Still, I had two semesters left, and I was determined to do something, anything, to make me feel like my college years weren’t a complete failure. That’s where Pipe Dream comes in. I had joined the paper as an Arts & Culture contributor at the start of my junior year, but to tell you the truth, I didn’t “contribute” much of anything. Over the course of two semesters, I wrote a grand total of two articles and attended about the same number of meetings. So when Pipe Dream sent out an email early in the semester asking for writers to apply as interns, I felt laughably unqualified. Nonetheless, I managed to swallow my apprehension and apply anyway. The rest is history.

It’s still amazing to me how drastically different my Pipe Dream experience was once I became an intern. Suddenly, I was regularly at the heart of a bustling community of writers. Every Sunday, the Arts & Culture team and I got to know each other while we reviewed a fresh batch of exciting articles. I was inspired to write more, gradually raising my measly two-article count to a respectable 17 (if you’re reading this, make that 18). I remember that during my first meeting in the fall, I shocked myself when I volunteered for a feature article about a local mural art project. It was a piece I would’ve never taken on if I had seen it in the Pipe Dream email a year prior. Now that I was an intern, though, I felt obligated to push myself. To this day, it’s one of my favorite pieces I’ve written. At this point in my life, I’ve realized it’s not failure I should fear — it’s stagnancy. Writing the amount I did this year required me to weather a lot of self-doubt, but I’m so grateful I did because I know my skills and voice have strengthened because of it.

Being a part of Pipe Dream didn’t just make me a better writer. It also gifted me with a feeling of belonging that I had been desperately craving since I’d started college — a community I could proudly claim to love and be a part of. When I was a contributor, I never went to any events because I didn’t know anyone well enough and was too shy to change that. But last November, I didn’t hesitate to go to the club’s formal, and it’s one of my best Binghamton memories.

Of course, there’s something bittersweet about blooming so late in the game. Just the other night, I went out with the Arts & Culture team for an end-of-semester outing, and, like I always do with them, I had a great time. But in the midst of sharing anecdotes and laughing over Mexican food and margaritas, I was hit by a heavy sadness, even a little anger. I couldn’t help but think, “Why do I have to be uprooted just as I was starting to grow? Why do I have to be nearing the end just when I feel like I’m beginning?”

Then I thought about the alternative Samra, who never applied as an intern at all, and how she’d be spending this same night. That thought helped free me from my mini-spiral. Undeniably, it stinks to think about all the time I wasted and what could’ve been if I had only become an intern sooner. I can’t say I’m graduating without my share of regrets. But thanks to my time at Pipe Dream, I’m not leaving without some special memories either. For a brief but meaningful span of time, I was a part of something cool and important. Now, some stupid quote of mine is written on the whiteboard by the Arts & Culture desk. A Polaroid of our blurry group photo is tucked in my wallet. There’s a print issue in my room with my words inking its pages. It took me all four years, but I found a way to leave my mark and be changed in turn.

People often tell graduates that this change is the start of a new “chapter” in the story of their lives. In keeping with that metaphor, I’d say I’m jumping into this next storyline the same way I went into many of my articles and the same way I went into writing this column — without a plan and writing it haphazardly as I go along. Then again, at least I’m writing something.

To the Arts & Culture team: You guys made my senior year. Our time together may have come to an end, but I’ll always remember our production meetings with fondness and gratitude. Thank you, Sam, for being such a warm, friendly leader and for putting up with my copious extension requests and never-ending supply of dumb questions. It was a privilege to work under you. Eli, your and Sam’s banter was the highlight of every production meeting, and you’re an awesome person to boot. Pipe Dream will be worse-off without you and your iconic listicles, but I know you’re going to kill it wherever you go. Jamie, not only were you always the best-dressed person in the office (and in any room, let’s be honest), but you were also the one who encouraged me to apply to be an intern. Thank you so much for that and for being such a cool, great person and editor. Revati, being your fellow intern was a joy, and being your friend has been even better. I’m so proud and excited for your future as an assistant editor. Molly and Hudson, I may have only just gotten to know you, but it’s clear to me that you’re both great people and writers. I know the two of you, along with Revati, are going to rock Arts & Culture next year, and I only wish I could be there to witness it.

To my family, Layla and Meconan, I’m the luckiest sibling to be able to walk through life with you. Mom and Dad, every day I love, understand and appreciate you more. Thank you for everything.

Samra Ashe is a senior majoring in English

Tom Collins

The Tom Collins is a popular, gin-based cocktail. Bubbly, refreshing and boasting a sweet and sour flavor, there’s a reason this drink is a beloved classic. The first Tom Collins recipe was published in 1876, and it allegedly derives its name from a London waiter. The cocktail is often elegantly served in a tall highball glass, fittingly referred to as a Collins glass.

Ingredients:

2 ounces dry gin

¾ to 1 ounce simple syrup

1 ounce lemon juice

4 ounces (½ cup) soda water

Ice

For the garnish: maraschino cherry, lemon wheel

Instructions:

Add the gin, syrup and lemon juice to a cocktail shaker with 4 ice cubes. Shake well until chilled.

Strain the liquid into an ice-filled glass, and top off the glass with soda water. Garnish with a lemon wheel and cocktail cherry.

Moscow Mule

When it comes to vodka cocktails, you can’t go wrong with a Moscow mule! This easy-to-make, delicious drink was conceived in the 1940s and is still a favorite today. The drink consists of only three ingredients — vodka, ginger beer and lime juice. If you’ve ever ordered a Moscow mule, you may have noticed that it’s typically served in a copper mug or cup. This unique choice of vessel keeps everything icy cold, as the copper takes on the drink’s temperature. But if you’re not interested in tradition, any cup will do.

Ingredients:

2 ounces (¼ cup) vodka

½ ounce (1 tablespoon) of fresh lime juice

4 ounces (½ cup) ginger beer

For the garnish: lime wheel or wedge, fresh mint (if desired)

Instructions:

Pour the vodka, lime juice and ginger beer into a copper mug.

