THE RUNNING MAN By Dawson Sarcona 11/15/2025 The Running Man, directed by Edgar Wright, is the latest in the boom of Stephen King adaptations from the past few years. That being said, this film immediately differs from its counterparts in one major way: This is not a horror movie. Regardless of how you know King’s writing, whether it's literary classics like Cujo, Salem's Lot, Carrie or big horror icons like IT or The Shining, King is known for creating truly terrifying stories. The Running Man, however, is different. This movie is a dystopian action story through and through. While it does include some intense and high-stress situations, the only “horror” that lies in this film is its disturbing resemblance to our current society. This film follows Ben Richards (played by Glen Powell) as he competes on a deadly gameshow that, if won, will result in him winning 1 billion dollars and securing a better life for his wife and daughter. The world this film builds is one of the more interesting put to screen this year. “The Network” (a literal TV network with a name devoid of creativity) owns the government and dictates the lives of everyone in the nation.Because of the way this world is set up, the message from Kings original novel stays relevant in 2025’s adaptation by Wright. The message is simple: the dangers of a world reliant on media and entertainment. Here is where King’s trademark “scariness” comes in. His depiction (aided massively by Edgar Wright’s film adaptation) of this parallel Earth is chilling because it’s not far off from our own. In a time where everyone is heavily reliant on their screens, the thought of a society where those screens watch back and keep tabs makes for a captivating watch. Moving away from the plot and broad strokes of King’s writing, Edgar Wright once again shows audiences why he's one of the most talented directors working right now. Wright has directed many cult classics (Shaun of the Dead and Scott Pilgrim Vs. the World, to name a few), but his status as a director otherwise seems to be underrated. Since I first saw his passion project film, Baby Driver, I've been a huge fan of Wright, and the talent he demonstrates filming compelling action in that film carries through in The Running Man. This movie is, action-packed by definition, full of fight scenes and stunts that rival some of the genre’s best films across the past year. Wright just knows how to properly direct a scene. Even in the moments with the least action, this movie maintains its momentum. In comparison to movies like Mission Impossible: the Final Reckoning, which left me bored from scene to scene, waiting for the next piece of action, this movie fully immerses its audience into the story. There was not a second during this movie that I felt bored or a scene lingered too long. If anything, there were some moments in the film where the pacing felt a little too fast. While it wasn't enough to take me out of the film, there were some moments I wish they’d spent a tad bit more time in. That said, for the most part, Wright uses his time in King’s world wonderfully and tells a wholly satisfying story. Wright isn't The Running Man’s only strength. Glen Powell delivers one of, if not his most compelling performances yet. There has been talk amongst the film/movie culture of Glen Powell taking up Tom Cruise's mantle as the next big action star. Before this film, I was impartial to this concept. But after seeing The Running Man, I can confidently say that he would be an excellent choice to succeed (and even surpass) Tom Cruise. Powell brings life to the character of Ben Richards and makes him very easy to root for, which is important for a movie like this. He balances the comedic range and physical demands of this role very well, and his on-screen interactions with most are very compelling. All in all, the only minor issue I see with this movie is some rushed pacing in the first act. I would rate this movie a 9 out of 10 , and would heavily recommend it to anyone looking for a fun and exciting theater experience. It’s Glen Powell at his best and further proof that Edgar Wright can direct a thrilling ride of an action movie!

PUTTING YOU ON THREE BY: Ian Sherry 5/22/2023 For music fans, there is no better feeling than discovering a new artist. Whether it’s a sleepless 2:00 AM deepdive, the opener that outperformed the band you actually came to see, or you decided (at risk of being lame) to finally listen to the Beatles, musical discovery is an unmatched feeling. This year has been kind to me thus far, so to celebrate I’d like to share my three favorite “underground” discoveries. In order of monthly listeners on Spotify, here are my three. They are all active artists who have lots of potential and could use your help, so if my descriptions appeal to you please check them out. Elijah Landours Technical Juggernaut 2,135 Monthly Listeners Though he has the least number of streams of these three talented artists, Elijah Landours may be the most polished. The Indianapolis rapper only has one album out on streaming services to go with several singles, yet his strengths are clear in this admittedly brief discography. Landours has a style. A groundbreaking one? No, but it’s consistent, recognizable, and entertaining. He does things in his music that many world-famous artists still fail to grasp. The first aspect of Landours’ musical repertoire is his sampling instincts. He uses them as frequently as anyone else, but he is so meaningful. A tendency of big money rap projects recently is over-sampling. It isn’t necessarily a negative, meaning an extra sample may not hurt the song. But, the purpose of introducing someone else’s work into yours is to pay homage and create a sound you wouldn’t have otherwise. That’s what he does. “PROPANE” is a good example off the 2022 project N/A . It makes use of a straight Marvin Gaye sample, but I don’t want a lawsuit so I’ll talk about “REVENGE FOR LOST TIME”. Also off N /A, he opens with a silly audio clip before introducing the faded and looped sample with distorted vocals and trumpet run. He then lays a simple drum machine and base hits over the top. He leaves the sample quietly underneath and brings it up over the top on occasion to add flavor to the heavyweight rhythm. Landours’ flow rides over the top of his most dense soundscape for one of his best songs, despite a feature I could take or leave. This leads me to Landours’ secret sauce. He has an uncanny ability to work over the top of his instrumentals. This is that polish coming into play again. No matter the speed of the beat, he is able to pace himself and dictate the energy of the song. Many artists have a tendency to try to be on the same pace as the beat, Landours’ knows better. It’s especially evident in some of his hooks. “MYSELF” and “MYLES AWAY” are his two most popular songs and for good reason. He is able to accelerate in and out of his verses to seamlessly shift the tone of the song. Both songs have sample-based beats which the hooks match in pace. They then make swift shifts into higher energy and pace on the verses. This allows him to use simple beats to create a comfortable groove for the listener because he provides all the necessary flavor in his delivery. Elijah Landours is a technical beast with an ear for beats and a lot to say. His execution comes off as relentless and sincere. Oftentimes I find myself imagining what artists could feature on his projects, from Black Thought to Denzel Curry. His soul flips and lyrical prowess are on the level of today’s best and brightest and his more unique strengths are a level above that. Elijah Landours is the real deal, he is ready, he just needs you to listen. https://unitedmasters.com/elijah-landours Ally Evenson Narrative Weaver 21,885 Monthly Listeners Disclaimer: Ally Evenson is Detroit based, so I may be biased. Her discography, while it may be the smallest on the list with one EP and five singles, has a promising level of diversity. She has a good grasp of Pop as a genre and its ability to bridge stylistic gaps while maintaining one sound and stylistic label. Not that labels matter, but within pop she’s given herself the ability to grow under one roof (and within one algorithm) while showing off her versatility and trying new things. When I listen to Evenson, her wide range of influences and natural musical instincts are clear, making a trip through her discography very rewarding for new listeners. Evenson’s recent singles have been most successful in terms of streaming, signaling positive growth, but her 2020 EP Not So Pretty gives what I consider the most essential taste of her abilities. Her singing performances are solid all the way through, nailing the sad-girl pop aesthetic with vocals that border on whining but settle in a genuinely vulnerable place. The first three songs “Not So Pretty”, “Why Don’t You Call Me Anymore?”, and “Burning Room” all lean into that same style. Their lyrics and song structure are impressive as she is able to change direction without any major shifts in composition or delivery. They move along and keep the listener tied into their easy to swallow narratives. Admittedly, the fourth song “More of a Happiness” sticks out in an otherwise uniform release, and though it's out of place, it may be the strongest track. The best way to describe it, in my mind, is a beach song. Washy guitars, an upbeat rhythm, and smooth vocals that feel like one continuous chorus, it’s a welcome change in direction. It stands as proof that she’s a good collaborator (with Katrine Noël in this case), and a reminder that Evenson knows her stuff, making it a perfect interjection for an early-career release. I’d wager the biggest reason for Ally Evenson’s growth as of late is her honing in on a consistent signature sound. That creativity is still present, but her 2022 singles feel like a good indication of her future direction. Fairly simple strong structure, often building from a simple acoustic guitar to more heavily layered high points, goes with her ability to build tension with her vocals. “Bite My Tongue” is a great example. She remembers her way through a dead relationship, attempting to hold back negativity towards the person in question, only to have it boil over. Inevitably she’s forced to face the fact that she missed the chance to say what she needed to. She knows how to write a song and paint a picture. Whether it's through lyrical expressions of pain like on “I Can’t Feel (My Body)” or “Bite My Tongue”, a well placed audio clip like on “Good Morning, Al”, or just a vibe like “More of a Happiness”, she has command. Evenson is a creative and a student of the music game, and those ingredients are exciting to say the least. Her continued journey towards an easily