Whether you call her Cry Baby, your nymph, or your muse, it doesn’t take a rocket scientist to look at Melanie Martinez’s discography to determine that she is nothing short of a lyrical and narrative genius!
Cry Baby’s Origins
Over the past ten years, Martinez has managed to solidify her presence in the music industry through her first three studio albums, weaving an intricate storyline of a character named Cry Baby, and the struggles she faces throughout the different stages of her life including body insecurity, exploitation, hyper-sexualization, bullying, depression, and anxiety. Her first two albums (Cry Baby and K-12) focus on Cry Baby’s life on Earth, highlighting family dynamics and home life in Cry Baby, and the oppressive environment of her boarding school in K-12. Melanie’s third album, Portals kills off this character, and reincarnates her to another dimension as a four-eyed fairy and touches on subjects such as overcoming depression, finding self-worth, cutting off toxic relationships, and growing from past mistakes.
Appreciation That Grew Like a Wonderful Weed
Personally, my familiarity with Martinez stems back to her humble beginnings on America’s The Voice. From the moment she stepped on stage during her blind audition, it was clear that she was born to be a star. Before she opened her mouth, her presence seemed to emanate a calming aura, a feeling that would only grow once she started to sing, as her voice carried a captivating and borderline haunting edge that no one else on the season possessed. While Melanie did not win her season, she still used the foothold the show gave her to sign with a record label and start making music independently.
Now to say that I was an immediate serious fan of Melanie’s would be a bit of an exaggeration. As the title of this section implies, Melanie had a way of growing on me over the years, garnering exponential respect from me with each album release. While I listened to select songs from her debut album, I did not begin appreciating Cry Baby’s character until Melanie’s sophomore album, K-12. I still have distinct memories of watching the full-length feature film she had released along with it that went under the same name in my college dorm room one day and loving the concept of the continuation of Cry Baby’s character. Not even to mention my affiliation with the songs on K-12 (and yes, After-School EP as well!), as I took an honest liking for the R&B and hip-hop undertones and raw lyricism that influenced their production.
Even though I enjoyed Martinez’s work, my appreciation was nowhere near what it would become upon the release of Portals. Some claim that music has a strange way of finding us in our darkest moments, and that’s precisely what happened to me with this album at the edge of last summer. In fact, I connected with it so deeply that I seriously considered attending the Portals tour. However, outrageous scalper prices and the need to work made it impossible. Defeated, I promised myself I would go next time. Little did I know that “next time” would come just a year later, in the form of her iconic Trilogy Tour. Not only did I attend, but I had the privilege of being there as press!
Pre-Concert Misadventures
The Trilogy Tour took place at the Wells Fargo Center, a massive arena with a capacity hovering just above 20,000, a number Melanie effortlessly sold out. Luckily, getting to the venue and figuring out parking was easy. There were minor hiccups when attempting to obtain my tickets at the box office and finding the media entrance, but everything eventually figured itself out. After all the final logistics were squared away, I truly started soaking in the magic of the Trilogy Tour. Now, this would not be a proper concert review if I did not take a second to rave about the fashion that graced this tour. I even heard a fellow photographer say this crowd was one of the best-dressed he had seen in a while- a statement I would say definitely holds up! Everywhere you turned, people were either decked in threads screaming pastel goth, dolled up in Lolita-style K-12 gowns and overalls, or dressed to the nines in fairy-core dresses.
The Warm-Up
I will admit, every time I entered the pit, there was an air of surrealness that hung just before me, making me feel a bit awkward, as I did not know what to do with myself at times. Fortunately, in the months leading up to the tour, I decided to make some friendship bracelets in hopes of trading some of them. So in blatant determination to sink into the awkwardness until it was no longer, I turned off my brain, approached people in the front row, and asked if they wanted any friendship bracelets, to which they enthusiastically complied- and yes, I did even end up getting some in return!
(photo credits: Shozzett Silva)
In terms of openers, this tour went above and beyond. The first opener was Sofia Isella, an alternative musician and classically trained violinist with enchanting lyricism that has a way folding onto itself like warm silver coils. The second opener, Beach Bunny, an alternative/indie rock band that rose to considerable fame with the aid of TikTok, then performed a beautiful and heartfelt performance that left the crowd pumped for Martinez.
Sofia Isella (left) and Beach Bunny (right) help hype up the crowd for Martinez!
The Trilogy-Baby, Girl, and Nymph
Eventually, it was time for the main woman of the night to shine, and shine she did! Over two glorious hours, Melanie showcased the full birth, life, death, and afterlife of her fully-fledged alter-ego: Crybaby.
To open up the show, Martinez formally introduced the audience to Crybaby’s overly sensitive nature, and disturbed family life with the tracks “Crybaby,” “Dollhouse,” and “Sippy Cup.” After that, Martinez moved into “Carousel,” “Alphabet Boy,” and “Soap,” three songs that address relationship struggles like toxic dynamics and the price of oversharing. Lastly, the Crybaby set ended with “Pity Party,” “Playdate,” and “Mad Hatter,” which dive into themes of loneliness, being taken for granted and accepting every side of yourself- even the ones that are insane. It was during this set that I was escorted to the pit to capture some beautiful moments.
The main highlights of the Crybaby set included the opening song “Crybaby,” where Martinez sang on a platform with a rocking crib visual on the screen behind her, along with backup dancers dressed as either rabbit doctors or in baby-core, a vintage carousel set-up complete with undulating seats that eventually caught into flames for “Carousel,” giant inflatable birthday candles that popped up all around the stage for “Pity Party,” and the picturesque dollhouse backdrop that accompanied “Dollhouse,” and “Sippy Cup.”
(photo credits: Shozzett Silva)
After the Crybaby set, the show transitioned into part two with the big screen displaying a giant ocean filled with Crybaby’s crib and toys, and eventually showing the iconic K-12 school bus. In an overt nod to the K-12 film, the bus floated out of the ocean and into the sky to land before the K-12 boarding school to which Crybaby was finally dropped off. As the chorus of “Wheels on the Bus” sweetly echoed throughout the stadium, the scene transitioned into the first half of “Class Fight,” followed by a powerful video interlude featuring a slowed-down snippet of “The Principal.”