Add ice and garnish with a lime slice. Serve immediately.

Old Fashioned

It doesn’t get more classic than an Old Fashioned. It was the first cocktail ever made, back in the early 1800s. While mixed drinks have gotten a lot more popular and complex since then, the Old Fashioned remains a timeless favorite.

Ingredients:

1 sugar cube (1 teaspoon sugar)

4 dashes of Angostura bitters

½ teaspoon water

2 ounces (4 tablespoons) bourbon or rye whiskey

Orange peel

Cocktail cherry, for garnish (optional)

Large clear ice cube, for serving

Instructions:

Place the sugar cube in a lowball glass and add the bitters. Add the water and mash and swirl the sugar cube with a muddler or wooden spoon until the sugar is mostly dissolved.

Add the whiskey and swirl to combine. Add a large ice cube.

Use a knife to remove a 1 inch wide strip of the orange peel. Squeeze the orange peel into the drink to release the oils. Gently run the peel around the edge of the glass, then place it in the glass. If desired, garnish with a cocktail cherry for additional sweetness.

Mojito

Minty and refreshing, the mojito is one of the most delicious cocktails out there. Just ask Ernest Hemmingway, who allegedly was a big fan of the drink, although it existed long before he popularized it. Mojitos were invented in Havana, Cuba, and while its specific origins remain unclear, it may have begun as a medicinal drink. Along with classics like the margarita or whiskey sour, the mojito falls into the sour cocktail family — or mixed drinks made of liquor, citrus and sweetener.

Ingredients:

6 mint leaves, plus an additional for garnish

1 ounce (2 tablespoons) lime juice

1 ounce (2 tablespoons) simple syrup

2 ounces (4 tablespoons) white rum

2 to 4 ounces (½ cup) of soda water

Instructions:

In a cocktail shaker, muddle the mint leaves.

Add the lime juice, simple syrup and rum. Fill the cocktail shaker with ice and shake until cold.

Place ice into a glass, and strain in the liquid. Top off the glass with soda water. Garnish with additional mint leaves.

All recipes courtesy of A Couple Cooks.

Stepping into 205 Dry, it seemed, at first, like I had entered a tiny vintage bookstore. Our hostess then led us to another door, concealed deceptively by a bookshelf, where, after ducking through a red velvet curtain, the rest of the restaurant was revealed. As we were led to our table, Michael and I marveled at the beautiful setting we’d just wandered into. From the occasional Peggy Lee song playing over the speakers to the black and white photos and vintage furniture, 205 Dry feels like a 1920s time capsule. Velvety couches and cushy chairs filled the space, along with tables like the one we sat at. The lengthy bar featured an impressive collection of liquor as its backdrop, the glass bottles glittering in the light of the crystal chandeliers that hung over the booth. Michael and I were sat by the bar, at a table that was elegantly decorated with a candle, bright red flowers and yellow-paged books. Only a few minutes in and I was already blown away by the restaurant’s stylish aesthetic. Now, the food just had to deliver.

205 Dry’s Restaurant Week menu offers exclusive specials not on the original menu along with some of their classic options. I was also impressed by how inclusive their menu was, with each course offering a vegan option. For my first course, I went with the buffalo cauliflower wings while Michael ordered the shrimp and grits. My “wings” arrived on elegant china, doused in an orange buffalo sauce and garnished beautifully with a curled strip of cucumber and a thin ribbon of carrot. As someone who’s not the biggest fan of vegetables, I was amazed by how much I loved the cauliflower in this dish, and I might even prefer it to real wings. The delicious buffalo sauce had a zesty flavor and kick that was balanced by the refreshing cucumber. Even better was the house-made dill ranch. Creamy and flavored perfectly with earthy herbs, I found myself scraping every last morsel of it from my plate. I wish they had served it as a side dip rather than dolloping it beneath the wings so I could’ve enjoyed dunking the florets into it. Michael was also impressed with his course. The shrimp took him and me by surprise, as any note of fishiness was masked by a charred rich flavor that somehow managed to make it taste more like a barbequed chicken than seafood. Although unexpected, he appreciated the unique taste and said it reminded him of a summer barbeque. Michael also noted that the Cajun sauce that doused the dish provided a decadent creaminess while the, well, grittiness of the grits offered another intriguing texture.

Next up were our second courses. Michael opted for one of 205 Dry’s most popular dishes, the OG Chicken Sandwich, while I went with the pad thai. Although originally served vegan, I ordered mine with chicken, which can be added, along with other proteins like fish and tofu, for an extra charge. I was served a hefty portion of noodles, topped with peppers, onions, crushed peanuts and a garnishing of bright green cilantro. I loved how well-cooked and soft the texture of the rice noodles were — and while the flavor was a little more muted than the kind you might get at a traditional Thai place, the black chili sauce offered a much-needed burst of spice and umami. I also greatly appreciated that they didn’t skimp out on the peanuts, as they’re one of my favorite parts of pad thai, and nearly every mouthful was accompanied by a welcome, nutty crunch. Although I ordered the chicken because it’s how I normally prefer pad thai, the courses’ delicious flavors and portions far exceeded any need for it. Across from me, Michael dug into his chicken sandwich, which was served with the restaurant’s crowd-favorite fries, house slaw and their signature 205 sauce. Salty, thick and with what Michael described as the perfect potato-to-crisp ratio, we both agreed the fries lived up to the hype, and I robbed him of probably a quarter of his portion. The sandwich was generously packed with fried chicken and toppings, and Michael said the chicken was crispy and fresh.