recognizable sound is key, and her growth in streaming number will only encourage it. I am looking forward to Evenson's 2023 releases, and I hope you'll join me on the lookout. https://linktr.ee/allyevenson Gretel Hänlyn Musical Swiss Army Knife 165,440 Monthly Listeners London is one of the most unique and diverse cities in the world. This goes for music as much as anything else, and Gretel Hänlyn is proof of that. Her sound is unique and I believe her ceiling is the highest of these three artists. She has two EPs out on streaming services, and while they are wildly different from one another, her voice and personality are true constants between them. Hänlyn seems to be executing her visions on a near expert level and her creative ambitions and talent will carry her far. Gretel Hänlyn’s never-ending appeal begins with her voice. Her tone and versatility cannot be taught. Though it's hard to conclusively say where an artist feels strongest, Hänlyn seems to thrive singing in her naturally deep voice which she can pitch up or down. She doesn’t need to throw her voice at all to hit the notes she desires on a given song. This is something that many incredible vocalists, Prince for example, aren’t fortunate enough to have been born with. They may be able to hit notes with added concentration and polish, but Gretel can do it without a second thought. While the ability to range up and down without any significant heightened focus may seem like more of a convenience than an advantage, that’s not the case. In fact, I think it’s a big reason she is such a dynamic artist. It gives Hänlyn the ability to focus on supplying her performances with emotion, creating unique melodies, keeping pace, and most importantly, entertaining. Like I briefly mentioned, her two releases are much different from one another, however, they are anything but singularly focused. The 2022 Slugeye is a 20 minute package of vividly heartfelt songs, indie-pop jams and takeaways from each track. It showcases her ability to elevate any song with a great chorus, sing a verse in any tone, and keep the audience off balance yet captivated. For promptness sake I’ll limit myself to one song: “In The Water”. It’s not the best song on the EP, but in my opinion it showcases her various tools the best. We hear her complete range, from the murky lows to the delicate highs, her beautiful vocables included. She writes it in one of her most common formats: a meandering mix between conversation, narrative, and her own thoughts. She also layers the instrumental as the song proceeds, beginning with some of her more stripped down production (usually serving more sensitive narratives) and building to a masterfully layered chorus that even includes what sounds like a harp laid over top. It’s elegant, it’s emotional, it’s beautifully performed, it’s entertaining, it’s Gretel Hänlyn. In 2023 she vowed to take her already fully formed sound and push it further on Head of the Love Club. The result is fantastic. So good I couldn’t resist writing a complete and overdue EP review . I have so much to say about Gretel Hänlyn I needed an entirely different article, if that doesn’t properly sum up her talent I don’t know what does. https://www.gretelhanlyn.com/ Musical discovery is the most essential role we can play as consumers. If you haven’t heard of these three, I am thrilled to introduce you. If you have, keep listening, so we can keep getting more. They are all very talented, and together they cover all aspects of experiencing music. I hope you agree.

30 Years of Definitely Maybe 9/16/2024 BY: IAN SHERRY On August 30th, 1994, Oasis released their debut album Definitely Maybe . 30 years later, sometime in the days approaching the anniversary of their flagship LP, the Gallaghers let news of their reunion trickle out. That makes this the perfect time to review this deluxe reinstallment of their debut. It’s the very nature of the reunion that peaked my interest. As I journalistically searched for the date of their announcement, it became clear that the news was largely the result of the pop culture rumor mill, with eventual confirmation from the formerly feuding Gallagher brothers. This brand of brit-pop shenanigans is reminiscent of another time. Who doesn’t look back fondly on those massive crowds that surrounded The Beatles , or the tabloid culture of prime American rock & roll? I love Oasis playing into the insatiable passion that humans have for both gossip and music, because it harkens back to that perfect balance between those passions and the pure obsession that fueled rock music in its prime. In fact, Oasis’ talent for retooling British Invasion era music and culture is responsible for much of their notoriety and critical acclaim. Often recognized as a beacon of real rock in a transitional era, it’s fitting that the first track on their debut record is titled “Rock ‘n’ Roll Star” . Staking their claim perhaps? In that very first song you can find a lot of album-spanning tropes, most notably the pace. They immediately establish themselves as a high-octane rock band, with wailing guitars that often act as the secondary focus, boldly supporting the lead vocals. Liam Gallagher mostly sits atop their wall-of-sound style instrumentation, occasionally stepping aside for older brother Noel on guitar, setting a clear pattern for most of the record. Their beefy sound falls just short of relentless, which, depending on the audience, can either capture the listener’s ear or prevent them from resonating with any one part of the song. Therefore, to make their music more digestible, it’s essential to create space within the song structure and the sound itself. Given that Definitely Maybe was a debut record, I’d say all in all Oasis does a solid job of creating breathing room, employing slight differences in pace between vocalist and the band, allowing brief instrumental interjections within the verses, and making the small yet consequential choices needed to customize individual songs. The Beatles-like backing vocals on “Shakermaker” and “Supersonic” are subtle, but by singing a single rising note, they change the landscape of the sound. The vocal filter and flourishing drums on “Bring It On Down” help separate the different elements of the song. Even the extended reverb on “Cigarettes & Alcohol” , which creates just a moment of space before jumping back into the sonically packed second verse, goes a long way towards avoiding the pitfalls of repetition, a tool they use routinely. That kind of attention to detail is what elevates this debut record above those of their talented counterparts. Oasis was indeed a talented band. Unrelenting guitar performances by the Gallaghers litter every song, Tony McCarroll serves as a strong, yet tame presence on drums, and the group’s ability to systematically assemble a complete product is evidenced constantly. For example they build the instrumental backing for “Shakemaker” one piece at a time, rumbling from the tapping of drum sticks to a heavy rock sound in an instant, a la Led Zeppelin . I am truly a sucker for a good instrumental build, however Oasis’ best band-work on this record lies in their breakdowns. On any given song you can hear them prioritize one element of the chorus, either instrumental or vocal, as they begin to subtract other components. The results can vary from rhythmically atypical, like “Rock ‘n’ Roll Star”, to catchy and repetitive like “Columbia” , with most tracks giving way to Noel Gallagher’s always-sturdy guitar. Their ability to start and finish songs effectively gives the record a tangible flow from one track to another, adding to the collective experience. While their instrumental palette on this record is limited in comparison to their later work, and that does put an undeniable limit on the versatility of the sound, their points of emphasis in the structure of the instrumentation make for a cohesive listening experience they’ll never quite replicate. Familiarity. In my 19 years of life I’ve come to understand if there’s one thing people like, it's what they already know. No wonder Oasis triumphed so immediately in the states. In the UK (I’d imagine) there were plenty of bands trying to strike the balance Oasis came initially equipped with, but in the US of A, they weren’t such a common breed. The evidence of punk rock’s unavoidable influence, which may have been overly familiar across the pond, could in theory, have gone unnoticed or felt more exotic here. In practice, a song like “Live Forever” certainly benefits. The most popular song on the record holds that title because of its familiar American Rock influences - hard to miss especially in the guitar solo. With this familiar instrumental foundation, the pure Brit vocal performance blends in seamlessly and Liam Gallagher comes across as an approachably quirky frontman, instead of tardy British invader. Familiarity can be a curse as well, one Oasis will become all too familiar with in the following years via the commercial excesses of “Wonderwall” and they had to wrestle with on this record as well. They establish their MO so immediately on the first 2 tracks that equally strong songs of a similar hue like “Columbia” or “Slide Away” can lose their luster. It’s a demon Oasis battles on this record and every release that follows, driving their development as a band, and in part fueling the heated disagreements that eventually got the best of them. Reviewing Definitely Maybe - 30th Anniversary Deluxe Edition retrospectively - and it really is a retrospective review of the original since the deluxe edition offers nothing more than cleaner mixes and instrumentally thinner versions of the same songs - it's impossible to ignore the evidence of Oasis’ final form. More tender and nostalgic songs like “Digsy’s Diner” and “Married With Children” get more popular in the post alt-rock era, and the band joins that trend with some of their biggest hits not long after. The slightly softened Oasis didn’t come without skillful advancements, with elements such as the piano on “Digsy’s Diner” emerging as strengths within their evolving sound in the late 90’s / early 2000’s. Like many debuts before and after them, Oasis would never be the same band they were in 1994. They’d never be more punk, more Manchester, than they were on Definitely Maybe ; just like Nirvana would never be more raw, more Seattle than they were on Bleach , and Led Zeppelin would never be more blues, more London than they were on Led Zeppelin I . It’s not as much of an issue as it is a reality, but this anniversary provided an opportunity to live in a different reality, and I thoroughly enjoyed it. Definitely Maybe is an 8.7. Definitely Maybe - 30th Anniversary Deluxe Edition isn’t worth scoring separately.

