Ossoff & Warnock Win Runoff Elections, Secure Democratic Senate

BCCA51AC-08EA-41FD-91D0-7E6EB14448BC.png

The world turned upside down. Last night, the polls closed for the 2021 Senate runoff elections here in Georgia. Incumbents David Perdue and Kelly Loeffler attempted to fend off challengers Jon Ossoff and Raphael Warnock, respectively. After months of anticipation, polling, and campaigning, we finally have a definitive result and outcome for this all-important election. Both Jon Ossoff and Raphael Warnock have been declared victors by Decision Desk HQ, securing a 50-50 Senate with Kamala Harris’s tiebreaking vote and a Democratic majority in the Senate. It feels like a dream.

Watching Georgia shift left over the years has been satisfying and inspiring. I never would have thought four or eight years ago that a Democratic presidential candidate would win this state, let alone win two Senate elections in the process. While I believe that time moves the country in the direction of progress, it’s interesting to try to unambiguously determine the factors that helped decide this election in favor of the Democratic candidates. I believe this can be credited to President Trump’s attacks on democracy, two largely unpopular Republican candidates in Perdue and Loeffler (especially the latter), and Stacey Abrams’ support of two solid candidates.

Donald Trump has repeatedly claimed that the 2020 Presidential election was rigged in Joe Biden’s favor. In doing so, he has delegitimized and negated the importance of each individual vote. Many of his supporters believed that their vote held no significance, and decided not to vote altogether. The rallies he held prior to the election, which were supposed to show support for the Republican candidates, wound up being complaining fests as Trump reflected on what he delusionally believes was a stolen election. That being said, even if he had shown more support for Perdue and Loeffler, it might not have made a difference.

Polls prior to the election showed that Perdue was trailing Ossoff less than Loeffler trailed Warnock. I credit this to Perdue’s actual incumbency, in that he had previously won an election to secure his seat in the Senate. Loeffler, on the other hand, was a Trump appointee who never won elected office, and instead was vying to secure her first victory in these runoffs. Both of these candidates made dubious and questionable decisions along the campaign trail, including when Loeffler likened herself to Atilla the Hun, when Perdue was photographed flashing a white power hand gesture, and when both candidates gave terrible debate performances and openly opposed further COVID-19 stimulus for Georgians, among many others. So the Republicans definitely messed things up for themselves, but how did Democrats break their runoff / mid-term dry spell habit of low voter turnout? Simple. Stacey Abrams.

The woman is a national treasure. Her ability to build a network of organizations dedicated to registering new voters from underrepresented communities ensured that over 800,000 Georgia residents were going to vote in these elections. With margins as small as the ones seen in Biden’s, Ossoff’s, and Warnock’s victories, it’s hard not to say that Abrams was a deciding factor. I hope that she decides to run for governor again in 2022 against Brian Kemp, and if she does, I like her odds. Georgia could be the next Virginia.

After growing up in Illinois and living in Georgia for the past eight or so years, it feels good to say I live in a blue state again. Attacks on Democracy, minorities, and common sense legislation just don’t work on an increasingly left-leaning population in Georgia anymore. I sincerely hope that a Democratic trifecta leads to the passing of meaningful and substantial legislation, and as a progressive, I won’t be afraid to call out the Democratic party if they stall on getting things done. For now, though, let’s celebrate the fact that Democrats took all three branches of government, and that they will take things over in just a couple weeks. Light at the end of the tunnel… finally.

My 2021 New Year's Resolution

AEC2B72C-B081-4AE8-80F9-34D5DAE6CD04.png

The waking fever dream that was 2020 is now in the rearview mirror. While I’m keeping tempered expectations heading into the new year, it’s difficult to imagine a year as difficult as last year was given that a new president and a vaccine are on the way. I hope to not regret that sentence. To make the year better instead of just hoping that it is, I’ve decided to do something I usually choose not to: Make a New Year’s resolution.

