raises the question of what he was really trying to achieve.  Does he really want people to associate a track with a particular scene in the film, like most visual albums do? Should he have made an entire film that was unrelated to his album to prevent this close association?

A common criticism of “Views” was that the material felt too generically “Drake.” Critics felt as though the subject matter was material they had heard time and time again from him, and that he did not take as big of a leap as they wanted him to, in terms of experimentation and inventiveness. This is definitely a true statement, when it is looked at without bias. With “Please Forgive Me,” it seems like Drake wants the world to view him as a multi-talented individual. Obviously the film was not made for those that want the biggest excitement thrill of the year, and somehow think Drake can pull it off. It is not by any means bad, regarding the plot, action, pacing, and more specifically, the acting.

Drake has been trying to hone his craft of television and film from continuous appearances on “Saturday Night Live,” coupled with his previous acting experience on “Degrassi: The Next Generation,” with varying degrees of success. In doing so, “Please Forgive Me” stands out, perhaps as one of his more intensive, yet pleasing efforts in film.

HBO introduces ‘WestWorld’ to the streaming universe

Naomi Ludlow | Contributing Writer


HBO’s “Westworld” is a sci-fi thriller that is expected to blow viewers away with suspense, action, and drama. Inspired by the Michael Crichton film of the same name, “Westworld” drops imperfections in a utopian society

Anthony Hopkins plays Dr. Robert Ford who is the director of this faux universe.

Hopkins’ character is faced with a dilemma when the programmed robots and hosts begin malfunctioning.

This new series’ storyline is similar to the 1973 motion picture, but with some

key differences. In this version, other worlds including Roman World and Medieval World go unmentioned.


The executive producer, J.J. Abrams, said, “When you open it up there are these great

emotional questions talking about our deepest fears, greatest passions and how we behave when

those are challenged.” He explains how the robots/hosts are depictions of situations humans in

real life face.

The line of actors includes Ed Harris as the man in black, Evan Rachel Wood, who plays

Dolores Abernathy, James Marsden as Teddy Flood, and Thandie Newton as Madame Maeve


Other critics are already raving about this show along with some fellow Hamptonians.

Freshman Jeremy Crenshaw said, “Westworld is a must see! The trailer is extremely complex,

and only gives pieces of what the writers include in the show. It’s a world where everything

goes. Why wouldn’t you want to see a show like this?” 

Kaitlyn Caeser, a junior from Chicago, Illinois said points out

that the female lead, Evan Rachel Wood, in the trailer is stuck between whether she is

hallucinating or if it’s real. Ceaser cannot wait to see where this series will go. 

“Westworld” is

receiving nothing but high expectations from the audience, so hopefully it does not disappoint

those that will be tuned in on Oct. 2.

Some further hit HBO series includes “Game of Thrones,” “The Wire” and “Veep.” These shows

vary with the genres they fall under. Although they don’t share the same genre as “Westworld,”

they have won many awards including the Emmy award meaning HBO is capable of

producing hit tv series.

The series premieres on Sunday, October 2 at 9 p.m.  Streaming is available

on HBO Go and HBO Now at the same time. The episode will be available on demand the

following day at no set time.

Mac Miller heats things up with ‘The Divine Feminine’

Joseph Gaither | Staff Writer

Mac Miller is back and better than ever with his fourth studio album, “The Divine Feminine.”  This album is one of Miller’s most concise albums as it only contains ten tracks. Nonetheless, the album is one of the clearest, strongest projects yet, and is loaded with many features.

“The Divine Feminine” recruits the likes of incredible artists such as the soulful, charismatic Anderson .Paak, Bilal, Los Angeles’ own, Ty Dolla $ign, the enigmatic CeeLo Green, Njomza, Kendrick Lamar, and Mac’s girlfriend, Ariana Grande.