For our third and sadly final course, Michael and I had two dessert options to choose from. I chose the mango mousse, while Michael opted for the fried vanilla cheesecake. Of all the great food I had that night, this one was my favorite. The bright orange mousse was served in a beautiful tiny dessert glass with a miniature spoon to boost. Topping the mousse was a slice of mango, a drizzling of strawberry glaze and sprinkled tajin spice, a seasoning blend that included chili flakes, sea salt and lime. The mango flavor was exceptionally refreshing and full, enhanced by the sweetness of the strawberry glaze. But the star of the dish was the tajin spice, which elevated the flavors tenfold. It was remarkable how much the combination of heat, salt and tangy lime brightened and complimented the fruity sweetness. With the dessert being tiny as it was, it was a struggle to not finish in under thirty seconds, and even then it was gone far too soon. Michael was also delivered to sugary nirvana by his fried cheesecake, which he described as fancier circus food. He found the textures of the dish to be surprising, with a fried crunchy outside that gave way to a smooth creamy interior.

Going in I had lofty expectations for 205 Dry. With its charming speakeasy aesthetic and diverse array of delicious dishes, I’m happy to say the restaurant lives up to the hype. As we polished our plates, Michael and I were already making plans to go back on our own, and if that’s not a sign of fine dining, I don’t know what is.

“Best”

Abrams’ opening track “Best” sets the vulnerable tone that flows throughout the rest of her album. The soothing instrumentals in combination with Abrams’ soft vocals give off a lullaby-esque feel to the song. The repetitive chorus of “I never was the best to you,” evokes Abrams’ raw truth that she was not the best person to be in a relationship. Abrams’ heart spills out on the song’s bridge as she reveals a level of wounded honesty and self-hate. The lyrics “and I destroyed every silver linin’ you had in your head / all of your feelings, I played with them” are a sliver into Abram’s overarching theme of self-guilt that she openly explores throughout the album.

“I know it won’t work”

“I know it won’t work” continues Abrams’ theme of vulnerability as she reflects on a badly ended relationship that she is unable to let go of. The vulnerability in this track stems from Abrams’ ability to admit she still wants someone who she shouldn’t. She can’t help but remain stuck on this individual. Abrams’ drawn-out vocals accompanied by somber instrumentals give the song an air of longing. The lyric “I know we cut all the ties, but you’re never really leavin” highlights the extent to which this individual lingers in Abrams’ mind and how a part of them will always be with her.

“Where do we go now?”

The second single off of “Good Riddance,” “Where do we go now?” offers a mixture of a delicate ballad sound along with synth-pop elements. Abrams effortlessly expresses what it feels like to be in a relationship that should have ended. As the song beautifully swells to the chorus, which reiterates the question “where do we go now?” Abrams evokes the heartbreaking desperation for the other individual to answer the state of their relationship as she knows that it is over between the two of them.

“Will you cry?”

“Will you cry?” is a fantastic, heart-wrenching track. Abrams’ lyricism, which can be understated to a fault at times, is at some of its strongest here, as she is not only honest but sharp in the way she crafts this exploration of a dying relationship. The bridge in particular is entrancing, with Abrams’ repeating the same lyrics over and, the instrumentation building in turn.

“Difficult”

Abrams puts her insecurities on full display in this intense track. With mentions of drinking to temporarily subside her feelings of self-hatred and the constant want to go unnoticed, Abrams fearlessly admits the darkest parts of herself, which are what makes her lyricism so utterly raw and truthful. As the song heightens in sound, so does Abrams’ angst and continuous frustration with herself.

“This is what drugs are for”

“This is what the drugs are for” is one of the strongest cases of Abrams’ and Dessner’s partnership on the album. Abrams’ husky, often whispered vocals can in some moments on the album feel underwhelming, but they perfectly suit this track’s gorgeous, brisk melody and melancholic feel.

“The blue”

“The blue” is the first moment on the album that departs from the subject of broken relationships and heartbreak. Instead, Abrams is in awe of a new love that has arisen seemingly out of nowhere. It’s a simple line, but the way she delivers the lyric “what are you doing to me now?” conveys the warring fear and amazement that comes with falling in love profoundly well. Dessner’s production is also masterful, with a dreamy instrumentation that swells with the addition of strings at the song’s climax.

Overall, “Good Riddance” is a masterful debut. Abrams showcases her vulnerability in a deeply personal way that is often not seen in today’s artists. Her emotional yet truthful lyrics and the production of the album itself capture the through line of Abrams’ perspective of her fractured relationship and the turmoil alongside it. More than that, Abrams also highlights how this relationship has impacted her in all aspects of her life and eventually, how she came out on the other side.

Now, after a lengthy break from the spotlight and nearly two decades into their career, Paramore uncovered their best sound yet, and with it released their best produced, most ambitious and experimental record yet. “This Is Why” consists of a concise ten tracks, and while this makes for a nearly flawless record, one can’t help but long for more of this wonderful new sound now that they have unearthed it — especially after such a long hiatus. Well, here is hoping for a deluxe edition soon.

“This Is Why”: Starting off on a high note

Paramore began this new era with the fantastic lead single “This is Why” back in September. As the opening and title track, it remains the album’s funky yet cynical thesis. The song “This Is Why,” like the album, is a homage to a much more grown-up type of angst than the kind Paramore sported in their youth. It is also one of the few great post-quarantine tracks with its themes, which include existential dread and agoraphobia. These are tackled in a way that feels specific to the times without being tacky or dated.

“Running Out of Time”: The SpongeBob soundtrack, but make it Paramore

Unlike the previous track, “Running Out of Time” takes on an incredibly relatable struggle of adulthood that for some reason no one has thought to write a catchy hook about — poor time management. Thankfully, Hayley Williams is wise enough to realize that the mundane isn’t always unnoteworthy, and that’s what makes “Running Out of Time” so great. The song has some delightful creative elements, like in the second verse where Williams shouts out excuses — “there was a fire!” — while soft vocals are layered underneath admitting how false those claims really are — “metaphorically.” Another great element is the instrumentation — which many fans have pointed out shares an amusing similarity with the ukulele soundtrack featured in “SpongeBob.” It’s funky, catchy and oh-so relatable.