THE RUNNING MAN By Dawson Sarcona 11/15/2025 The Running Man, directed by Edgar Wright, is the latest in the boom of Stephen King adaptations from the past few years. That being said, this film immediately differs from its counterparts in one major way: This is not a horror movie. Regardless of how you know King’s writing, whether it's literary classics like Cujo, Salem's Lot, Carrie or big horror icons like IT or The Shining, King is known for creating truly terrifying stories. The Running Man, however, is different. This movie is a dystopian action story through and through. While it does include some intense and high-stress situations, the only “horror” that lies in this film is its disturbing resemblance to our current society. This film follows Ben Richards (played by Glen Powell) as he competes on a deadly gameshow that, if won, will result in him winning 1 billion dollars and securing a better life for his wife and daughter. The world this film builds is one of the more interesting put to screen this year. “The Network” (a literal TV network with a name devoid of creativity) owns the government and dictates the lives of everyone in the nation.Because of the way this world is set up, the message from Kings original novel stays relevant in 2025’s adaptation by Wright. The message is simple: the dangers of a world reliant on media and entertainment. Here is where King’s trademark “scariness” comes in. His depiction (aided massively by Edgar Wright’s film adaptation) of this parallel Earth is chilling because it’s not far off from our own. In a time where everyone is heavily reliant on their screens, the thought of a society where those screens watch back and keep tabs makes for a captivating watch. Moving away from the plot and broad strokes of King’s writing, Edgar Wright once again shows audiences why he's one of the most talented directors working right now. Wright has directed many cult classics (Shaun of the Dead and Scott Pilgrim Vs. the World, to name a few), but his status as a director otherwise seems to be underrated. Since I first saw his passion project film, Baby Driver, I've been a huge fan of Wright, and the talent he demonstrates filming compelling action in that film carries through in The Running Man. This movie is, action-packed by definition, full of fight scenes and stunts that rival some of the genre’s best films across the past year. Wright just knows how to properly direct a scene. Even in the moments with the least action, this movie maintains its momentum. In comparison to movies like Mission Impossible: the Final Reckoning, which left me bored from scene to scene, waiting for the next piece of action, this movie fully immerses its audience into the story. There was not a second during this movie that I felt bored or a scene lingered too long. If anything, there were some moments in the film where the pacing felt a little too fast. While it wasn't enough to take me out of the film, there were some moments I wish they’d spent a tad bit more time in. That said, for the most part, Wright uses his time in King’s world wonderfully and tells a wholly satisfying story. Wright isn't The Running Man’s only strength. Glen Powell delivers one of, if not his most compelling performances yet. There has been talk amongst the film/movie culture of Glen Powell taking up Tom Cruise's mantle as the next big action star. Before this film, I was impartial to this concept. But after seeing The Running Man, I can confidently say that he would be an excellent choice to succeed (and even surpass) Tom Cruise. Powell brings life to the character of Ben Richards and makes him very easy to root for, which is important for a movie like this. He balances the comedic range and physical demands of this role very well, and his on-screen interactions with most are very compelling. All in all, the only minor issue I see with this movie is some rushed pacing in the first act. I would rate this movie a 9 out of 10 , and would heavily recommend it to anyone looking for a fun and exciting theater experience. It’s Glen Powell at his best and further proof that Edgar Wright can direct a thrilling ride of an action movie!

Before The World Blows BY IAN THOMAS SHERRY 9/18/2026 On August 28, in cahoots with The Alchemist, Erykah Badu released her first studio album in 16 years, Before The World Blows . On September 11, 2026, I had the pleasure of seeing the duo live. SETTING THE STAGE It’s been a decade since Ms. Badu’s cell phone-centered concept EP, But You Caint Use My Phone (’16), and her digitimaterial focus has only sharpened in the time since (yes, I made that word up). If you’re lucky enough to see ‘The Abby & Al Experience’ live, like I have, you’d immediately see what I mean. The set consisted of two beds on the far right and left connected by a circular cushion that stretched the back perimeter of the stage, all white, kinda freaky. Two spotlights switch on, and there they are – Abby n Al in their respective beds, Erykah Badu outfitted in red heels, a white trench coat, and a blonde wig, which she’d chuck, and The Alchemist in the boyish black hoodie – speaking to each other ‘on the phone,’ hatching a plan. Quickly, The Alchemist retreated to the platform hidden at the top of the set beside his dark-dressing-DJ counterparts, and the beats began. SOUND REASONING The lines between Abby and Al go back to a wannabe Alchemist selling weed to Badu’s mentor and career-breaker D’Angelo and follow the gyre of neo soul to its current resting place, in the palms of women like Ms. Badu. Her hands have been anything but idle in the years since soul’s sound slipped away. If you caught the two-part New AmErykah series (’08, ’10), or her last LP, you’ll notice Badu’s increased interest in digital hip-hop production. Each record was en vogue, impressive for an aging genre-crossing solo artist, but each aged quickly. Met with the task of creating an updated, lasting product and continually interested in marrying analog hip-hop and modern digital production, Abby went to Al. THE GOODS They played the album in order (with bonus tracks interwoven), starting with the ethereal (Track 1) “Echoes.” As the album chimes and whirs to life, Erykah Badu’s singular aesthetic descends upon this decade of music. Lyrically, she comes out muthafuckin firing: “Ah, if we can't agree on the God we pick / Then, my God / Let's at least agree on this snare and kick / (Red, yellow, black, white, or brown) / Oh, if you can't love the one you with / Ah, then you ain't her God, mm / (Red, yellow, black, white, or brown) / Ah, John Lennon said / “They treat women like the n- of the world,” yes, he did / (So watch how you trеat your girl) / Ah, 'cause the future looking odd thеse days That's on Tyler, Frank, and Earl .” This opening lyrical rampage is more musically dynamic than your Spotify streaming quality can capture; but live, as the synths soared, beat lurched, and Badu wailed through her autotune I was met with a bombastic opening track (only rivaled by Action Bronson’s “Live From The Moon” in my concert-going experience). 7 minutes later it gives way to (Track 2) “I Just Play A Part.” Initially my favorite, and certainly the most climactic song on the record, the first of two Westside Gunn features consists of purely gun sounds for effect as the Clintonian techneo anthem roars to life. Badu picks a cadence and rolls with it for two minutes, until she runs out of bars and resorts to a scream solo that rips at the fabric of the track until it splits and the beat switches for DJ Creole Princess to spit a silky verse. (Track 4) “Witch Doctor” was this record’s lead single and the first look at Abby and Al’s sound. The lurching bassline’s rumblin nicely backs Badu’s mumblin and the simple but syncopated melody allows the entire track to swing in cadence with Badu’s words, before giving way to a hand drum solo which she performed alone at center stage to the crowd’s excitement. The stop and go effect of “Witch Doctor” was something to behold live. The crowd, including myself, floated entranced by her witchly wordplay, and by the end I knew all the lyrics. The sentimental being that I am, (Track 6) “Next 2 U,” which samples Mobb Deep’s “The Realest,” plucked my heartstrings on first listen, and has since burned itself into my brain. “I-IIIIIII wanna smoke blunts with you” too Erykah. (Track 7) “Love Me Not” details the uncertain progression of a relationship before giving way to a tape of Ms. Badu getting her booty waxed – thrilling stuff really – but it was