“Show and Tell,” “Nurses Office,” and “Strawberry Shortcake,” were next on the setlist, and touched on topics like exploitation, bullying, and hyper-sexualization of women. By far the most memorable part of this section was the set-up for “Show and Tell,” as Crybaby was depicted as a tortured puppet on strings controlled by a hand on the screen behind her.
Finally, “Lunchbox Friends,” “Teacher’s Pet,” and “Highschool Sweethearts,” rang throughout the stadium to end the K-12 era. Since “Teacher’s Pet,” is considerably a fan favorite, it stole the show, especially when Martinez took to the floor to sing the iconic lyrics “And a lighter when you wanna get high/And mess around ’til you get numb.” Of course, the finale of “Highschool Sweethearts,” was also nothing to sleep on. At the end of the song, cupid flew onto the big screen, and pierced an arrow through Crybaby’s chest, which made a perfect segway into the Portals segment of the tour.
The Portals section began with a 10-minute prelude complete with a cosmic light and smoke show, elegant ballet dancers, and ethereal loaded music before finally opening up to “the creature,” in a graveyard full of mushrooms singing “Death.” Right after this, Martinez brought some much-needed energy to the crowd with “Void,” “Tunnel Vision,” and the glittering “Faerie Soirée,” only to finally slow it down with “Light Shower,” a soothing ballad that tells the charms of true love.
“Spider Web,” “Battle of the Larynx,” and “The Contortionist,” were next, all of which had some outstanding visuals to accompany their performance, including a fly serving sassy choreography after “Spider Web,” the creature slaying a pink dragon during the duration of “Battle of the Larynx,” and some eerie dancing overlining ‘The Contortionist.”
Finally, “Nymphology,” “Evil,” and “Womb,” wrapped up the tour with an unforgettable bang. Looking back, this was probably considerably my favorite part of the show, because there was something so cathartic about singing the feminine-rage anthems “Nymphology,” and “Evil,” in a full stadium- not to mention witnessing the live transition between the two songs which was virtually seamless, just as it is in the album.
The creature sets the stage ablaze to match the feminine rage!(Photo by Shozzett Silva)
Overall Evaluation
All in all, the Trilogy Tour ended up exceeding my initial expectations. From the expressive choreography to the intricate costumes on and off the stage, to the transitions between albums, and the stunning set pieces, this concert was nothing short of a full-blown musical production. In fact, I would say it is one of the most theatrical concerts I have been to thus far, and will probably remain as such for a while! In short, Melanie puts on an excellent show!
Of course, like any other concert, this performance isn’t without its flaws, some of which are subjective. For instance, I could have gone without the long interludes between albums, even though I realize this was most likely due to costume changes. In addition, I was a little bummed to see my favorite K-12 song “The Principal” reduced to a mere interlude, as well as the exclusion of songs like “Training Wheels,” and “Cake” from Cry Baby. Finally, I would have ascended out of my body if “Powder” from Portals (Deluxe) and “Glued” from After School EP were also performed, but at this point, I’m just catering the setlist to my personal preferences.
It may be slightly controversial, but I genuinely believe that Andrew McMahon is the unofficial-official ‘piano man’ of the millennial generation. For the uninitiated, Andrew McMahon is a man of many talents: impassioned vocalist, a masterful storyteller, a devoted parent, and perhaps most conspicuously, the spitting definition of a piano man. As of today, McMahon’s career has spanned over two decades across multiple bands and projects including Something Corporate, Jack’s Mannequin, and Andrew McMahon in the Wilderness, and thus has acquired a considerable fanbase- of which I proudly count myself among.
From the first moment I experienced what I call ‘soul ascension’ while listening to Jack’s Mannequin’s ‘Dark Blue’ on a car ride home from school with my sister during grade school, to the angst-ridden days of middle school where Something Corporate’s ‘Cavanaugh Park’ served as my quasi-therapy, to my first concert at Jack’s Mannequin’s 10 Years in Transit Tour in 2015 as a high school freshman, McMahon’s music has intricately woven itself into the fabric of my adolescence. With time, my love for McMahon’s music only grew, and in my later teen years, it served as a common point of connection for me to relate to my older siblings- a remarkable feat considering they averaged about 9 years older than me.
Although McMahon was a prominent figure in my family, he did not quite garner the same popularity among my peers in school. That is not to imply he was entirely underground, especially considering how his career-defining hit “Cecilia and the Satellite,” slipped ‘into the airwaves’ all across the nation. Nevertheless, I seemed to be the only one guilty of exhausting his entire discography ten times over.
Pre-Concert
Flash forward to 2022, my first year back to college after a much-needed two-year break. That year, I joined WVUD, where I met a group of friends who were also hyper-fixated with their favorite music genres and artists as I was including my now-good friend Gretchen, who also happened to be an avid McMahon fan. I still remember the day she mentioned his name. She said he was hosting a concert in Philly the following November, but expressed hesitation on going due to the ticket prices. It was at this point that the floodgates opened for me. I gushed to her that I had seen him in concert before, and how he puts on a good show every time without fail. In other words, he’s worth the money if you’re into his music. However, I don’t think I swayed her opinion by saying this, which was honestly understandable.
Another time jump to October of 2023. During the summer, I had foregone many concerts that I wanted to attend in the name of saving money for school and rent the following year. While doing this was necessary, I still found myself bummed that I had missed out on potentially unforgettable life experiences. Thus, I decided to throw caution to the wind and purchase a ticket to McMahon’s show in November. My original plan was to purchase a ticket for myself, and later see if I could convince Gretchen to get one, and if all else failed, I would go by myself. Nothing could have been better than the outcome that had happened though. Upon purchasing my ticket for the concert, I spied a little drop-down below the checkout button. Lo and behold, there was a promotion for LiveNation’s Summer of Friends event with the option to get 2-for-1 tickets. To say this was an easy decision would be an understatement- it was more of a no-brainer. At this moment, I felt like I was getting my go-ahead from the universe, and I giddily purchased two tickets to see The Mans in Philly. What made this stroke of luck even better was that Gretchen happened to be celebrating her 21st birthday just a couple of days after I bought these tickets. Now I had a legit present other than a bottle of wine to give her, at no additional cost to me. I guess you could say I was high on the deal, an economically stable ecstasy that lasted up until the night of the concert.