“C’est Comme Ca”: The album’s weakest moment

“C’est Comme Ca” starts off strong. Williams opens the track with a gloomy spoken narration chronicling what feels to her like her life’s gradual, painful decay. “In a single year,” she drawls, “I’ve aged one hundred.” As the song goes on, she admits that she craves the disorder and self-destruction of her youth, and finds the stability and healing she’s worked so hard to cultivate in her adulthood to be boring. It’s a bleak but achingly relatable premise that fits perfectly with the album’s overall theme. The problem is the track’s chorus. Sing-talky hooks are great when done right, but when not they’re downright annoying. The first time Williams sings the hook “c’est comme ca,” it’s fun and poppy, but by the fifth time in the same chorus, it’s already tedious — and tagging a series of high-pitched “na na na’s” onto the end doesn’t help. Still, the track has its gut-punch moments, particularly in the bridge, which contains some lyrical gems like “I hate to admit getting better is boring / but the high cost of chaos, who can afford it?”

“You First”: A welcome blast from the past

“You First” is a fan favorite, and for good reason. There are many moments on this album where old Paramore and new Paramore come together, but never have they illustrated a mastery of their old sound as perfectly as in “You First.” It’s not just the sonic familiarity that makes this track feel like teenage Paramore, with York and Farro fully rocking out on the instrumentation as loudly and defiantly as ever. It is also the lyricism too — calling “everyone a bad guy” is a very emo, black-and-white take — heavy on the black — that screams “Riot!” and “All We Know is Falling.” But God, if the world does not feel that way sometimes.

“Figure 8”: A heart-pumping but melancholic rock-out moment

Don’t let this track’s loudness distract you from the fact that it’s one of the album’s darkest moments. The production is phenomenal, with an eerie, electric motif and a sweeping, heavy chorus that crashes into you in the best way. Farro’s drumming is nothing short of breathtaking. Paired with Williams’ belting vocals, it results in an especially emotionally cathartic moment in the final verse, where the two feel completely in synergy as they give it their all. By the end of the recording they were probably out of breath, and you can’t help but feel like you’ve had the air knocked out of you too.

“Liar”: Proof that Paramore does quiet moments as adeptly as their loud ones

Every Paramore album features a stunning, emotionally devastating ballad, from “Misguided Ghosts” in “Brand New Eyes” to “26” in “After Laughter.” “This is Why” maintains this tradition with the gorgeous, dreamy “Liar.”

“Crave”: A breathtaking career achievement

Here is not only an album highlight, but a career highlight the members of Paramore can contently rest their hats on. “Crave” is a gorgeous meditation on yearning, an ode to the present moment that eludes us as quickly as it greets us. If you listen to nothing else from “This is Why,” let it be this one.

It’s hard to believe that only a year ago, the idea of a Fujianese student club was nothing more than a joke between friends. Tiffany Wang, president of the FJU and a junior majoring in chemistry, said the idea for the club first came to her during the spring of her sophomore year.

“I had classes with a couple of my friends, and I found out that we were all [Fujianese],’’ Wang said.

Wang said she and her friends had this realization while all in a car together, prompting one of them to joke that they should start a Fujianese club.

“But I considered it,” Wang said. “I thought it was a good idea.”

From there, the club slowly began to come together.

“Basically we just told everyone that we knew was [Fujianese] to tell their friends who were [Fujianese] to see if they were interested in a club like this,” Wang said.

Through the power of word of mouth, a group of potential members was gathered, and in a Zoom call in the middle of the night, they held the club’s first unofficial meeting. The meeting after that, the members began discussing E-Board positions.

Although now close, many of the E-Board members were initially strangers to each other. Bing Zhou, FJU’s social chair and a junior majoring in economics, expanded on this notion.

“It just makes it where it’s like there are other Fujianese people here, but I just haven’t met them,” Zhou said. “But it’s really nice that we could all come together and meet more Fujianese people.”

Once the E-Board was formed, the next task at hand was to expand the fledgling organization’s outreach. After starting with Instagram, they moved on to newer platforms like Discord. Still, spreading knowledge of the FJU to the student body has been one of the club’s biggest challenges since not many people are aware of the club, according to Wang.

The FJU is now provisionally chartered, which its members hope will amplify its outreach. Additionally, the club is hoping to expand to WeeChat to attract international Fujianese students.

For students who are already involved, the FJU aims to create a welcoming community, a goal that is clearly evoked in their official slogan — “FJU, we are here for you!” Crystal Lin, FJU publicity chair and a junior double-majoring in economics and geography, discussed how one of the club’s main goals is to build a strong relationship with the general body.

“We’re pretty new but that also makes people more open to us because they don’t really know anything about us,” Lin said. “I think over the course of a year we want to actually get to know the general body instead of having them just be a population that just shows up.”

According to Vivian Li, FJU’s co-event coordinator and a junior majoring in business administration, the FJU’s efforts to interact with their members have already resulted in a strong bond forming.

“Out of the events we’ve been having last semester and even the semester before, I feel like we do have people that regularly show up to all our events,” Li said. “So I do feel like we’re pretty close with our [general] body in terms of how we know certain people who come in, and we’ll know them by name and we’ll be like, ‘How’ve you been?’”

Through unifying BU’s scattered Fujianese demographic, the FJU has created a space where people from the same culture with a diverse set of experiences can come together to connect. An especially enriching aspect for both the club’s founders and its general body has been their educational events. Not only are the presentations informative, but they also foster an open-minded conversation between attendees, according to the FJU, as everyone shares their own personal knowledge and practices.

In only a short time, the FJU has built an environment that not only welcomes Fujianese students to find peers from the same background but also invites anyone interested in Fujianese culture in general. It’s a club that exemplifies how unifying culture can be, and its power to foster a deep connection. The kind that turns strangers into friends, friends into a family and a family into a community.

ICCA Quarterfinals Competition (Jan. 28)

The Varsity Vocals International Championship of Collegiate A Cappella (ICCA) is college a cappella’s biggest tournament, drawing competitors from hundreds of institutions. On Jan. 28, the ICCA Central Quarterfinal will be taking place in Watters Theater at 7 p.m. Four of BU’s a capella groups — the Harpur Harpeggios, Binghamton Treblemakers, Rhythm Method and The Binghamtonics — will be facing off against competitors like Cornell University and Penn State University. Only the top two finalists will advance on to the ICCA Central Semifinal, and with any luck, a BU group will be among those advancing.