easy to see why she chose to go a different direction for this portion of the show. In place of Track 7, The Alchemist descended to perform a medley of “Life Is Beautiful” and “Hold You Down” (both covers of originals he produced). FLASHBACK When Al was done, attention returned to Abby and her soundboard at center stage. She starts, 'You know, they say 90s babies were born with an irregular heartbeat… and it sounds like this,' - dundun duuuun, dundun duuuun – the first notes of the iconic, immediately recognized, “On & On.” As the crowd revved to life, Erykah Badu, filling with the energy and spirit of her youth as it poured out of the crowd back into her, began to deliver by far her most authoritative, studio-similar, and frankly legendary pair of performances of the night as she medleyed into “Didn’t Ya Know” with ease. When I saw Erykah Badu tour Mama’s Gun a year ago, in the climactic confines of the Fox Theater, she delivered every individual performance with the aforementioned moxie. Not only did this year’s venue, Freedom Hill, lack any sonic containment for her vocals, this year’s album doesn’t feature any such performances. To avoid belaboring my point, allow me to state with absolute certainty: Erykah Badu is 55 years old and holding back (no doubt conserving energy for the arrival of aliens). Badu returned to the tracklist and concluded her flashback with a mashup of (Track 8) “Breezy” (the album’s toughest listen) and “Bennie And The Jets” for the concert’s most surprisingly fun moment. (Track 9) “Abracadabra,” is a good interlude. (Track 10) “To The Moon (Plan C)” features Steve Lacy, who brings his sound to Badu’s record with the same grace she visits his newest release Oh Yeah? The three-way fusion between the sounds of The Alchemist, Badu, and Lacy, all of which are unique and individually decipherable, ought to be an intriguing listen for any music fan. Well-grouped features, Thundercat is next. (Track 11) “They Ain’t You” isn’t the album’s most exhilarating track, but the transition between Lacy’s sound and Thundercat’s bass is clever, but it drags on as TC tracks tend to do. (Track 12) “What The People Say (Apostle 1)” picks up the pace and Badu shakes off the mumbles, ramping up into the fastest-paced rap performance (Track 13) “Hot BiBi (Apostle 2).” Another well-intentioned pairing, but the best bars had yet to come. (Track 14) “No I.D.” captures a true freestyle feel as Badu names legendary DJs over the most quintessential Alchemist beat of the record. It was fitting then, to feature Westside Gunn for the second time, laying viscous flexes over the creepy-crawly instrumental and Erykah Badu’s sweet hook “Ain't nobody fuckin' with the K-I-D (No) / Big ball bangin', need no ID (Doot-doot-doot-doot-doot, ah) / I'ma get a beat from No I.D. (Mm, woo) / Ain't nobody fuckin' with the K-I-D (Yeah) / If Alchemist don't come through for me / I'ma get a beat from No I.D. (Woo).” That’s taste folks. (Track 15) “I Know That Man” mutters Earl Sweatshirt, before stating blankly atop the beatdrop “Everything is not a joke,” at the beginning of the album’s best verse over The Alchemist’s most emotionally charged beat only to give way to this chorus on gospel-style-repeat: “I, wanna be seen / as good / in the eyes of that which made us.” It brings tears to my eyes, even in listening to write this article. Now for the final time, check this shit out: “Too much dopamine can make a man mean / Dimethyltryptamine make a man dream / Ozempic and promethazine make a man lean / Mars' daddy Jay Elec', make a bitch real mean / Turn into a meme, make a big scene / Broadcast it on the whole block, live from the black box / Phone call, liberation or entrapment? / Mercury in retrograde, at midnight all was well / But suddenly the box became engulfed with a beam of light / Somebody gettin' some pussy, tonight.” Is your jaw on the floor? Mine was the first time I heard Ms. Badu rattle this off for a teaser at last year’s show, and so were the jaws of any fan who hadn’t heard (Track 16) “Black Box” before last Friday’s concert. Oh, and the second verse is just as good, so give it a listen and yours may be too. My name is Ian Thomas Sherry, but I’m Mr. Badu if she’ll have me. Before The World Blows is an 8.9.

Even More Gecs (10,000) BY: Ian Sherry 4/1 /23 On March 17, 2023, 100 Gecs released their sophomore album 10,000 Gecs. Following the release of their debut album 1,000 Gecs, the St. Louis native duo, Laura Les and Dylan Brady, has become one of the most polarizing and impactful groups of the last five years. Hyperpop is a genre born from a combination of internet culture, and the mistaken notion that music can’t progress beyond its current stylistic barriers. In many ways it is the Gen Z equivalent of the punk movement of the mid-70s that serves to demolish the assumption that there are no more musical worlds to conquer. The impact of 100 Gecs on their audience is immeasurable, and I suspect their influence will be felt more and more in the mainstream over decades to come because of their impact on the young, underground scene. Despite all of this, 100 Gecs has much to prove entering 2023. Like many of the albums I review, they face numerous questions, but, unlike other reviews, their questions include: Is this real music? Will they use real instruments? And most importantly, what is a gec? Because their first album often sounds like it was composed using a microwave, autotune, amber alerts, and a drum machine, these questions aren’t unreasonable. And while they don’t care much about answering anyone’s questions regarding stylistic choices, 100 Gecs did a good job of cementing themselves as the ambitiously creative musicians that their audience swears by. As a listener it’s easy to dismiss the chaos of 100 Gecs as accidental, but I can assure you it’s a choice. They have a plethora of influences which only became more obvious with this year's release. Being from St. Louis, midwest emo is a natural inspiration for them, but they do a great job of incorporating elements of punk, pop-punk, and ska on this record; and for a group that can be intentionally offensive to the ears on occasion, they incorporate their various influences tastefully and in different ways. For instance “Hollywood Baby” is a straightforward emo-pop song. They enter a genre which suffers from over-replication and put their own spin on it. It’s simple but enjoyable and it was received very well, making it a great choice for one of their leading singles. They also include “Billy Knows Jamie”, a grinding punk song with wailing guitars, a variety of equally intense vocal deliveries, and a death metal break (if death metal can be considered a break) at the end of the song. “Billy Knows Jamie” is a shift in mood and lyrical content as well as music and it showcases their ability to convey emotion even with their unconventional sound. One observation, if not critique, of their first album was their only two moods were ecstatic highs and lows that cried for help. Along with their music, the emotion infused in every song has become more diverse. “Dumbest Girl Alive”, the first song on the album, gives a taste of that emotion. It provides a window into the performer’s struggles with self worth and does so very matter-of-factly. “I'm smarter than I look, I'm the dumbest girl alive”. They aren’t asking for pity, they’re giving an honest assessment of their character, however concerning it may be. 100 Gecs not only makes music young people enjoy, they accurately represent a problem that many internet-era teens struggle with, and they do so on a catchy track. Maybe the catchiest track on the entire album is “Doritos & Fritos”. It is the first taste of the ska on the 2023 record, something they haven’t shown much before but are clearly comfortable executing. It has that signature upbeat baseline of the 90s genre along with verses that flow really well and choruses that are perfectly timed. The guitar solo bridge adds to an already enjoyable song by keeping the energy going while also providing a welcome pause in the vocal action. However, what makes this song great to me, is the attention to detail in the production. Their previous album certainly didn’t lack excitement, but it did fail to provide breathing room in a lot of the tracks. The mixes often blended together because of the countless minute soundbytes mashed into a beat. “Doritos & Fritos” does a great job of using lengthier instrumental clips and an added focus on layering within the mix, to create a really