Concert
Before I knew it, Thanksgiving break had rolled around, and it was time for the concert. While getting through traffic was minimally painless, the parking situation was nerve-wracking. As I always like to say, it’s not a concert in Philadelphia without parking in a sketchy parking lot situated underneath a highway, and proceeding to walk around for 30 minutes looking for the parking monitor, because he operates out of his car. This is the official experience of parking at the Fillmore in Philadelphia.
Once we had parked the car, Gretchen and I headed for the line, hoping to score a good spot close to the front. To our delight, only about 8 or 9 people were before us. If there is ever a downside to concerts, it’s waiting in line. Luckily for us, someone was giving out friendship bracelets and another giving out plastic asterisks which I believe is a nod to the Dear Jack Fundraisers that McMahon holds from time to time, to raise money for children with cancer. These little mementos, while small in size, lessened the blow of having to wait to get into the venue.
Our friendship bracelets with songs MFEO (Jack’s Mannequin song) and Synesthesia (Andrew McMahon in the Wilderness song)
After a couple of hours of waiting in line, the doors finally opened and everyone started filing through security. I think it was at this moment that I gained genuine excitement coursing through my veins. It had been about five years since I had last seen McMahon and a reunion was overdue.
One thing that I feel obligated to touch on is the sheer beauty the Fillmore exudes. Sure, it may be a smaller venue, as it comfortably seats around 2,500, but that certainly doesn’t mean that it’s lacking in quality. Just looking at the way mood lighting sparkles through the chandeliers on the ceiling is enough to take your breath away. Seriously, every time I go to the Fillmore, I am instantly reminded as to why so many locals speak very highly of it. It truly is a beautiful place. Since we were so early in line, Gretchen and I were able to snag the very front row, which proved to be very useful throughout the night, as we were able to rest our coats on the railing and have something to lean on as well.
Of course, like any other concert, there were a couple of openers before the main act. Being somewhat of a seasoned concertgoer, I can safely say that not all openers are created equally. Fortunately for us, both of the openers were what I can only call pleasant surprises. The first opener was a band called Wildermiss, a synth-kissed indie pop band with something of a dream haze flare, and the second opener was Michigander, a rock-based soloist project whose raw vocals make you feel like taking a spontaneous road trip across the country.
Wildermiss (left) and Michigander (right)
Eventually, the time had come for the main man to perform: Andrew McMahon that is. The concert started with a slower yet effective song: “Nobody Tells You When You’re Young.” Better yet, McMahon made this an intimate moment as he started in the crowd, eventually weaving his way through it, and making his way on stage. The next song that McMahon played was “I Woke Up in a Car” an upbeat piano-bopper that pumped more than enough musical dopamine for old and new fans alike. I mean seriously, it’s physically impossible not to groove to that song.
Of course, after the crowd was riled up and ready for some more action, the Mans chose to slow it down with “Stars” a glittering song with a backing track straight from the patterns of the aurora borealis, and then picked it right back up with the melodic earworm that is “Fire Escape,” only to continue the crowd to infinity (pun intended) with “Last Rites.” Up next were “Bruised,” and “Me and the Moon,” a couple more nostalgic throwbacks that I was elated to hear, especially the latter. As I’ve stated before, Andrew McMahon is an eloquent storyteller who has a way of hooking listeners with the first couple of lines, and “It’s a good year for a murder/ She’s praying to Jesus/ She’s pulling the trigger” is no exception to this claim.
After that were “Paper Rain” “The Resolution (Jack’s Mannequin Cover),” and “Smoke and Ribbons.” I have to say, I was smiling ear to ear when I heard the intro to “Paper Rain” because it is considerably one of my favorite songs within McMahon’s newer discography. Of course, my heart melted a little when McMahon sang “The Resolution” as that was one of my brother’s self-proclaimed personal favorites from Glass Passenger and one of mine as well. “Smoke and Ribbons” was also a neat experience because special guest Cecelia McMahon (McMahon’s daughter!) was brought on stage to help him sing, a touching moment sweet enough to make anyone tear up.
Next on the setlist were “Hurricane (Something Corporate Cover),” “High Dive,” and “Skywriting.” Now I think I can speak for everyone when I say that “Hurricane,” is a perfect whirlwind of swirling teenage angst, laid in a solid hypnotic rock beat that demands to be moved which the crowd undoubtedly did. In addition, “High Dive,” a preppy yet poignant song about the uncertainty of love, and “Skywriting,” a newer song off of Tilt at the Wind No More only added to the hype of the crowd as they blared through the speakers.
Up next, was a special segment of the show that I was personally excited for what I dubbed “Friendship Karaoke.” For those who are unaware, as the New Friends tour was taking place, McMahon held a little social media contest where fans could send in a video of themselves singing one of their favorite songs, and whoever got picked from each city would be able to go that night, and sing on stage alongside McMahon, which I thought was such a cool inclusion into the show. For the Philly show, the winner ended up being a lovely woman named Sabrina Beth, who sang “La La Lie (Jack’s Mannequin Cover),” a catchy harmonica-based melody about the power of friendship… or so I think. Sometimes, I feel as if this song has multiple interpretations.
To supplement the chaos, halfway through this piano-harmonica teetering tune, McMahon whipped out an inflatable unicorn and proceeded to crowd surf, as Sabrina’s voice graced the audience with the second verse. At this point, Gretchen and I were more or less losing our sanity, as the sight of McMahon on a giant unicorn was one of the most comical views of the night.