Stranger Things, Chapter Tamasha 2023 (Feb. 4)

While the wait for season five may still be on, the Indian International Student Union is here to quell your longing for Stranger Things content with their dance performance “Stranger Things, Chapter Tamasha 2023.” The club has cast its performers as characters from the iconic Netflix show, from Steve Harrington to Jim Hopper, and the event will also feature performances by Binghamton Bhangra, Binghamton Masti, Black Dance Repertoire, Quimbamba and SBU Junoon. The event will be held in the Osterhout Concert Theater on Feb. 4 at 6:30 p.m. It is going to be a totally tubular night so buy your tickets from Jan. 19 to Feb. 3 from 12 p.m. to 4 p.m. for $10 at Bartle Breezeway.

Lviv National Philharmonic Orchestra of Ukraine (Feb. 11)

On Saturday, Feb. 11 at 3 p.m. in the Osterhout Concert Theater, the renowned Lviv National Philharmonic Orchestra of Ukraine will be performing. The orchestra, which will be led by conductor Theodore Kuchar, will be performing Ukrainian pieces such as Yevhen Stankovych’s Chamber Symphony No. 3 for Flute and String Orchestra, as well as Bruch’s Violin Concerto No. 1 in G minor, Op. 26 and Dvorak’s Symphony No. 6 in D Minor, Op. 60. It’s sure to be a moving afternoon of beautiful music performed by an ensemble of remarkable musicians.

Les Ballets Trockadero de Monte Carlo (Feb. 25)

If you’re looking for an evening of laughter and fun, make sure to catch Les Ballets Trockadero de Monte Carlo at the Osterhout Concert Theater on Saturday, Feb. 25 at 7:30 p.m. This all-male comedy ballet company has been around for almost 50 years, and their shows fuse masterful, precise dance and remarkable physicality with their equally impressive flare for comedy. Students can get their tickets for $10.

Thrive, or What You Will (Feb. 23 to 26)

Near the end of February, the BU Theatre Department will be putting on several performances of the play Thrive, Or What You Will [an epic] in Watters Theater. Written by LM Feldman, the play centers around Jeanne Baret, a gender-nonconforming 18th-century herb woman on her journey navigating the globe. Make sure to get your tickets for the show, which will be put on on Feb. 23, 24 and 25 at 8 p.m., as well as Feb. 25 and 26 at 2 p.m.

A large screen displayed images of glowing lanterns floating on water, providing a cozy backdrop for the festivities. Taking up the middle of the room was a blue mat where attendants could sit as they ate, talked, played board games or folded origami. At the center of the mat was a small inflatable pool filled with a colorful assortment of origami lotus flowers and dimmed candles that floated on the water’s surface. Additionally, folded lotus flowers made by TSO members were dispersed on every surface. Surrounding the mat were various stations that attendants could drift between, each denoted by posters painted by TSO members.

One of the highlights of the festival was the free food and refreshments, which members like Alita Lin, president of TSO and a junior majoring in biology, woke up at 9 a.m. to finish cooking and preparing. The event served the traditional Thai dish Pad Krakow, which Lin described as “basically ground beef with basil, garlic and Thai chilies” served alongside white rice. Along with the dish, Lin and her peers also made butterfly pea tea, a vibrant blue tea made by infusing the flower petals of the butterfly pea plant.

In addition the food, the event featured various traditional Thai games for students to try their hand at.

“The activities and the games that we chose were very unique, and we wanted to make it kind of specific to Thai culture,” Lin said.

One game, called E-Gar Fuk Khai — which Lin likened to capture the flag — had students trying to capture eggs from behind a marked line without getting tagged by a few students in charge of “guarding” the eggs. Another game was called marbles, which resembled a children’s Korean game shown on “Squid Game,” wherein players aim and roll a marble across the floor into a designated parameter. Prizes ranged from plushies and candy to traditional Thai snacks that Nortee Panpinyo, TSO’s cultural chair and a first-year graduate student studying industrial and systems engineering, brought back from his summer visit to Thailand.

Attendants who were unable to make their luck with any of the stations also had a chance to win one of these prizes through a raffle that occurred twice near the end of the event.

Perhaps the most memorable aspect of the festival was the scavenger hunt. TSO members hid multiple elephant keychains throughout the room, and those lucky few who found one would be rewarded with a prize. Toward the end of the event, nearly every attendant was searching for the last keychain, which was the most difficultly hidden. TSO members teased those searching with cryptic clues until the keychain was finally found in the mini pool of floating lotus flowers.

Macy Jiang, a freshman majoring in computer science, said her favorite part of the night was the scavenger hunt and the marbles game.

“It was really fun,” Jiang said. “I learned a lot about their culture kind of through participating in these activities.”

Planning an event of this scale was not without challenges, according to Panpinyo.

“This is a really experimental testing phase for us as TSO,” Panpinyo said. “It took since basically the beginning of the semester to plan this all out.”

Phoebe Lin, TSO’s publicity chair and a junior majoring in business administration, said that in spite of their best efforts, the TSO was met with a few hurdles even leading up to right before the event was set to happen.

“Last week they were saying this room couldn’t be used anymore,” Lin said. “We requested it and then it got canceled because Late Nite had to come.”

Additionally, preparing the food was in itself a logistical challenge.

“Food has its own restrictions if we’re cooking it off campus,” Lin said. “We had to go through Sodexo, Auxiliary Services — everything.”

In spite of these obstacles, the festival was an overwhelming success with a high turnout. TSO is already setting its sights on bigger and better future events for the club, with Panpinyo hoping to “transition into a really full-blown, large-scale banquet by next semester.”