full sound while falling short of overwhelming the listener or spiraling into sonic disorder. This is encouraging as a fan because it shows not only an improvement in skill level, but a willingness to shift their style without conforming or losing their sound. In true 100 Gecs fashion, the most emotionally raw track is called “I Got My Tooth Removed”. It’s a silly fun little song that incorporates the best parts of “Dumbest Girl Alive” and “Doritos & Fritos”, with both masked and forefront emotions to go with an upbeat experimental ska sound. It starts with an emotional, instrumentally stripped down, vocal intro that establishes the conflict (tooth removal) before jumping into the loud ska jam. The pace is fantastic, and once again, their variety of vocal deliveries are essential, along with the horns of the chorus that keep it moving along without becoming repetitive. However, what I like most is the tooth removal narrative. It is a metaphor for the inevitable end to a toxic relationship and they don’t try to hide it. Their choice to design the song how they did reflects the attitude of someone who is hinting at something heavy, but choosing to bury it in favor of positivity. The metaphor is present throughout the song but 100 Gecs' rarely emphasizes their lyrics or vocals, so the narrative can be easily ignored, and that is exactly what they want. 10,000 Gecs is a definite improvement. Despite the success of their debut, they had lots to work on, and that’s what they did. They improved their vocal skill and diversified their deliveries. They employed more airy, smooth production and layering, which made for more palatable sonic highpoints. Their songwriting vastly improved. And, they spread their influences and inspirations over the course of entire songs, instead of a matter of seconds. 100 Gecs, as pioneers of a young genre in need of refining, had a lot of responsibility to deliver in 2023, and even with “Frog On The Floor” (a straight up dumb song) they did. And for those concerned they may have changed too much, allow me to point you in the direction of “757”, “One Million Dollars”, and “mememe”. If it’s not for you that’s understandable, but Gecs will always be Gecs, don’t worry. There’s still room for improvement, and when stacked up against other big-time releases their lack of seriousness on some tracks can hold them back. But their ceiling is higher than they get credit for and I think they proved that this year. 10,000 Gecs is a 7.75/10.

KID CUDI'S ENTERGALACTIC BY: Ian Sherry 10/12/22 Kid Cudi is a generational artist who has shaped the melodic hip-hop scene of today through his work in the trilogy of Man On The Moon albums and other releases over the last ten years. His newest project, Entergalactic, was released on September 30th in tandem with an animated Netflix series under the same name. The series has been received well by critics thus far while the album brings something different to his discography. The buildup for this dual release was immense. Cudi is an artist who has shaped generations of music listeners and musicians as well. He has saved lives with his relatable commentary on mental health struggles. The world’s number one Kid Cudi fan, Nino Dioso, can attest to this. In his words: “That man literally saved my life”, and “I would die for Scott Mescudi [Kid Cudi]”. Any artist with this kind of impact is bound to have heavily anticipated releases and therefore high expectations. I think Cudi delivered. This isn’t to say he delivered a perfect album – far from it. The high points are impressive, though nothing musically groundbreaking. However, there are some issues. The most glaring is the fact that it feels aimless. Cudi is known for his thematically brilliant albums. This album had a slightly different focus. The only real theme was love and its focus on supporting the animated series falls short. In order to be a chronologically strong album the listener has to understand the full narrative from start to finish. For example, Tyler The Creator’s 2019 experimental and genre-bending release Igor tells a complete story through lyrics and even the feel of the production. Entergalactic doesn’t come close to this level of coherency in its storyline. Kid Cudi also falls prey to the occasional boring song on this album. He has a tendency to overuse his trademarked moaning vocals and lock in on one flow for too long, sometimes an entire song. Both of these can be seen on the song “Can’t Shake Her”. It is repetitive and fails to ever hit the second level it needed to be a widely enjoyable song. It stays in a sort of melancholic rut for the duration of the track and wastes one of the two Ty Dolla $ign features which are at a premium. Songs like “Angel”, “My Drug”, and “New Mode”, all fall in the same category. They show bits of potential at times but ultimately fall flat. Kid Cudi never makes offensively bad songs like other artists, just boring ones. Once he hits his stride though, the good outweighs the bad. The good can be found consistently from the fifth to the tenth track with one or two before and after, however, tracks six through nine are perfect. “Travis Scott would not exist without Kid Cudi” -Nino Dioso. This is not an uncommon opinion, and there is no better example than “In Love”. It has the punchy drums, decisive autotune, rolling synths, and soaring choruses that are responsible for so many of Travis Scott’s hits, except Cudi does it better on this song. It is a fantastic example of how to properly use elements of pop music without selling out to a mainstream sound. Though Travis Scott can come close at times, nobody but Kid Cudi can make a song like this. In that same vein, “Willing To Trust” is another massive success. One of the two singles leading up to the release of Entergalactic, this track features the previously mentioned Ty Dolla $ign, who is known to be one of the best feature artists in the entire music industry. He delivers here. His relaxed yet vulnerable vocals blend perfectly with Cudi’s, and a couple well placed refrains pull the track together into a cohesive and complete Kid Cudi classic. As if these two emotional and vocally elite tracks weren’t enough, Cudi directly follows them with “Can’t Believe It”, featuring 2 Chainz. This song is a big change in tempo from the previous two. Though it poses a slight chronological discrepancy, I can’t complain. Its rolling baseline and higher-paced chorus are a nice change of pace and it leads perfectly into the next song. 2 Chainz delivers one of his signature playfully braggadocious verses to round out “Can’t Believe It”, and just like that it's ready to be sent into any era of Cudi’s music. The hot streak continues into “Livin’ My Truth”. This track, like many of the other successes on this album, feels like a newer spin on a classic Cudi formula. It is a perky beat with a catchy hook and poppy ad-libs. As “Livin My Truth” fades out to a spacy guitar riff, Cudi wraps up what I think might be his strongest four-song stretch on any of his albums. Entergalactic is by far Cudi’s best work of this young decade, though it may not stack up with the first two Man On The Moon albums or the 2018 collaborative album Kids See Ghosts. He put up some of his best solo work since 2010, even if the whole album doesn’t soar to those heights. To me, Entergalactic’s level of creativity falls in the same category as his 2013 project Indicud, but it is much more well-rounded and polished, not quite sinking to the level of Indicud’s weakest moments. Instead, Cudi’s worst efforts on this album just come across as conservative, inoffensive. He doesn’t run into any issues that he hasn’t encountered before other than the clumsy storyline. That said, it isn’t nearly as chronologically inept as fan-favorite albums such as Because The Internet by Childish Gambino. So, clearly, it is possible to make a classic album with a shaky storyline. I didn’t know what to expect heading into this album. I was almost afraid Cudi might start to regress after his 2020 project, which seemed to lack creativity and consistency. He proved me wrong and I’m glad. I didn’t provide a rating for my first review of the year. That is because, frankly, DJ Khaled’s God Did, didn’t deserve a rating. Cudi does. He overcame the oversights in his storyline, as well as some boring songs, by including several classic tracks of different types and a solid crop of songs to support them; all the while staying with himself, for better or for worse. Kid Cudi’s Entergalactic is a 6.25/10.