To finish the main setlist, McMahon closed out with “Rainy Girl,” “Watch the Sky (Something Corporate Cover),” “The Mixed Tape (Jack’s Mannequin Cover),” and “Cecelia and the Satellite.” In following the pattern akin to an emotional rollercoaster, it made sense that McMahon would subside to the slow and sweet ballad of “Rainy Girl” directly after the crowd surfing. I will say that I was surprised to hear “Watch the Sky,” but by no means disappointed, as I have no real complaints concerning it. I could have gone without “The Mixed Tape,” but I realize this is a pretty hot take, as it is one of Jack’s more well-known songs. Don’t get me wrong, I am not claiming it to be a bad song in any capacity because a.) there’s no such thing as a bad song on Everything in Transit and b.) it is a good song. I’m just saying it’s not my favorite. Nevertheless, I still sang my lungs out to it. Of course, to finish the main show, McMahon performed “Cecelia and the Satellite,” which has been his most successful release to date. He even brought out his daughter once again to help him sing, which would have done some real damage if it were possible to go into cardiac arrest from witnessing purely wholesome events… all of us would have been goners.
An excellent concert is not complete without a memorable encore, and needless to say, this was nothing short of that, as it began with “New Friends,” a fun little number about starting fresh within a relationship hot from Tilt at the Wind No More started to pump through the crowd. As sort of a grand finale to the spirit of the New Friends tour, McMahon brought out his daughter and all of the opening acts with him on stage to accompany him.
Finally, to end off the night, McMahon had inevitably saved an all-time fan favorite for last: “Dark Blue (Jack’s Mannequin Cover).” This ended the show on a high note, as it is considerably Jack’s most popular song, and for good reason. With its powerful imagery of the way love can overtake you like a tidal wave, and its catchy beat, its inclusion is merely a must at this point for a McMahon concert- many fans would leave disappointed if it was not to be performed.
Post-Concert
At the conclusion of the concert, Gretchen and I ended up staying well into clean up to try and obtain a little memento from the stage. I was not necessarily looking for anything in particular, but I know Gretchen was hoping for anything that she could get. Luckily, she snagged a guitar pick which we later got Bobby Anderson, McMahon’s guitarist and former Something Corporate band member, to sign. As for the merch, while I did buy a shirt, I was a little disappointed to see that there were no shirts with the tour dates available. Leading up to the concert, one fantasy that I had was that the merch table would have a lavender shirt with teal, yellow, and dark pink paint splatters and the words “New Friends Tour” or something to that effect on the front and tour dates on the back available, which I know was a little far-fetched, but I still think it would have been an awesome design.
All in all, I would say that the show ran well, and all performances looked and sounded amazing. I have said it many times before, and I will continue to say it: McMahon knows how to put on a live performance. If anything, I would have made changes to the setlist, exchanging “Skywriting” for “Submarine,” switching out “The Mixed Tape” for “I’m Ready,” and including Something Corporate’s “Konstantine” somewhere in the show. Am I aware that the last inclusion is completely ludicrous and would never happen? Yes, I am, but it does not matter. I will die on this hill. For those who do not know, “Konstantine” is a beautiful nine-and-a-half-minute love song that is essentially a cult classic within McMahon’s fanbase. From my understanding, “Konstantine” is never performed because it’s too lengthy. Also, at this point, if McMahon were to surprise an audience with it on a random night, he would never hear the end of it, and he would have to play it every night. From this standpoint, I understand his decision to abstain from the song, but still, in my perfect (and slightly selfish) world, “Konstantine” would have been on the setlist. Additionally, I know that Gretchen said she would have preferred “Lying on the Hood of Your Car” to be included in the setlist, as that is her favorite track off Tilt at the Wind No More.
When Tesla broke into the automotive industry with the Roadster, it got enthusiasts pondering what the next generation of sports cars would look and sound like. The company ushered in a new product and a new perspective, paving the way for modern electric vehicles by creating a car that looked like it was stolen from 10 years in the future. Turns out that’s the trick to car design. 2009 was a good year for automotive design, as the Model S prototype was in good company when it hit the scene. (For reference, see the Ferrari 458 Italia, Aston Martin One-77, and Alfa Romeo 8C Spider.)
The product battleplan from Tesla in the early days was actually a very calculated one, if you can believe that. It went like this: Shock the industry with a Lotus Elise-based electric sports car, move past a questionable incident with Top Gear, and announce plans to manufacture a sedan just a few years later. They delivered on their promise of the Model S in 2012 and with a base MSRP of $57,400, they had lobbed it right into the mid-size luxury market. No one had done that before.
Right around this time, Fisker had the Karma, and Nissan had the Leaf. The Karma wasn’t a true EV per say due to its gasoline range extender, and the Leaf was a compact hatchback with an EPA estimated 71 miles of range. These two cars bookended the EV market at that time with prices around $102,000 for the Karma and $35,200 for the Leaf. Tesla had brought the fight to where the money was, and it worked. Plans for an SUV were announced after the first Model S’s were being delivered, which kept the industry on its toes. This bombshell meant everyone else was going to be further behind than they thought.
I would be doing a disservice to my business professors if I didn’t break this down a little more so bear with me while I make an attempt. They started by making a low-volume sports car that gets the attention of enthusiasts by licensing the technology of an already fantastic car, the Lotus Elise, leaving 80-90% of the costs going towards developing the powertrain. Pricing the car at a premium means profitability is attainable at a lower point when there’s a lack of economies of scale. However, that’s where they were headed. They had made an exciting vehicle with a cult following and plans to enter a more lucrative market with a sedan. All they needed was the capital, and they got it.
After Elon Musk joined Tesla, and just before the Roadster went into production, he invested $70 million into the company. Then, in 2009, the U.S. Department of Energy gave the company a $465 million loan and in 2010, a year after the Model S prototype was revealed, Tesla launched their IPO which earned them $226 million. This went towards funding the Model S and eventually the Model X.
The only logical next move for Tesla was to make an SUV to gain even more traction in the industry. They did. They gave it gull-wing doors, too. The skateboard platform that most EVs have are adjustable to accommodate whatever body is placed on them, so all Tesla had to do was develop an SUV body to put on their current platform, leaving more room in the budget for some fun. Making a bigger vehicle also means getting to charge more money for it. The cash from both the S and the X would then go into the fund for the Model 3, their cheapest vehicle on sale to date.