I’m not going to ruthlessly and relentlessly hold myself to some impossible standard in hopes to accomplish an outlandishly difficult goal in 2021. Instead, my resolution is a simple one: Self-care. This next year is extremely exciting, but also dauntingly overwhelming in some ways. I will soon graduate college and begin “real” adult life, continuing to work full-time and manage expenses on my own. To make that process less stressful and more sustainable, I am going to make an effort to practice different methods of self-care. These include getting enough sleep, taking breaks from work (both professional and school), doing fun things with loved ones, eating well, and not beating myself up for any shortcomings, which is a tendency of mine occasionally. I often treat myself much more harshly and abrasively than I do anyone else, which is something I would like to fix this year. While I know that this “resolution” can’t really be measured empirically, I will feel better viewing the changing of the calendar year as a reset on mental health and practicing good habits.

I’m not usually one to make or stick to New Year’s resolutions, but I feel good about this new approach. Instead of making a hyper-specific goal to accomplish, I’m adjusting my frame of mind to better take on the challenges I face day-to-day. Do you have a New Year’s resolution? If so, what? If not, why not? Thanks for reading.

Top Songs Of 2020

4F0FC996-09B3-4A38-A29B-69C220741033.png

Earlier this month, I revealed my top favorite albums of 2020. Luckily, in an otherwise tumultuous year, we were able to turn to music for relief. To hone in on these impressive releases in more detail, I will now be ranking my favorite songs of the year. These tracks all offer something different and unique, and there is a good variety of genres included here. Let’s jump right into it.

10. “Soul Control” - Jessie Ware

Jessie Ware’s infectious, ‘80s inspired dance anthems are what made What’s Your Pleasure? so special. “Soul Control” synthesizes all of the fantastic elements from this album into one track with Ware’s excellent vocal performance, an upbeat instrumental backing, and synth-pop inspiration, making this track instantly-lovable. How could you not dance along?

9. “WAP (feat. Megan Thee Stallion)” - Cardi B

Both an instant meme and an empowering statement for women around the world, the release of WAP took the internet by storm. Cardi B and Megan Thee Stallion let it all hang out on this track, bringing some of their strongest and most confidence verses to the table. Wonderfully vulgar and hilariously explicit, I had to recognize WAP’s significance on this list.

8. “Only The Strong” - Laura Marling

Laura Marling’s beautiful singer-songwriter album Song For Our Daughter is made up of one compelling track after another. Though I could choose many from this project, “Only The Strong” meant the most of them all to me this year. Marling’s delivery is more blunt and to-the-point than usual here, and the ambient acoustic and piano-backed folk instrumental is a feather in the wind. Fantastic song that reflects on a variety of topics.

7. “The Adults Are Talking” - The Strokes

The opening track to The Strokes’ most recent album The New Abnormal is exactly what I wanted from this band. Sonically similar to the fan favorite “Reptilia”, “The Adults Are Talking” utilizes Julian Casablancas’ recognizable vocals perfectly. The backing instrumentation is impressive, and the post-chorus call-and-response guitar riffs are simply addictive.

6. “Blinding Lights” - The Weeknd

This smash hit will define The Weeknd’s current era for years to come. Sparkling synth progressions, a bouncy and playful beat, and echoing vocals make for a return to popular ‘80s sounds. It’s no wonder why this track is as popular as it is. Abel’s vocal performance is up to his high standard, making this one of my favorite tracks off of After Hours.

5. “Aries (feat. Peter Hook and Georgia)” - Gorillaz

Gorillaz’ album release this year left me satisfied that they had finally returned to the sound that I fell in love with when I was younger. While a track like “Pac-Man (feat. ScHoolboy Q” follows the band’s formula more closely, I selected “Aries” because of its relaxing aura and genius feature implementation. Peter Hook, of New Order fame, brings his signature sound to this spectacular track, and Damon Albarn’s vocals are distorted perfectly. Great stuff.

4. “I Know The End” - Phoebe Bridgers

I said in my review for Punisher that “I Know The End” is one of the best closing tracks on any album in recent memory. Bridgers’ gentle vocal delivery haunts the first third of the track as the stage is set for the coming narrative: an apocalyptic reality. The second third of the song picks up tempo, and the narrative continues as Bridgers’ drives straight into the end of the world. The track crescendos into a loud and unsettling climax with multilayered instrumentation, as Bridgers screams quietly into the mic. Fantastic track.

3. “Shameika” - Fiona Apple

I recently upgraded Fiona Apple’s Fetch The Bolt Cutters from a 9 to a 10 as I’ve come to better understand the closing tracks, which were the only thing stopping me from calling this album perfect. Its raw and chaotic energy are still enticing and fascinating, and no track embodies that more successfully than “Shameika.” Spastic piano backing, an overwhelming drum presence, and unsteady but controlled vocals help portray childhood uncertainty and insecurity. I love the story being told here.