This project is unlike what many generally equate with Mac Miller; “The Divine Feminine” is more personal, intimate, and deep. Every one of the ten tracks focuses on love, the female form, sensuality and sexuality. While the album does contain the same witty, playful bars that everyone loves from Miller, it is also more mature and serious. The project is truly unlike anything before as it is literally centered on the various aspects of love and a theme of female energy.

The album dissects the many levels of love, the fixation of beauty, and sex. Along with raw, explicit, provocative bars and metaphors, its essence is completely soulful. From the production to the features, the “The Divine Feminine” is filled with a spirit of neo-soul and funk as it takes the listener on a journey from beginning to end. The production is honestly immaculate, and is not overwhelming or lacking.

It possesses this “just right” appeal as each song seemed to be constructed with the next song in mind. The production helps the project flow, while simultaneously assisting with Miller’s ability and delivery.

The progression in Miller’s delivery from his previous three albums is very evident and clear. While each of those projects contained great aspects and characteristics, the growth in his wordplay, skills, and ability are even greater in “The Divine Feminine.” Miller seems more comfortable on this album. As he raps, he seems to reflect on personal accounts throughout the album that resonate with the listener. The lyrics are very relatable and relevant in terms of simply experiencing love. Miller’s bars are also very descriptive and a bit lustful. He holds nothing back as he describes how he would like to pleasure his other half. He gets so passionate that he is even heard singing on this album.

Many may suggest the album is essentially focused on his girlfriend, Ariana Grande, as her presence is felt throughout the album’s entirety. Along with her feature on the album, her voice can be heard in background vocals throughout the record. The album opens up with her  singing before Miller begins.

While every song is unique and the album is great overall, some standout tracks are, the Njomza assisted, “Planet God Damn,” the immensely beautiful and soulful “We,” which calls on CeeLo Green, “My Favorite Part,” featuring Ariana Grande,

“Stay,” and the album’s last song, “God is Fair, Sexy Nasty,” featuring Kendrick Lamar.

Overall, the album is structured well and flows all the way through. Its smooth appeal and vibe is simply contagious as you listen to it. “The Divine Feminine” is one of Miller’s best works and makes for a great listen whether in the house alone, or just driving with your significant other. The album is available on streaming services as well as iTunes.

Beatles Producer and arranger George Martin, remembered


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


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.

“ColleGrove” fails to impress


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.

Mother of Columbine shooter writes memoir

(The guardian)
(The guardian)

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.”

HU campus artists make names for themselves

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.

Beyonce gets the world in “Formation”



Cierra Johnson | Staff Writer

Pop star and Entertainment mogul Beyoncé has been known for her spectacular performances and ability to move a crowd. But recently she has been shunned for her controversial new video “Formation” and her performance at the 50th Super Bowl.

Beyoncé’s official music video for “Formation” released on January 31 showed the world just how much Beyoncé has invested in social justice.

The video addresses Beyoncé’s black southern roots and heritage with lyrics stating, “My daddy Alabama, Momma Louisiana, You mix that Negro with that Creole, Make a Texas bamma” and she declares, “I like my baby hair, with baby hair and Afros/ I like my Negro nose with Jackson Five nostrils.”

Also paying homage to New Orleans, the video includes references to Hurricane Katrina’s devastating aftermath, and also features a scene of a young African-American boy wearing a hoodie before a line of police officers while the words “Stop shooting us” appear on a wall behind him.

During the half-time show at Super Bowl 50, Beyoncé joined the show and performed “Formation.” Her team of all African American dancers dressed as Black Panthers has many outraged.

Many are offended by her tribute to the Black Panther Party and are saying that the performance was racist. Others felt that her video and performance was a “slap in the face to law enforcement.”

An anti-Beyoncé protest rally was held in front of the NFL headquarters held on February 16, according to Fox News. A “Boycott Beyoncé” sign-up page and the social media hashtag #BoycottBeyoncé were also used to address the halftime performance.

Following Beyoncé’s performance, former New York Mayor Rudy Giuliani made a statement, criticizing the half-time show. “This is football, not Hollywood, and I thought it was really outrageous that she used it as a platform to attack police officers who are the people who protect her and protect us and keep us alive,” said Giuliani.