The model Y entered the compact SUV swinging and became the best selling model the company has ever produced. Every move that Tesla has made to pin them as the best-selling manufacturer of EVs has been calculated and with purpose. They came out of the gates ready to dominate and pinched every penny to stay on top of new development.
But now they’re getting cocky. Well, more specifically, Elon is getting cocky.
Tesla has always had little gimmicks here and there that added to the charm of owning an electric vehicle. They counted on owners having FOMO when hearing a V-8 roar by on a backroad, because why else would they program a Trans-Siberian Orchestra Christmas light show into their car? Sure, an E63 Mercedes AMG could sing like an angel as it eats up miles on the German autobahn… but can it make fart noises? These little party tricks started out as something fun, but now things might be going over the edge.
The Cybertruck debut in late 2019 left Teslaphiles throwing their wallets at Elon, hoping to grab a slot for a preorder. Was this a publicity stunt? No. A pep rally for fanboys? Maybe. Personally, I think Elon got bored with Tesla. The next car in the works was the new Roadster, which Tesla says won’t be delivered until 2025. It was revealed to the public in 2017 at the Semi launch, with availability slated to start in 2020. The Cybertruck, on the other hand, the biggest joke in the industry, struck like lightning.
It touched down without any warning, and it’s already out to owners. The Cybertruck was announced after the reveal of the Roadster, and was delivered to owners before the Roadster. How volatile does executive boredom need to be in order for it to result in producing a street-legal lunar rover? Forget for a moment that Cybertruck buyers are realizing what a mistake it was to buy in the first place– the truck is a danger to pedestrians, vehicles around it, and to owners who worship Elon like he’s going to take them to his Martian promise land. What car company would do this sort of thing?
A car company… That doesn’t want to be a car company.
Apparently, we’ve been looking at Tesla wrong for the last several years. In January, Elon Musk made a post on X, formerly known as Twitter, calling Tesla an “AI/robotics company that appears to many to be a car company.” Confused yet? Tesla, which started out as “Tesla Motors, Incorporated,” was renamed in 2017 to just “Tesla, Incorporated,” to encompass the new business developments being pursued. Some of their efforts have expanded beyond the scope of car manufacturing… so they shaved 50% of their name off in order to keep from looking crazy for straying away from cars. Yeah, that’ll show’em, Elon.
Car companies that are not car companies do not exist. Well, there’s one company that comes to mind. Porsche. The official name of Porsche is “Dr. Ing. h. c. F. Porsche GmbH, Konstruktion und Beratung für Motoren- und Fahrzeugbau,” which essentially means they are an engineering and consulting company by name, that happens to build their own cars.
Tesla is currently in talks with another “major automotive company” that is looking to license its Autopilot and Full Self Driving (FSD) technology, so the Porsche comparison isn’t too far off. In a letter from 2014, Musk expressed Tesla’s concern for the climate crisis and the role the company needs to play in combating it. He mentions that Tesla “will not initiate patent lawsuits against anyone who, in good faith, wants to use [their] technology.” Not quite an engineering consulting company, however if you copy their homework they promise not to tattle. But what if they did follow the Porsche mentality? Today, the only piece of Tesla technology that most other manufacturers are starting to integrate into its cars is supercharging compatibility.
Why not go further? They should have worked with other companies to advance their electric vehicle initiatives that encompass more than just a communal charging network.
In that same letter, Elon stated that their competition wasn’t other electric cars, but gas-powered cars. If Tesla really sees gasoline cars as their biggest threat, then why not offer their help to Detroit? Think of a story similar to the Audi RS2 Avant and Mercedes 500E, a pair of revered performance cars from Germany. Porsche helped in the development and manufacturing of both of those cars, and wouldn’t exist without their help. What if Tesla had a story like this? They could offer powertrain designs to companies that looked to create enticing electric cars, and still hold true to all their beliefs about climate change and open source technology. Not a bad idea, right?
I think this could’ve worked sometime between 2014-2017, just after the popularity of the Model S, and right around the time the Model X was being delivered to customers. (This was also before Elon got especially nutty.) This was prior to other companies debuting comparable EVs, and building full force Tesla-beating war rooms, which may have triggered the end of the company’s automotive division. The only hint of Tesla doing something like this was when they sent a letter to major automotive manufacturers detailing how to implement a 48-volt system architecture in their cars.
All I’m suggesting is, if Tesla wanted to go down the Porsche route and help other manufacturers build viable, modern electric vehicles and build their own cars, they could have kicked-ass. They would be less of a joke like they are today, because the Cybertruck is a sad example of what happens when you know you’re about to get beat at the game you started. Who knows, maybe the next time Tesla changes their branding it will be to “what part of ‘not a car company’ didn’t you understand,” and we’ll be the ones who don’t get it.
Frontman Jack Antonoff and Bleachers have outdone themselves with this hair-flipping, foot-stomping anthem. Even as an avid music consumer, I was shocked to learn that this song, now a frequent flier on the alternative radio dial, was released several months ago in September. I must admit…for a moment I was disappointed; a girl who calls herself a radio rebel ought to know these things. Nevertheless, it’s been quite a long time since I’ve encountered a song that makes me dance with unabashed spirit and enthusiasm that would make Hugh Grant proud.
I’ve been noticing a trend of recent releases in popular music that feel like they’ve been lost in the wrong decade, and “Modern Girl” is no exception. Sonically, the track is simple and it’s that driving backbeat from the drums and bass that makes it impossible to resist moving to. And of course, Antonoff’s genius inclusion of that dirty, throaty saxophone riff makes this song unmistakable from just the first few seconds. Its growl opens the melody, underlies the chorus, and keeps coming back to hit you again and again. The sound is bold, fresh, and unique but also still very characteristically Bleachers.
The whole song embodies that dichotomy of unpolished cleanness that I associate with a raucous live performance. You can hear the energy that Bleachers are pumping into this tune, as if they’re on stage every time and they know no limits, putting every last bit of grit that they possess into their final stand.