ROCK'S PATH FORWARD BY: Ian Sherry 3/22/2023 HEADLINE: Rock is no longer the most popular genre. I could go on and on about the downward trend of the former super-genre. However, to be prompt I’ll simplify it to this: after being the dominant genre of the 70s and 80s and the 90s to an extent, mainstream rock sat too comfortably headed into the age of computers, autotune, and one-trick production brought on by the 2000s. The result is two decades of uninspired pop-rock (a real and pitiful genre in my opinion) and an experimental rock reaction, which often tries too hard to be different and not enough to be good. I could name a lackluster band like Imagine Dragons here, but I won’t because I’m a nice guy. This is all, of course, generalization, but the rising consensus is that rock is in serious trouble. Everyday the internet's ‘hot takes’ become more condemning towards the genre, with many declaring it dead. These claims gain credibility through validation from well-respected critics like Anthony Fantano. Fantano is not anti-rock, he’s realistic. Not only are these opinions reasonable, they are fairly true. Rock’s days as the number one genre are done for the foreseeable future and for good reason. For a long time rock was associated with pop, but pop is often just a reflection or variation of the most prolific and replicable style of music at the moment. So, with pop shifted in a non-rock direction, rock has become limited by its lack of reputable neighboring genres. However, rock is not dead as a genre, and, while I could point to countless contemporary artists and projects, I choose one man: Jack White. If I could have a conversation with the genre of rock I would request the following: steer away from pop (it will find you), dip into other contemporary genres, and don’t be afraid to draw from wherever you want. In 2022, Jack White did all of that and more. His two albums Fear Of The Dawn and Entering Heaven Alive cover all the bases and showcase his mega-talented studio presence. Between the two of them they display aspects of folk, hip-hop, and a plethora of rock sub-genres; I’ve even picked up on some reggae influence in songs like “Esophobia” and “All Along The Way”. There’s also a wide variety of emotions and themes, something White has employed since his White Stripes’ days. I know that all sounds fantastic, so allow me to elaborate. “Taking Me Back” is the first song on Fear Of The Dawn and “Taking Me Back (Gently)” is the last song on Entering Heaven Alive. Often artists will give you two versions of one song on the same album, with rap you may get a remix or instrumental version and with other genres, artists will often tack on an acoustic version. What White did here is less common. He took the same song lyrics and some of the bones, and stripped everything else, rebuilding it nearly from scratch. The original is a hard rocking loud track that leads into Fear Of The Dawn perfectly. It sets the pace of the album and introduces some of the tools he’ll use throughout it. My favorite is this sputtering guitar that cuts overtop the instrumental intermittently in this song and some others on the album. It seems like his equivalent of a record scratch and it brings energy every time it's used, breaking down layers of instrumentals that would’ve been overly dense otherwise. “Taking Me Back (Gently)” is much simpler. The rhythm is slightly different and the instrumental is more relaxed without killing the energy of the track. While it’s less of a standout in the scope of the entire album, it is a really enjoyable song with an energetic violin and a lengthy instrumental break that entertains and provides breathing room that the original version lacked. By including these two songs, and placing them on either end of the albums, White bookends his 2022 releases and puts an undeniable emphasis on the diversity between the two. He also showcases the kind of energy each album possesses, so if you’re deciding which to listen to first, I would suggest starting with these tracks to help you decide. “I’ve Got You Surrounded (With My Love)” is my pick for the best song on Entering Heaven Alive. It is a fantastic groove that uses a heavy bassline to give the track pace and depth. Over the top, White layers keyboard and a buzzy guitar as well as vocals that sound like they’re in the other room (in a good way). All these elements are mixed perfectly to create a unique atmosphere complete with well timed instrumental breaks. It is a 4:25 minute song that feels like two minutes, which is a great sign. A big reason for that is the song’s structure. There are technically two verses, with only two lines each, and two bridges, as well as several variations on the catchy chorus that works as a transition between unique instrumental breaks. What stands out when listening to these albums is Jack White’s creative abilities in the studio, but “I’ve Got You Surrounded (With My Love)” is a songwriting clinic. One of the biggest complaints about rock recently is its inability, or more accurately, its tendency, not to branch out into other genres. On “Hi-De-Ho”, featuring Q-Tip, White takes that step outside the confines of traditional rock stylings without departing from his aesthetic. The track opens with an impressive intro from that same buzzy electric guitar followed by a sample of Cab Calloway’s “Hi-De-Ho Man”. After about 1:20 of what can only be described as confusion, the baseline drops in and so does Q-Tip. He just flows over the looped baseline while drums roll over the top. Simple, but effective. Then White joins in on the bridge for some moaning vocals, that mainly serves to cut the track before it gets too repetitive, before riding out on the same catchy looped beat. It’s a fun song with lots for a listener to easily unpack, and on top of that, I enjoyed the Q-Tip feature which is frankly unusual. “Into The Twilight” is my favorite song on Fear Of The Dawn. It has the wailing guitar of “Taking Me Back” and the energy of “Hi-De-Ho”. It jumps in with another great baseline, a gentle piano riff, and that same guitar sputter. The vocals are kept to a minimum and the focus is on the rising and falling synths and various soundbytes that White weaves in. Brief samples of The Manhattan Transfer are twisted and woven throughout, being used to cut through the heavy guitar and replace the need for verses or bridges. On the way to the conclusion of the song the entire instrumental is torn down before being built up layer by layer. The chorus repeats one more time and it rides out on what feels like a fun improvised keyboard. But, nothing is improvised in this song. It is perfectly mixed and cut, showing a level of expertise Jack White seems to always have in his back pocket. Listening to an artist like Jack White forces me to understand I belong on this end of the music business. Because, I can’t fathom doing what he does in the studio; a depressing thought that is often washed away immediately by pure sonic pleasure. White, to me, should be the prototype for a genre that desperately needs innovation. His ability to involve traditionally genre-specific techniques without leaving his own stylistic comfort zone might be unique to him, but his willingness to try it shouldn’t be. Rock is not dead, but it needs help. In 2022, whether he meant to or not, Jack White gave the genre what it needed. It’s up to his peers to follow suit.