Founded in October 2021, the Thai Student Organization (TSO) has joined the ranks of other cultural organizations at BU, and has become a fun, safe learning space for any student interested in Thai/Thai-American culture. Although the TSO is still relatively new, its Executive Board has made rapid progress in expanding the group and becoming an official, SA-funded organization within a remarkably short time frame.

TSO President Alita Lin, a junior majoring in biology, said the idea to create the TSO first occurred to her when she became interested in joining a Thai club on campus, only to realize that none existed. Thus, she decided to take matters into her own hands.

“I knew of someone that was also interested in creating a Thai club, but I had little connections to him,” Lin wrote in an email. “Eventually, I decided to reach out to him after finding out he was a close mutual friend.”

From there, Lin started talking to friends who also had an interest in the club, and things were quickly set into motion. The founding members began to build an E-Board, coming up with positions and holding elections.

The newly formed E-Board shared the same ambitions for creating a safe haven for students interested in Thai/Thai-American culture that, at that point, didn’t formally exist in BU.

“We aim to educate our community about the importance of the culture and any Thai-related issues,” Lin said. “Overall, we want to represent a very small population of Thai students at [BU] and the surrounding Broome County areas.”

However, the past year has been full of challenges and hard work for Lin and her peers. As is the case for any students hoping to form a club, one of the biggest obstacles the TSO E-Board members had to overcome was getting chartered.

“We had no prior knowledge of how clubs got chartered so it first took a lot of effort in contacting the Student Association to get all the steps,” Lin said. “We had to get signatures, create events, make a constitution and meet with multiple representatives of the [SA].”

However, the members’ hard work was rewarded when, in March 2022, the TSO officially became provisionally chartered — which Lin explained means they have all the perks of being an officially chartered organization excluding funding — and are on track to be officially chartered by the same time next year.

“I would say TSO got chartered much faster than most clubs,” Lin said. “However, all of our E-Board members worked diligently to get chartered within a semester.”

In addition to their work in getting chartered, the TSO’s E-Board has also been working to expand the club’s outreach and grow its membership, a process Lin describes as “both challenging and rewarding.”

“As a new club with many members who have no prior experience with being on an [E-Board], we’ve had many obstacles along the way,” Lin said. “At times, it takes us longer to plan events, do our meetings, book rooms, etc. However, as time went on we slowly learned how to do things efficiently so there’s not as much of a struggle.”

Now, the club is regularly putting on exciting events, from their chicken satay fundraiser to a Thai horror rom-com movie night, and are gaining traction within the student community.

After over a year of diligent work, Lin says she and her fellow E-Board have formed a close bond with each other, as well as with the general body.

“I can say that the majority of our [E-Board] have gotten so close, which makes our experiences more entertaining,” Lin said. “We notice all of our [general body] who come to our events and make an effort to talk to them so they feel comfortable and have a good time around TSO.”

The TSO has no plans to halt its impressive growth anytime soon and is already making plans to ensure the club’s continued success. Assisting with this is TSO Advisor Andrew Zhang, a first-year graduate student studying computer engineering.

“Our plans for the upcoming year [are] to continue to establish our presence on campus to endorse a space for people who are interested in Thai culture,” Zhang said. “In addition, we would like to expand our event planning capabilities such as banquets or nights.”

Amy Chen — the TSO’s publicity chair and a sophomore studying psychology, also described having long-term goals. She hopes to impart the skills and experience she’s developed in her position, which includes creating promotional graphics and posters, to future E-Board members.

“I want to show them through these graphics that you can be innovative and incorporate novel ideas into them,” Chen said.

As for this semester, one of the club’s biggest events is coming up in only a few weeks — the Loy Krathong: Festival of Floating Lights. Anna Chau, the social chair for the TSO and a junior majoring in business administration, expressed her excitement over the festival, which will be held on Nov. 19.

“It’s going to be one of our largest events for the semester and everyone has planned and worked very hard to make sure it becomes a success,” Chau said.

Zhang said the event will “showcase different aspects of Thai culture, from its cuisine to different traditional games and activities.”

With only a year under its belt, the TSO has already made incredible progress in growing its club and forming a tight-knit community, and it’s clear they have a bright future ahead at BU.

Track 14: “The Great War”

“The Great War” is a song that defines what it means for love to prevail. With the combination of battle-like imagery, a heavy emphasis on synth-pop and a killer drum beat, Swift makes this 3 a.m. track an unforgettable one. The tension that’s felt throughout the lyrics ultimately comes to a hopeful ending as the two lovers make it through their conflict.

Track 15: “Bigger Than The Whole Sky”

“Bigger Than The Whole Sky” is one of the most beautiful and chillingly sad songs Swift has ever written. It does not appear to be about a lover, or really anyone specifically, but rather is centered on a deep and debilitating grief. “I’m never gonna meet / What could’ve been, would’ve been / What should’ve been you,” Swift mourns, although whether that “who” is a friend, a family member or a partner is never specified. The production is sparse but gorgeous, and Swift’s vocals are haunting and soft.

Track 16: “Paris”

This upbeat and happy song about being in love and disconnected from everything but these emotions was an incredible addition to the 3 a.m. tracks. Swift perfectly captures the feeling of new love and the need to hold onto this feeling. She states, “I’m so in love that I might stop breathing,” showing the intensity of love and the fear of losing the special sensation. The light and dreamy track is the perfect base for the simple but magical lyrics.

Track 17: “High Infidelity”

There was a time when Swift believed cheating was the ultimate sin for any partner to commit — unforgivable and unjustifiable. But newer songs have illustrated a shift in that mindset in favor of a more nuanced perspective, and none more so than “High Infidelity.” The track sees Swift feeling trapped in a relationship, resulting in her seeking relief in another man until finally she’s caught in her lie — “I bent the truth too far tonight,” she admits. All but confessing to her unfaithfulness, Swift asks, “Do you really want to know where I was April 29th? / Do I really have to chart the constellations in his eyes?” While she sounds sorry for hurting her partner, she does not seem to regret her choice. Unlike some of the other “Midnights” tracks which cover familiar territory, “High Infidelity” describes a fallout Swift has never written about before, perhaps because she has taken such a strong moral stance on cheating in past songs. Production-wise and melodically, the song sounds similar to “Renegade,” a track by Aaron Dessner and Justin Vernon’s band, Big Red Machine, which Swift collaborated on. Given that Dessner produced both songs, the sonic similarities make sense, and “High Infidelity,” like many of the 3 a.m. tracks, feels like a return to the lyricism and sound of her Dessner collaborations, particularly “evermore.”