An 80’s inspired music video followed the release of the track in September and it is a visual embodiment of that pure joy and boundless energy that the song exudes so well. “Modern Girl” will be featured on Bleachers’ upcoming self-titled album, due out March 8. The group is set to embark on a tour of the US and UK, stopping at Philadelphia’s The Met on June 12.
From one unreliable reporter and pop music hoarder to another, Jack Antonoff and Bleachers have won my heart and I’m extremely excited to see what comes from this new album.
By Macayla Cook, Gretchen Hartenstein, James Kelly, Christopher Malinowski | February 4, 2024
Members of the 2023-24 WVUD Ops Board decided to cover the 66th Grammy Awards. This is the result of that decision.
James: Tonight is the 66th annual Grammy Awards, where the Recording Academy honors the best artists in the business through intense screening and voting for months on end simply to produce a program that puts our favorite artists in the same room for three hours. It’s incredible there isn’t a boxing ring in the middle of the Crypto.com Arena. Anyway, Eminem really pulled the wool back from our eyes when he called out the system that determines the winners. Even though he’s won 15 Grammys.
Thanks Eminem.
First performance
J: Dua Lipa’s gymnasium of homoerotica was quite the spectacle.
One word… Ass, not the performance… but I see her ass. What is my case? I have no qualms about this.
Gretchen: That’s a lot of men.
Macayla: She’s so hot.
Post-Dua Lipa
J: Trevor Noah is kissed by “Only Murders In The Building” star, Meryl Streep
M: Lucky him…….I do love him tho
J: I know right.
M: 21 Savage is amazingly Indifferent to everything it’s nuts.
J: Noah, somewhere between age 25 and 60, is already pulling far ahead in professionalism and humor than Jo Koy hosting the Golden Globes.
M: Doja Cat, forgetting that the Grammys were happening tonight, has arrived in a trucker hat.
J: Yeah cause she gotta back that truck up.
M: Trevor Noah really said “slay women!,” a sentiment that the Brits could never echo. He said Boygenius, that’s all he had to do
Anyway, Lenny Kravitz. Also, Terry Cruise CIA era???? NINE NINE– OH OH AND JONI MITCHELL!
J: I will say, I’m looking forward to U2. Two years ago, H.E.R. and Lenny Kravitz did a performance that blew my fucking mind. I still go back to watch that performance at least once a month.
M: I revisit BTS’s Mission Impossible performance frequently…that and Harry Styles in that goddamn leather jacket because at the end of the day, I am just a girl.
First Award
M: Mariah Carey presented the first category: Best Pop Solo Performance. Miley Cyrus won with “Flowers,” earning her first Grammy (believe it or not, “Party In the USA” did not win a Grammy, proving that the Academy is not always the official arbiters of taste).
Miley Cyrus’s hair is epic. Hannah Montana having a great night. Mariah Carey, meanwhile, is absurdly confused.
J: Yes, Miley’s hair has been power washed, dried by a mach 2 blow dryer, and reattached by scotch tape.
Second Performance
M: And now, “Fast Car.” Joy of all joys. My dad hates this song so I learned to hate it too, and the cover is just even more annoying in my mind.
J: Great song, and I do like his version, but it is severely overplayed. It needs to be preserved before I go insane.
Tracy Chapman and Luke Combs performed “Fast Car” as the audience, littered with accomplished performers, lyricists, and producers in their own rights, stood and sang along with enthusiasm. Chapman originally released the song from her self-titled debut album in 1988 and was covered by Combs in 2023, shooting it up to the number two spot on Billboard’s Hot 100.
M: That’s right, Whoopi Goldberg loved that!
Second Award
M: Next, Maluma and Christina Aguilera presented the award for Best Musica Urbana album. The Grammy went to Karol G for her record “Mañana Será Bonito.” This project was her fourth studio album.
Third Performance
M: SZA, channeling the Undertaker, delivered a showstopping performance featuring various songs from her record-breaking sophomore album, SOS. During “Kill Bill,” a dancer emerged from under a table with a katana, nearly beheading Phoebe Bridgers in the process. SZA’s vocals during the performance were certainly notable, delivering insane consistency from the recorded track to live version and demonstrating more-than-sufficient vocal dexterity.
J: Okay are we gonna ignore the fact that Phoebe Bridgers nearly just got her noggin lobbed off by a katana?
M: She’s loving it
Non-Televised Award
Chris: Turn on, turn off the news! Paramore, hot off their recent label contract as well as recent collaboration with A24 Music for a cover of “Burning Down The House” by Talking Heads has won the Grammy for Best Rock Album this year with their work “This Is Why”. They are now a three-time winning band with their first being the Best Rock Song for “Ain’t It Fun” back in 2014 and now with two more wins under their belt including this grammy for Best Rock Album as well as Best Alternative Music Performance for This Is Why.
Fourth Performance
M: In an intimate performance, Billie Eilish performed “What Was I Made For?,” her only accompaniment being her brother Finneas’ piano playing and a few string players. Eilish collaborates frequently with her brother; the two of them wrote this song for the Barbie movie. I will cut this off here because if I start talking about the Barbie movie, I probably won’t stop for a while. That movie was AWESOME.
This hair era for her is ICONIC. Like, the little piece falling down in the front with the teased crown? It’s so Dolly Parton, I love it. I think Dolly Parton should be the president tbh. Like, anyone who disagrees with that woman is wrong. She’s wonderful.
J: Miley Cyrus, after winning her very first Grammy for “Flowers,” performed the song live to celebrate. Rocking hair only her godmother could’ve passed along to her, she called out those in attendance acting a little restrained from wanting to dance along like they should be.
M: Cyrus’s stage presence is not to be underestimated, dancing about the stage in a silver sparkly bikini and skirt while making the whole singing part of her job look incredibly easy.
J: Paying homage to one of her heroes, the late Tina Turner, she repeated the last few verses of the song in a “Proud Mary”- esque way. Miley Cyrus was not the only one to bring home a first Grammy award, though.
Third Award
M: Upcoming artist Laney Wilson took home the Best Country Album award, giving a heartfelt speech dedicated to her small hometown in Louisiana. Wilson is a self-described “fifth-generation farmer’s daughter,” making her win extremely impressive.