< Back TABS ON TIGERS V Tabs On Tigers Vol. 5 Is anyone surprised? Something about the intensity of my Tigers fandom and the connectedness I feel with fellow fans makes me unrealistically confident that I can speak for everyone. So in regard to the question above, our answer is no. Last year, General Manager Scott Harris and Manager AJ Hinch enjoyed the spoils of public opinion as their squad’s late-season comeback placed them in rare postseason company, but this year brought a historically singular collapse. The story of the Tigers’ eventual demise is simple, and it began at the trade deadline. The specifics of Scott Harris’ acquisitions on July 31 spawned a million complaints and a few simple questions. ‘Why these guys?’ is a question that kept 97.1 phone lines hot for the duration of August and September, as the Tigers squandered a 15.5-game divisional lead. Following the righteous elimination of our wounded cats in Seattle, the collective’s questions are changing. The focus has shifted away from the forgettable acquisitions and onto the attitude of the front office. What were they thinking? Scott Harris’ actions were those of a middling team with reserved playoff ambitions, not the number 1 team in baseball. Kyle Finnegan and Raphael Montero made for intriguing projects down the stretch, and proved themselves roster-worthy come October, unlike Charlie Morton or Chris Paddock. However, roster worthiness is not the scale by which playoff-bound teams calculate their deadline moves. Where was the hunger? In the days of Dave Dombrowski, a strong Tigers team could expect an addition to the middle of the batting order or starting rotation. With Javier Baez signed to the single costly contract on a promising roster full of moderately talented players with shallow experience, D would not have hesitated to pounce on a $30 million player. Harris didn’t have to look far. Former division rivals Carlos Correa, Shane Bieber, and Josh Naylor should be familiar to Tigers fans, as should Eugenio Suarez and his career-high 49 homers. Did he know? The Tigers could have won the World Series. With Skubal and Mize, the playoff experienced Flaherty, and a legitimate edition to the rotation, the staff would have been perfectly suited for a 5-game series. The bullpen was not playoff-worthy, but it was just a dominant arm away from serviceable. The batting order far surpassed its offensive production of 2024, but you could feel the breeze of their bats from the upper deck during the cold stretches, the longest of which came with the changing weather. Yes, Scott Harris faced problems, but concrete solvable problems of endlessly greater simplicity than those faced by Al Avila, Harris’ scapegoated predecessor. Avila was all too aware of the difficulty of the ‘rebuilding’ task he inherited (to the point of paralysis). Harris on the other hand, seemed unfamiliar with the position he found himself in entering August – a competitive, yet incomplete team sitting gingerly atop the American League. It seems unlikely that Harris didn’t believe in the squad’s World Series potential, considering their record at the break. Yet it feels even less probable that he thought they were a sure-in. Did Scott Harris try but and fail to improve the Tigers roster amid the competitive inter-team market? Did he fail to earn he respect of other organizations? Did he lose his grip on the goal at hand – improving the team for a postseason run - while clinging to his prospects? Or did he just flat out fail to make a sincere effort? Scott Harris did not commit any philosophical misdeeds. He is not the only person to blame, just the easiest. Sure, AJ Hinch’s oddball bullpen management may have cost the Tigers a game or two in October, and Riley Greene’s acknowledgement of his strikeout problem confirms a fundamental issue at the top of the order. Furthermore, injuries to the rotation plague Detroit year in and year out, and the bullpen is undeniably mediocre. Yet, there they were in the postseason once again, poised to make a deeper run – if only… Even after taking the opposite path into the fall, the Tigers once again hit the road for the AL Wild Card Series to dispose of their opponents - this time a weakened Cleveland team – and again the Tigers, behind Cy Young winner Tarik Skubal, fell in game five of the ALDS to a division winner. In other words, a season that flaunted positive results of the faithful but tentative mindset of this Tigers regime managed to end where it began: second place in the division and ALDS losers. Déjà vu. Now, Scott Harris is reportedly reviving his pursuit of Alex Bregman, who unsurprisingly snubbed the Tigers for Boston, only to opt out of his 2-year $40 million deal in search of more money - (they should call him ‘Breadman’) - making his injury-riddled 2025 season a prove-it campaign devoid of proof. Will Harris really chase that dragon for another winter? Will you? Previous Next

THE RUNNING MAN By Dawson Sarcona 11/15/2025 The Running Man, directed by Edgar Wright, is the latest in the boom of Stephen King adaptations from the past few years. That being said, this film immediately differs from its counterparts in one major way: This is not a horror movie. Regardless of how you know King’s writing, whether it's literary classics like Cujo, Salem's Lot, Carrie or big horror icons like IT or The Shining, King is known for creating truly terrifying stories. The Running Man, however, is different. This movie is a dystopian action story through and through. While it does include some intense and high-stress situations, the only “horror” that lies in this film is its disturbing resemblance to our current society. This film follows Ben Richards (played by Glen Powell) as he competes on a deadly gameshow that, if won, will result in him winning 1 billion dollars and securing a better life for his wife and daughter. The world this film builds is one of the more interesting put to screen this year. “The Network” (a literal TV network with a name devoid of creativity) owns the government and dictates the lives of everyone in the nation.Because of the way this world is set up, the message from Kings original novel stays relevant in 2025’s adaptation by Wright. The message is simple: the dangers of a world reliant on media and entertainment. Here is where King’s trademark “scariness” comes in. His depiction (aided massively by Edgar Wright’s film adaptation) of this parallel Earth is chilling because it’s not far off from our own. In a time where everyone is heavily reliant on their screens, the thought of a society where those screens watch back and keep tabs makes for a captivating watch. Moving away from the plot and broad strokes of King’s writing, Edgar Wright once again shows audiences why he's one of the most talented directors working right now. Wright has directed many cult classics (Shaun of the Dead and Scott Pilgrim Vs. the World, to name a few), but his status as a director otherwise seems to be underrated. Since I first saw his passion project film, Baby Driver, I've been a huge fan of Wright, and the talent he demonstrates filming compelling action in that film carries through in The Running Man. This movie is, action-packed by definition, full of fight scenes and stunts that rival some of the genre’s best films across the past year. Wright just knows how to properly direct a scene. Even in the moments with the least action, this movie maintains its momentum. In comparison to movies like Mission Impossible: the Final Reckoning, which left me bored from scene to scene, waiting for the next piece of action, this movie fully immerses its audience into the story. There was not a second during this movie that I felt bored or a scene lingered too long. If anything, there were some moments in the film where the pacing felt a little too fast. While it wasn't enough to take me out of the film, there were some moments I wish they’d spent a tad bit more time in. That said, for the most part, Wright uses his time in King’s world wonderfully and tells a wholly satisfying story. Wright isn't The Running Man’s only strength. Glen Powell delivers one of, if not his most compelling performances yet. There has been talk amongst the film/movie culture of Glen Powell taking up Tom Cruise's mantle as the next big action star. Before this film, I was impartial to this concept. But after seeing The Running Man, I can confidently say that he would be an excellent choice to succeed (and even surpass) Tom Cruise. Powell brings life to the character of Ben Richards and makes him very easy to root for, which is important for a movie like this. He balances the comedic range and physical demands of this role very well, and his on-screen interactions with most are very compelling. All in all, the only minor issue I see with this movie is some rushed pacing in the first act. I would rate this movie a 9 out of 10 , and would heavily recommend it to anyone looking for a fun and exciting theater experience. It’s Glen Powell at his best and further proof that Edgar Wright can direct a thrilling ride of an action movie!