2. “Good News” - Mac Miller

The first posthumous single after Mac Miller’s unexpected death hit me, and many others, like a ton of bricks. The tasteful music video accompaniment chillingly complements the almost prophetic lyrics in which Miller reflects on life more clearly than ever before. “Why does everybody need me to stay?”, “Maybe I’ll lay down for a little”, and “I wish that I could just get out my god damn way” eerily haunt the listener who knows Mac is now gone. The plucky and flowy instrumental is gentle, and the chorus tugs at the heartstrings. Miss him.

1. “walking in the snow” - Run The Jewels

I knew this was my song of the year on its first listen. Released right around the Civil Rights protests that helped define 2020, this track, recorded in 2019, reflects on many of these themes preemptively and accurately. This is less of a prediction and more of an indication that these topics, such as police brutality, are perpetual and are just now getting public attention in the U.S. El-P’s verse about the nature of oppression is strong, especially with the hard-hitting instrumental backing, but Killer Mike’s verse is one of the best rap verses in the past decade for me. Every bar is meaningful, impactful, and layered. It covers intergenerational wealth mobility, the education system, news programming, police brutality, performative activism, and systemic violence among other topics. “Until my voice goes from a shriek to whisper “I can’t breathe”” is the standout bone-chilling line, but Killer Mike’s entire verse is spectacular. This timely and grimy track is so potent that it is my favorite song of 2020.

I’m excited to see what kinds of releases we get, both songs and albums, in 2021. Hopefully artists who are overdue to release projects come through with strong offerings. Until then, these songs and tracks from my favorite albums of the year are on repeat. Thanks for reading.

The Importance Of The Georgia Senate Runoff

9B6F5E2B-E883-4B28-97F4-D578741567A3.png

After months of anticipation, campaigning, and voting, the 2020 Presidential election was finally decided in favor of Joe Biden. Despite countless and baseless disputes from the Trump administration questioning the validity of the results, the Electoral College officially selected Joe Biden and Kamala Harris as President-elect and Vice President-elect, respectively, last week. Although this victory was a massive win for Democracy in the face of an authoritarian candidate, the future of the United States’ government is still in the balance. Due to the nature of the Senate elections, it’s still undetermined which party will control this vital role in the system, as the Georgia Senate Election in November has led to two separate runoffs. These runoffs will end on January 5th, and Joe Biden’s ability to pass meaningful legislation will be determined. These are two incredibly important elections.

The standard election is between Jon Ossoff and incumbent David Perdue, and the special election is between Reverend Raphael Warnock and Trump-appointee Kelly Loeffler. Ossoff gained national notoriety for his campaign against Karen Handel, and Warnock picked up some popularity from the viral nature of his sermons. While neither of these candidates are legislatively progressive by any means, they are significantly more in-line with progressive sentiment than their Republican counterparts.

To put it simply: David Perdue and Kelly Loeffler both knowingly profited off of the coronavirus pandemic. Insider trading and intentional misinformation allowed these two to make money off of stocks related to COVID-19 related companies, all while downplaying the pandemic’s severity to encourage a premature reopening of businesses in Georgia, where the pandemic has run rampant. As coronavirus numbers continue to rise uncontrollably prior to the wide release of the Pfizer and Moderna vaccines, this election could allow a Democratic majority in the Senate, which would provide much-needed relief to families and businesses before the pandemic ends. The next stimulus package has left many bewildered and disappointed, as it will send only $600 after months of no government assistance - not nearly enough to call meaningful relief.

A Republican-controlled Senate would create gridlock for the first two years of the Biden administration. A Democratically-controlled Senate would protect Civil Rights, work toward solving the coronavirus pandemic, and help Americans move toward progress and equality. Any Georgians who have not yet voted should do so, as high voter turnout has historically helped the Democratic Party. Polls are indicating a slight Democratic lead, but I'll believe it when I see it. We must win this thing. Thanks for reading.