Track 18: “Glitch”

“Glitch” is one of the most experimental tracks on the record. The same producers that worked with Swift on “Lavender Haze” and “Karma” are credited on this track, and, here again, they have unlocked a new but intriguing pop sound that one would never have thought would suit Swift so well. With garbled background vocals, electric sounds and a groovy bass, “Glitch” is about a casual relationship unexpectedly morphing into something much more serious — a turn of events so unpredictable that Swift admits “I think there’s been a glitch.” Swift’s sultry falsetto delivery perfectly complements the more mature, provocative subject matter she is still singing about. “Glitch” is a delightfully weird and sexy song that could have easily fit right in on the standard edition of “Midnights.”

Track 19: “Would’ve, Could’ve, Should’ve”

Arguably the most gut-wrenching and raw track, “Would’ve, Could’ve, Should’ve” explores falling in love with someone who ultimately takes advantage of your naivety while destroying you from the inside out. Swift reflects on her relationship when she was 19 and her partner was 32, a relationship that emotionally damaged her so much that she’s only sung about it once before on Speak Now’s “Dear John.” While the former song was written in the recent aftermath of her breakup, “Would’ve, Could’ve, Should’ve” is sung from the perspective of an older Swift who is desperately trying to heal, but is still hurt and grieving over the ways she now realizes she was taken advantage of by an older man. She admits how she deeply regrets pursuing the relationship as long as she did, lamenting, “I regret you all the time.” The references to death such as, “And now that I’m grown, I’m scared of ghosts / Memories feel like weapons,” and “the tomb won’t close” illustrates the trauma that’s never left Swift despite the amount of time passed. The song is filled with some of the best lyrics Swift has ever penned, but the true emotional gut punch is delivered in the bridge when Swift belts “Give me back my girlhood / It was mine first.” Her voice is filled with so much emotion it’s difficult to hear. The anger and pain are that visceral. It’s one of the best songs she’s ever written.

Track 20: “Dear Reader”

“Dear Reader,” the closing track to Swift’s 3 a.m. edition of “Midnights,” starts off with a slow melody on the piano, which echoes throughout the song as elements of synth-pop become the foreground of the track. The repeated lyric “never take advice from someone who’s falling apart,” emphasizes the weariness Swift feels when it comes to people taking advice from her music, as she herself doesn’t necessarily know what she is doing. The overarching concept within this song of questioning your identity while feeling isolated speaks to the rest of “Midnights” — an album with prevailing themes of pain and insecurity.

Overall, the addition of the 3 a.m. tracks gives the album a heightened sense of vulnerability and balance. Dessner’s contributions are refreshing amid an album produced entirely by Jack Antonoff, whose production can sometimes be a bit heavy-handed. Dessner brings back the penmanship and sound of “folklore” and “evermore.” “Midnights” standard edition is a great pop album with some career highlights, but the addition of the 3 a.m. tracks, which include one of the best songs of her entire career, makes it an even better one.

Rating: 4.5 out of 5 stars

Track 1: “Lavender Haze”

“Lavender Haze,” the upbeat yet sensual opening track, illustrates the total pureness of Swift’s current relationship with Joe Alwyn and her desire to remain in the “lavender haze” of their “love spiral.” The song opens up with “meet me at midnight,” a clear indication of the progression of the rest of the album and how each song gives off an aura of reminiscing on late-night desires and fears.

Track 3: “Anti-Hero”

“Anti-Hero,” the album’s lead single, is a terrific ode to self-loathing that sees Swift more vulnerable and self-deprecating than ever before. Rather than indulging in her tendency to strike back, the song’s chorus finds Swift echoing and agreeing with her critics, openly admitting “I’m the problem, it’s me.” One particularly powerful lyric, “Midnights become my afternoons when my depression works the graveyard shift / All the people I’ve ghosted stand there in the room,” marks the first time Swift has addressed with such specificity the mental health lows she’s experienced. With each verse, she divulges a new fear or hated aspect of herself, from her certainty that her “scheming” will drive away everyone she loves, to her view of herself as “a monster on the hill,” to a fear that her own children will grow up to resent and even murder her. In spite of its harrowing admissions, the song is incredibly catchy with one of the strongest melodies in the entire record, making it a wise choice for the lead single — a decision she definitely does not always nail.

Track 4: “Snow on the Beach” Ft. Lana Del Rey

“Snow on the Beach” is a lighthearted, sweet song about the surreal and almost impossible feeling of falling in love. The song is a gorgeous fusion of their two styles, mixing the beautiful but gloomier elements of Lana Del Ray’s style with some of Swift’s lighter tunes as they speak about the beauty of falling in love combined with the fear of jinxing it. The Del Rey and Swift collaboration did not disappoint. Their voices blend together perfectly, flawlessly flowing with the lyrics.

Track 5: “You’re on Your Own, Kid”

“You’re on Your Own, Kid” takes listeners on an intense and emotional ride through Swift’s emotions, with her rise to fame and experiences with life and love. The song starts off with a calm pop tune, building in intensity as the song continues. Emotional lyrics like “I gave my blood, sweat and tears for this / I hosted parties and starved my body” are vulnerable and real as Swift speaks honestly about the hardships she has faced throughout her career, such as an eating disorder that she has spoken about previously. This song takes a deep look at her self, a whirlwind of emotions that closes with “you’ve got no reason to be afraid” toward the end, bringing inspiration to sadder and vulnerable lyrics.