Tabs On Tigers: In Memorium 10/27/2025 BY: IAN SHERRY On October 10, the Detroit Tigers were eliminated from the MLB Postseason. Tabs On Tigers Vol. 5 Is anyone surprised? Something about the intensity of my Tigers fandom and the connectedness I feel with fellow fans makes me unrealistically confident that I can speak for everyone. So in regard to the question above, our answer is no. Last year, General Manager Scott Harris and Manager AJ Hinch enjoyed the spoils of public opinion as their squad’s late-season comeback placed them in rare postseason company, but this year brought a historically singular collapse. The story of the Tigers’ eventual demise is simple, and it began at the trade deadline. The specifics of Scott Harris’ acquisitions on July 31 spawned a million complaints and a few simple questions. ‘Why these guys?’ is a question that kept 97.1 phone lines hot for the duration of August and September, as the Tigers squandered a 15.5-game divisional lead. Following the righteous elimination of our wounded cats in Seattle, the collective’s questions are changing. The focus has shifted away from the forgettable acquisitions and onto the attitude of the front office. What were they thinking? Scott Harris’ actions were those of a middling team with reserved playoff ambitions, not the number 1 team in baseball. Kyle Finnegan and Raphael Montero made for intriguing projects down the stretch, and proved themselves roster-worthy come October, unlike Charlie Morton or Chris Paddock. However, roster worthiness is not the scale by which playoff-bound teams calculate their deadline moves. Where was the hunger? In the days of Dave Dombrowski, a strong Tigers team could expect an addition to the middle of the batting order or starting rotation. With Javier Baez signed to the single costly contract on a promising roster full of moderately talented players with shallow experience, D would not have hesitated to pounce on a $30 million player. Harris didn’t have to look far. Former division rivals Carlos Correa, Shane Bieber, and Josh Naylor should be familiar to Tigers fans, as should Eugenio Suarez and his career-high 49 homers. Did he know? The Tigers could have won the World Series. With Skubal and Mize, the playoff experienced Flaherty, and a legitimate edition to the rotation, the staff would have been perfectly suited for a 5-game series. The bullpen was not playoff-worthy, but it was just a dominant arm away from serviceable. The batting order far surpassed its offensive production of 2024, but you could feel the breeze of their bats from the upper deck during the cold stretches, the longest of which came with the changing weather. Yes, Scott Harris faced problems, but concrete solvable problems of endlessly greater simplicity than those faced by Al Avila, Harris’ scapegoated predecessor. Avila was all too aware of the difficulty of the ‘rebuilding’ task he inherited (to the point of paralysis). Harris on the other hand, seemed unfamiliar with the position he found himself in entering August – a competitive, yet incomplete team sitting gingerly atop the American League. It seems unlikely that Harris didn’t believe in the squad’s World Series potential, considering their record at the break. Yet it feels even less probable that he thought they were a sure-in. Did Scott Harris try but and fail to improve the Tigers roster amid the competitive inter-team market? Did he fail to earn he respect of other organizations? Did he lose his grip on the goal at hand – improving the team for a postseason run - while clinging to his prospects? Or did he just flat out fail to make a sincere effort? Scott Harris did not commit any philosophical misdeeds. He is not the only person to blame, just the easiest. Sure, AJ Hinch’s oddball bullpen management may have cost the Tigers a game or two in October, and Riley Greene’s acknowledgement of his strikeout problem confirms a fundamental issue at the top of the order. Furthermore, injuries to the rotation plague Detroit year in and year out, and the bullpen is undeniably mediocre. Yet, there they were in the postseason once again, poised to make a deeper run – if only… Even after taking the opposite path into the fall, the Tigers once again hit the road for the AL Wild Card Series to dispose of their opponents - this time a weakened Cleveland team – and again the Tigers, behind Cy Young winner Tarik Skubal, fell in game five of the ALDS to a division winner. In other words, a season that flaunted positive results of the faithful but tentative mindset of this Tigers regime managed to end where it began: second place in the division and ALDS losers. Déjà vu. Now, Scott Harris is reportedly reviving his pursuit of Alex Bregman, who unsurprisingly snubbed the Tigers for Boston, only to opt out of his 2-year $40 million deal in search of more money - (they should call him ‘Breadman’) - making his injury-riddled 2025 season a prove-it campaign devoid of proof. Will Harris really chase that dragon for another winter? Will you?

Diving Into Gadabout Season By Ian Sherry 10/23/2025 On June 13, 2025, Brandee Younger released her latest solo LP, Gadabout Season. We have deemed expansion necessary, to new heights, new depths, new mediums, greater variety, and widened horizons. The relationship between demand and results, however, can be trepidatious. (Now switching out of the royal collective) I have been in the lab for you all, ruminating on an expanded product and the potential of a community attached to such a product. For now, you are that community. You are also the face of that torturous monster called Pressure. It’s a monster of my own creation, constructed from the expectations I imagine you all might have for me. Under Pressure is where I’ve done my best work, but his weight is tremendous, difficult to carry. This most recent phase of expansion has forced me to reckon with my inability to lug him any further, examine the ethics of projecting my own lofty expectations onto you readers, and grapple with the fact that pressure may not equate to progress. Pressure makes diamonds. But, is frozen crystal my desired form, or does my path require malleability? Maybe it’s not a push I need after all, but a pull. To run towards something is much different than away. Watching your goals come into view is a sounder reward than watching worries fade slowly into the rearview. The fact is, they can always catch up and present new reasons to move forward. Knowing that, there’s no point in dwelling on their presence, no matter how near, because you may miss something on the path in front of you. As I scanned my path a few months back, I stumbled upon two music courses to complete my journalism-filled collegiate schedule. Yes, I’ve been in the lab, the music lab, and it’s just what the doctor ordered. With just a bit more knowledge, optimism, and moxy than I had yesterday, I bring you my review of Brandee Younger’s 2025 LP, Gadabout Season. Brandee Younger arrived at an interesting time in jazz. A genre in no real danger of dying due to its lack of a single definition, the lines of jazz grow increasingly blurred in the electronic era. How does an artform built on pillars like improvisation and swing survive in a world of endless sonic possibilities where musical form as we know it has been simplified to production software displays, and abstracted, ambient electronic production has become a commonality? How do you wrangle the interest of an audience with shrinking attention spans, access to a skip button, and ears trained to subversive autotune? Well, if anyone can navigate that dilemma it’s Younger. First trained classically at NYU, then as an apprentice of jazz (adjacent) greats like Pharoah Sanders, Ravi Coltrane, John Legend, and The Roots, she gained experience in bridging generations and genres. So, when it came time to go solo, Brandee Younger was more than equipped to form a sound around her chosen chordophone: the harp. In my experience with the harp, its often are used as melodic fill behind the rhythm-driving instruments or overshadowed by horns. Music that solely features harp almost always feels loose and thin – sonically elegant but musically stagnant. That’s a line Younger toes at times on this record. Track 1, “Reckoning,” is a great example of the kind of flourishing and solo melodic blitzing I’ve come to expect from a lead harpist. It’s exciting, but borderline overstimulating and across an entire record it would produce the fatigue that I believe most jazz-avoidant listeners fear. Her presence had to be announced though, so announce it she did. Track 2, “End Means,” moves nicely into the sound of the album and features the versatile flautist Shabaka. The two soloists share the lead role, with Younger playing underneath Shabaka’s runs and quality support from the drums and upright bass, which arrived for the remainder of the record. The title track follows. Placing “Gadabout Season” at 3 makes perfect sense – it’s not a leadoff piece nor the most memorable or captivating, but it’s pleasant mundanity, comfortable quality, and swinging bounce embody the soul of the record. It’s easy to picture Younger cutting this track and knowing it was the bones of something bigger. “Breaking Point” is the first of my favorites. The bass is more present and sonically supportive than on any other piece as it churns out a 2 bar progression, lurching, 4/4 then 2/4 with drums flourishing in between. It’s an aggressive, high-tempo rendition of the swing feeling and Younger wails away with increasing might, steady precision, and decreasing restraint for 2:43. Fifth is “Reflection Eternal” - a melodic breather before the next jumbo composition rolls out of your speaker. Track 6 picks up the light swirling sound of its predecessor with more convincing but infrequent bass support and shimmering drums underneath. The harp carries the tune, touching on the main melody repeatedly then cycling away into pseudo improvision and climbing higher towards the so-called “New Pinnacle.” It’s a grand track to throw in the center of a record, and while it resonates just fine from my speakers at home, I can’t help but imagine hearing it in a big space. “Surrender” features pianist Courtney Bryan. The two trade back and forth, but to the untrained ear the load of strings could be indistinguishable. I’m just now feeling the ability to parse out the harp and it’s horizontally boxed counterpart, but Younger often emulates piano-style notes in her playing on this record making this feature less impactful than the others. “BBL” has some bass to it as well, and if you can’t tell by now I prefer it that way (real bass). To me, the offset provided by a firm bottom like that of track 8 elevates any instrument on top of it. The harp soars more effectively with ground to push off, and when Younger meanders down amongst her accompaniment, as she does on “BBL”, it creates warm, thriving sonic ecosystem. Younger welcomes vocalist Niia into said ecosystem on the dreamy “Unswept Corners.” These corners accumulated the mutual appeal of classical lounge-type music and suave contemporary r&b via the sparse and restrained contributions from all players and the tonal additions of a solid feature. Josh Johnson’s presence was likewise productive on the final track “Discernment.” The somewhat sluggish build of the closer is wiped away by the bulkiness of Johnson’s alto saxophone. He appears all over the track, supporting a reaching Younger on her lengthy and ambitious runs, soaring alongside her at times, and occasionally cutting straight through all the noise to the center of the sound. Another quality contribution to a well-constructed, intentional record. Brandee Younger may not be a musical visionary or Grammy-winning performer, but she is rich in understanding and control of her sound. She knows music. She can conceive it. And she did so with contemporarily uncommon consistency on this 2025 LP. Gadabout Season is a 8.