M: Hey I did miss this, best part of our jobs honestly
J: The Nazis?
M: … Yes Jamie, the Nazis, that’s totally what I’m talking about
J: Far out
Fourth Award
M: Best R&B Song, presented by Lizzo, was awarded to SZA for “Snooze.” Here at WVUD, we predict this will be the first of quite a few Grammys for SZA tonight. SZA’s speech thanked a sprawling list of people, including the presenter of the award, with whom she has shared an 11-year friendship. She was adorably overwhelmed, trailing off the end of her speech and simply saying, “Hi Taylor. I love you. I…I’m not an attractive cryer, have a good evening.”
Sixth Performance
M: Afterwards, Olivia Rodrigo performed her smash hit “Vampire,” off her heavily-anticipated sophomore record, GUTS. Throughout the performance, she gradually smeared herself with blood that we really hope was fake.
J: Read Macayla’s album review of GUTS here. It was really good, in our unbiased opinion.
Seventh Performance & Fifth Award
J: U2 have been enjoying their residency in Las Vegas, performing in The Sphere, the newest venue in the Nevada desert oasis. After playing “Atomic City,” Bono presented the Grammy for best pop vocal album to Taylor Swift, making this her 13th Grammy. Swift revealed the title of her brand new album, “The Tortured Poets Department,” and said it will be available April 19th.
Eighth Performance
J: Stevie Wonder paid tribute to his late friend, Tony Bennett, who passed away last year due to complications from Alzheimer’s disease. He performed “For Once In My Life,” with background vocals provided by a recording of Bennett from a previous performance with Wonder. A gift from beyond, Bennett joins him on stage for one last song with one of his many partners in crime. Wonder then played “The Best Is Yet To Come,” as the names of those who dedicated their lives to music appeared behind him. Annie Lennox ushered in the bigger names that will no longer be posted to marquis around the world. Performing Prince’s “Nothing Compares 2 U,” I guarantee there wasn’t a single dry eye in that arena. Lennox finished her time on stage by saying: “Artists for ceasefire, peace in the world,” with her fist in the air as a picture of Sinead O’Connor appeared behind her. Jon Batiste had the help of an illustrious choir backing him up as he sang “Lean On Me,” that is until Patti LaBelle showed up to join him for “Optimistic.”
Fucking love Proud Mary. I don’t know what it is. Maybe it’s the horns, maybe it’s the story, maybe it’s just Tina. Actually it’s probably Flushed Away but you tell no one.
G: I thought that in my mind and then you wrote it not 2 seconds after.
Ninth Performance
M: Oprah Winfrey also delivered a touching monologue in memory of her friend Tina Turner. Fantasia Barrino followed said monologue with a rousing performance of “Proud Mary,” clad in Turner’s signature fringe.
Jay-Z Is Presented With The Dr. Dre Global Impact Award
M: Jay Z is so high he has just realized he’s on stage/live television…I don’t think he realizes that isn’t Beyonce.
J: He’s in his own Empire State of Mind.
M: HOMIE SPEED IT UP! His poor daughter he just shaded like all the Grammy nominees to their FACES.
J: I feel like The Grammys is just a televised festival at this point and I don’t hate that. I mean it’s nice to see people win and my parents are sitting here wondering when they’re gonna present the next award. I kinda don’t mind this. I noticed that it’s becoming more and more like a musical recap of the past year, which is really cool. It’s a fun reminder of why we love music and that we still get excited about it. I like that it’s becoming this more performance-oriented show rather than a full-on award show. It breaks up the monotony of the traditional award show playbook, as well as putting the concert in your living room. CBS Cares.
M: Totally agree. Like, obviously we want to see some of the fun awards, but it’s mostly about
the performances, and I like that they’re realizing that.
Sixth Award
J: Lionel Ritchie presented the Grammy for Song of the Year, which he won in 1986 for co-writing “We Are The World” with Michael Jackson. The Grammy went to Billie Eilish for “What Was I Made For?” from Barbie.
M: If Lana comes out of this night with no Grammys I will be pissed. She’s been nominated for FUCKING ELEVEN awards and has never won one. Girly looks like she’s mourning her rich husband who she totally killed but if she doesn’t get a Grammy tonight, she’ll be mourning the Academy because I’m gonna burn it down.
Tenth Performance
J: Brandi Carlile introduced “The Matriarch of Imagination,” to use her words, as Joni Mitchell made her Grammy performance debut.
M: Mitchell, now 80, has battled poverty, a near-fatal brain aneurysm, and polio in her life. She has learned to speak three times, making her singing on the Grammys nothing short of a miracle.
J: She sat in a gilded armchair next to Carlile, whom she has mentored and performed with many times before. Both Mitchell and Carlile won Grammys for Best Folk Album and Americana Performance, respectively.
Eleventh Performance
J: I lost a lot of respect for Travis Scott after Astroworld. I get it wasn’t his fault but also it was the weak-ass video afterwards that was a PR nightmare of epic proportions.
M: No, me too. Like, the fact that he never really apologized and seemed to treat it as more of a thorn in his side rather than an incident where people literally lost their lives definitely gave me the wrong vibe.
Trevor Noah
“I used to get Afro-beats from my mother when I came home past my curfew so this is nothing new to me” – Trevor Noah, 2024
M: Trevor Noah’s ability to throw in jokes about beating children and Epstein’s Island then just move right on is truly incredible.
J: He’s such a great host.
M: Agreed, so much better than that guy who made fun of Taylor Swift and Barbie.
J: Yeah, Jo Koy bombed which sucks because he’s decent, but it’s like watching someone shoot holes in the bottom of their boat and wonder why the water is coming in.
M: Literally homie was like “women! Am I right?” and then wondered why the entire world didn’t laugh with him.
J: He did make a joke saying he got the gig like a matter of days beforehand so that could’ve played into it. Maybe it was just a bit but the question has to be asked.
M: Yeah. I get that maybe it was a last minute bit but making women the punchline is just so exhausting and so unfunny… It’s been done so many times and it never was funny and it still never will be.
Seventh Award
J: Damn… Jelly Roll kinda funny. Thought he’d get it.