Album Review: evermore - Taylor Swift

A6940818-5988-47E0-BFDA-013B545F5564.PNG

Just a few short months after releasing her critically-acclaimed and best-selling folklore, Taylor Swift has surprised fans yet again by unexpectedly releasing her next full-length album evermore. This spiritual successor to her newest project, which was an artistic change of direction from the star’s usual country and pop offerings, continues the acoustic folk aesthetic that folklore introduced. I’m glad that Swift’s creativity seems to be at an all-time high, but I’ve found that these two albums unfortunately fall victim to the same problem many lengthy back-to-back albums have. If you were to combine their best parts, the result would be damn near perfect. Instead, both are good, but have a decent amount of “filler” - evermore more than folklore. All of that aside, this is still an enjoyable listen with a few standout tracks.

“willow” just sounds like the opening of the second act of this pair of albums. The mysterious acoustic backing pairs well with the lyrical content here, as Swift is returning to subject matter she is most well-versed in: Relationships. I enjoy this track as an opener, but not as much as I enjoyed “the 1” on folklore. “champagne problems” changes pace rather abruptly and features a piano backing, which was largely absent from the previous album. Swift demonstrates her poetic abilities through beautifully written verses, but this track lacks a liveliness that I look for in tracks like these. “gold rush” is easily my favorite song on the album, as its twinkling and ethereal sound pairs perfectly with this album’s rollout. A more uptempo bass and catchy lyrics make this an instant radio-friendly hit. Props to Jack Antonoff for the wonderful production here.

“‘tis the damn season” is a reflective track revolving around previous relationships and the holidays, which is good but not great for me. “tolerate it” is a brutally honest piano ballad from someone whose love is starting to feel unrequited, and its songwriting is simply fantastic. It’s one of the more depressing tracks on the album, but that doesn’t make it a bad listen. “no body, no crime (feat. Haim)” is an insanely fun murder mystery track with country bluegrass and western roots. I thoroughly enjoy this new fictional storytelling Taylor Swift. The Haim sisters are featured perfectly here - great track.

“happiness” fills in Swift’s coveted track seven spot, and portrays the exact opposite emotion. This song laments a failed relationship but implies that happiness may return again one day, which is reservedly optimistic. “dorothea” tells the story of a girl who left her small town to chase her Hollywood dreams, but doesn’t do anything substantive or insightful for me. I can see “coney island (feat. The National)” impressing a lot of Swift’s fans, but I honestly didn’t enjoy this track much. Another track about lost love with the Coney Island backdrop just doesn’t entice me. Matt Berringer’s vocal contributions are similar to Bon Iver’s, which is an obvious compliment, but I can’t help but leave this track disappointed.

“ivy” continues the theme of infidelity that Swift has grown more comfortable exploring recently, and its simplistic acoustic backing sets up Swift’s vocal performance nicely. “cowboy like me” is eerily reminiscent of Swift’s earliest tracks. Its country influence unfortunately bleeds into its lyricism, causing this track to become generally surface level and forgettable. I respect “long story short”, because it wasn’t a track Swift had to release. On it, she’s basically owning up to her past and making peace with it - a commendable thing to do for someone who has been involved in as much drama as she has.

“marjorie” is a beautiful and heartfelt tribute to Swift’s late grandmother with poetic lyricism that continues her grandmother’s legacy. “closure” is more highly-produced and implies to me that this era may soon come to an end for Swift. This track sounds more like the music she was releasing a few years ago to me. On this track, Swift lays into an ex over the industrial-folk backing. Something doesn’t click for me on this track, though. “evermore (feat. Bon Iver) is the excellent closing title track that reflects on mental health and healing. This meditative and reflective ballad takes its time, eventually crescendoing into a beautiful final sequence. Bon Iver is the perfect vocal accompaniment to Swift’s delivery, and this track wraps up this album nicely.

While I enjoyed this album, I was left with the feeling that it could have offered a lot more both sonically and lyrically. I should have tempered my expectations after enjoying folklore as much as I did. In the end, I’ll chalk this up as another example of why artists should release sparingly and refine their projects down to the very best content, because if done correctly, great albums can be born. evermore is still an enjoyable listen, but not one I’ll return to as frequently as folklore.

Favorite tracks: “willow”, “gold rush”, “tolerate it”, “no body, no crime (feat. HAIM)”, “ivy”, “long story short”, “marjorie”, “evermore (feat. Bon Iver)”

SCORE: 6/10