Beyoncé’s supporters and fan base, also known as the “BeyHive,” quickly stood up and took to her defense, was noting that critics the were not focusing on Beyoncé’s attempt to break racial and social barriers.

Many are focusing on the controversy that Beyoncé has caused with her performance and, are choosing to ignore Beyoncé’s contributions to many social causes.

Beyoncé is not just about performing and entertaining her fans. In 2014, she started a philanthropic initiative entitled #BeyGOOD which is geared towards providing aid to the homeless, sick children, unemployed, and other charitable issues around the world.

A Live Nation announcement on Beyoncé’s The Formation World Tour states “True to her life’s work of always giving back, fans will be given the opportunity to participate in Beyoncé’s #BeyGOOD initiative supporting local United Way programs and the continued work surrounding the water crisis in Flint, Michigan.”

Funds from the foundation will address the immediate needs of thousands affected by the lead-polluted water by “distributing thousands of filtration pitchers, faucet mount filters, replacement cartridges and truckloads of water to underserved populations.”

Kaelyn Lowe, freshman, journalism major from Atlanta, said “Considering that millions of people are being affected and will continue to effected for generations to come by the water crisis in Flint, Beyoncé’s contributions to society are more important than the “Formation” video and half-time performance.”

Owens’ story crosses finish line to mixed fanfare


Jelani Scott | Sports Editor

“Race”, starring Stephan James, Jason Sudeikis and Jeremy Irons and directed by Stephen Hopkins, tells the story of the triumphant rise of track and field star Jesse Owens (1913-1980) overcoming adversity to become the first African-American to win four gold medals at the 1936 Summer Olympic Games in Berlin, Germany.

James, who received praise for playing Congressman John Lewis during his days as a civil rights activist in “Selma”, plays the role of Owens; Sudeikis, who is known for his work on Saturday Night Live for 10 years, plays the role of Larry Snyder, Owens’ coach during his time at Ohio State University; and Irons plays the role of Avery Brundage, the leader of America’s Olympic organizations who fought against the US’s boycott of the ‘36 Games.

The movie is driven by the engaging performances of James and Sudeikis, who display solid on-screen chemistry. There are a number of moments that are well-shot throughout the movie, most notably the scene where Owens walks onto the Olympic stage, but some parts of the film feel rushed. Irons delivers a strong performance as Brundage but the other secondary characters left more to be desired.

The movie did a good job of bringing to light many areas of Owens’ life not well-known to the public, such as the NAACP’s involvement in Owens’ decision to go to Berlin and his friendships with fellow track and field athletes Eulace Peacock and Carl “Luz” Long.

Peacock attended Temple University during Owens’ days at OSU and, had it not been for an injury, he could competed with him.

Long helped Owens adjust in Berlin and helped him succeed, particularly in the long jump where he won gold. The two remained friends until Long was killed in action in 1943 as a soldier in World War II.

The significance of this movie is best understood through two areas: this year’s Olympics, which will be held in Brazil, will be the 80-year anniversary of the Berlin Games and the film’s title can be interpreted as having two meanings.

While the film is about winning races, it makes it clear that Owens, despite his successes, was not appreciated not only in Germany but also America because of skin color.

Owens faces the expected racism at OSU and from Adolf Hitler but one of the film’s most poignant and truthful moments came towards the end.

In addition to being denied entry into his own celebration party, he and his wife had to enter through a side entrance and, as they walked, a number of facts appeared on-screen, one of which mentioned the fact that President Franklin D. Roosevelt never invited Owens to The White House to celebrate his victories.

The Atlantic, Rolling Stone and TIME all gave Race middling reviews, IMDB gave the film 6.9/10 and Rotten Tomatoes gave it a 60%.

The film grossed $7.4 million in its opening weekend, finishing in sixth at the box office.

As Black History Month comes to an end, the movie is a must-see and reinforces the lesson that an “ordinary” person can do something extraordinary.