M: WAIT YAY I thought Ice Spice was gonna get it but Victoria Monet is SO GOOD I’m so hype.
J: I’ve heard bits of the song they played as she walked up, she’s good. Her speech is really good.
M: Literally she’s so talented I’m so happy for her.
Seventh Award
J: Celine Dion, ladies and gentlemen.
M: Icon. Legend. She is the moment.
J: Take it home, Macayla.
M: I AM SAD FOR LANA BUT SO HAPPY FOR HER THIS IS FUCKING HISTORY THAT’S MOTHER OH MY GOD. SHE’S SO MOTHER UGH I’M SO HAPPY FOR HER SHE SLAYS.
Lana still went home without a fucking Grammy but she did get shouted out onstage and all that so I won’t burn the Academy down but they better give her one soon because otherwise I’ll riot just a little tiny bit.
J: And with that, I’m off to bed.
M: Me too. Good night, looking forward to sorting through all of these notes at some point.
It’s difficult to express in words how much Joywave as a band means to me. After an extremely dark period in my life during the backend of 2023, I decided to analyze and reflect upon some albums that I found myself relistening to as a therapeutic way to cope and grieve with the tragedies that had shaken me during this time. For me, the album that ranked highest and was most replayed on my list came in the form of Joywave’s fourth studio album: Cleanse, which was released on February 11th, 2022.
For some background context, I had originally seen Joywave live in concert on April 2nd, 2022 at the Union Transfer in Philadelphia. At the time, I hadn’t really grasped their discography as of yet and chose their concert as a way to celebrate spring break. Reveling in the spectacle at the time, I want to point out that the beauty of Joywave’s live performances comes from the production put on by vocalist Daniel Armbruster (middle) as well as guitarist Joseph Morinelli (left) and drummer Paul Brenner (right). Their live album, aptly titled “Live”, was released on July 29th, 2022 and features the very same setlist from the concert that I witnessed as well as the poignant and satirical commentary from Armbruster that adds to the charm of Joywave as a band. Also, there’s something beautiful in the form of their encore set including “Dangerous” where every single band member played a bass guitar on stage and “Double Destruction” which as the name suggests, hits even harder the second time around.
Author’s Note: After going through my old concert folder that I had saved on my phone, I found a couple of photos that I had taken from the Joywave show mentioned above. These are very low-quality but it’s nice to showcase a few mementos from a concert that introduced me to a band that I hold dear to my heart. Enjoy!
Now, as much as I’d like to write up a concert review regarding something that I saw two years ago… I’d much rather express the significance of Cleanse as an album and why it’s so important to me. Cleanse exudes a form of lyricism and finesse that balances a healthy dosage of both alternative bliss and some hard truths to swallow. According to the Spotify biography tab presented on the band’s page, the album was conceived when touring plans for Joywave’s third album, Possession, fell through when the COVID-19 pandemic hit. With this unexpected shift, it somehow gave way for Armbruster to reflect upon the past and present as well as moments of realization regarding metaphorical chips on his shoulders that he needed to get rid of. When I originally read through this, I realized that I had found myself in a similar position after retrospection and it hit deeper than it needed to.
The album boasts a total of ten tracks with each one sending a motivational message of picking yourself up and pushing forward in life. Some of my personal favorites include singles such as “Every Window Is A Mirror” and “After Coffee” as well as underrated tracks including “The Inversion”, “Have You Ever Lit A Year On Fire?”, and “Why Would You Want To Be Young Again?”. All of these tracks signify a continuation of Joywave’s linear alternative style while also focusing heavily on Armbruster’s fixation regarding the past and turmoils of the present. These tracks, to me, help bolster the presence that Cleanse has in regard to reflecting on the stuff that matters most to you while simultaneously washing off the scars of what affects you.
Music, to me, has always been about how songs make you feel generally as well as the significance behind the messaging of the music itself as well. Upon relistening, Cleanse is able to convey deep emotions in a complex way while still single-handedly touching on subjects that are raw and therapeutic in nature. When evaluating this album, I was touched by the integrity regarding the lyricism written on most of the songs as they focus on heavy subjects as well as the instrumentals behind all ten tracks on the album too. With all of this in mind, the album’s runtime of 35 minutes doesn’t seem to weigh heavily as it gives a lot of repeatability.
Cleanse is one of those albums that feels like a breath of fresh air as you’re listening to it. Each track is packed with so much detail and features an explosive mix of energy as it details themes of technology, humanity, and society as a whole. It felt as though Joywave was trying to make up for the lost time inflicted with the COVID-19 spread between their third and fourth albums and in a way, it really worked. Every song featured on this album exudes a critique on the world and the hardships that come with it but Armbruster sprinkles in his own motivational energy to bring up the album. Overall, compared to Joywave’s other albums, Cleanse holds up on its own as a force to be reckoned with.
On a more personal note, I couldn’t have rediscovered this album at a better time. Without disclosing too much about myself on a student blog for the radio station that I’m the training director for… the last few months of 2023 were rough ones for me. The amount of pain that I went through sort of broke me in ways that I hadn’t really felt before. But, at the same time, it allowed me to gain a deeper appreciation for the better moments with my friends who I consider to be really close with as well as fully grasp the concept of using music as a way to cope with the stuff that I’ve been faced with too. In a strange way, I was able to also start the process of cleansing myself with the help of the songs on this album and I’m eternally grateful for that.
Overall, I can’t recommend this album enough to anybody out there reading this. Not only was this originally an amazing introduction to Joywave’s music as a whole for me but it’s also laced with a fusion of alternative to sink your teeth into. The amount of production that was put into this album speaks volumes as it displays a raw side to Joywave’s music and captivates the listener with glistening forms of motivation during times of uncertainty. I’m also genuinely excited as well to see what Armbruster, Morinelli, and Brenner have planned for their next album as Joywave too. I hope that whoever chooses to listen to this album appreciates the art that was presented to them and I can’t thank Joywave enough, as a listener myself, for producing Cleanse and helping me start the process of praying for the reboot because sometimes, we are all we need at the end of the day.