Track 6: “Midnight Rain”

With elements of pop and synth sounds, “Midnight Rain” makes for an intimate track about Swift wanting to break away from a past relationship. The repeated lyrics of “he wanted it comfortable, I wanted that pain / he wanted a bride, I was making my own name” show the contrasting desires emulating from both individuals and, ultimately, how Swift wanted something bigger for herself. Despite leaving the relationship, Swift still reminisces on what could’ve been through the lyrics “and I never think of him / except on midnights like this,” which shows the continuing theme of how certain thoughts and situations can keep you up late into the night, wondering what could’ve been, even if you yourself ended the relationship.

Track 11: “Karma”

In 2017, Swift once sang “All I think about is karma.” Five years later, she’s finally gotten around to writing a song about her favorite law of the universe — and, against all odds, it’s a complete and utter bop. “Karma” had the potential to be overly petty and self-righteous, but instead it’s Swiftian humor at its very best. In arguably the catchiest chorus on the album, Swift sings about how, for her, karma is not something she fears, but rather all the things that have worked out in her favor — her boyfriend, cuddling with her beloved cats and the slow but inevitable ruin of her enemies. Sure, some of the lyrics are a little silly, but that’s the point — it’s not a song that takes itself seriously. It’s as breezy and fun as its addicting melody. Swift might have earned acclaim with her last two albums for her flowery prose and wistful introspection, but she’s also a reigning pop star. The kind who can write a song with a line like “Karma is a cat purring in my lap ‘cause it loves me” and not only pull it off but also have it be a standout on an excellent album.

Track 12: “Sweet Nothing”

In the midst of vindictive plotting and heavy ruminations, “Sweet Nothing” is warm and understated, like the glow of candlelight. Swift’s hushed vocals and a keyboard are all that is needed in a song all about honoring simplicity and the domestic bliss she has found in her partner, in spite of the chaos that often dictates her life. It’s one of the best love songs she’s written about her long-time boyfriend Alwyn to date — and given that we have four albums of material, that’s saying something.

Track 13: “Mastermind”

“Mastermind” is the perfect finale for yet another incredible Swift project. She speaks about setting up schemes for love, ensuring that fate brings her and her love together. The concept, while silly, shows the beauty of their relationship, as although she set it up for them to end up together, her lover knew the whole time and did not care. This comes full circle, showing how life has a way of working out. The soft pop melody and music have the wonderful feeling of fulfillment that a final track often needs, bringing the album to a subtle and magical close.

Overall, this album was an excellent addition to Swift’s discography. There is a comforting feeling of home with “Midnights,” with songs similar to “Lover” and “Reputation,” yet they still have their own unique twist. On first listen, there was a slight feeling of disappointment after the masterpieces that were “Folklore” and “Evermore,” but after a few more listens — or an entire day with “Midnights” on repeat — it became clear that this is a no-skip album that showcases Swift’s musical skill, maturity and creativity as one of the most talented artists of her generation.

Rating: 4 out of 5 stars

As audience members — which consisted of students, faculty and Binghamton locals alike — filed into the Chamber Hall, BU’s Director of Jazz Studies Michael Carbone educated the crowd on Thurman’s exceptional career.

The Darrell Green Quartet, of whom Thurman’s husband Darrell Green is the drummer, began the night, silhouetted by a colorfully lit background. After a few minutes, Thurman walked onto the stage in a glittering silver dress, eliciting applause from the audience as she picked up her saxophone and joined the band. Thurman, both an exceptionally gifted saxophonist and vocalist, alternated between singing and playing the saxophone throughout the night. Some of the numbers performed included “My Heart Belongs To Daddy,” “Love Vibrations” and “Despondents Flee.”

“We just wanted to perform songs that we just love to play, but also a few numbers that we know the audience would love,” Thurman said. “But most importantly, the basis of the music that we pick is music that feels good and has a positive uplifting message. [In] all the pieces we picked we wanted it to be centered toward that.”

A particularly heartwarming moment came at the end of the night. After the show had concluded, Carbone pointed out Thurman’s mother in the audience. Thurman’s mother, a teacher, was the first person to introduce her daughter to music. While completing research for her thesis for a master’s in literacy and education, she educated herself and her daughter about the musical history and Black performers that originated from their Queens neighborhood.

“I fell in love with music because she had it around me,” Thurman said.

Another pivotal figure in Thurman’s musical journey was her middle school music teacher Mr. Archer, on whom the Disney-Pixar film “Soul” is based. Archer gave Thurman her first flute, and the rest, she says, was history. Thurman experimented with a few more instruments throughout middle school under Archer’s guidance, but discovering the saxophone was her “jackpot.” She gave up her lunch periods to teach herself the fingering and soon enough she was enrolled in a jazz band.

In high school, things took a turn for the worse. Under Archer’s encouragement, Thurman enrolled in a performing arts high school, but was faced with intense sexism.

“The guys literally did everything to stop us from playing, literally,” Thurman said.

After high school, Thurman was drawn to BU because it boasted both a strong academic program and involvement in the arts. It was there that she first caught the attention of Carbone.

“I saw this young woman with three or four instruments strapped around her back,” Carbone said. “I said to her, ‘Excuse me, do you play all those instruments?’”

When Thurman confirmed that she did, Carbone encouraged her to audition for the jazz ensemble. But Thurman’s negative experiences in high school had done a number on her confidence, and, on the night of her audition, she found herself unable to go.

When Carbone later ran into her and asked why she hadn’t tried out, Thurman opened up about the treatment she’d endured in high school.

“He was so crushed to hear my experience,” Thurman said. “He looked up at me and said, ‘You know what, you just need a safe place to learn, you didn’t have access to that for the last two years.’ And that was the first time I ever felt anybody understood me.”

Carbone was able to convince Thurman to audition the next semester. By the time she graduated, she was at a crossroads between pursuing a career in science or taking the leap and going full throttle into the music world. Thankfully, she chose the latter and hasn’t looked back since.

Beyond being a spectacular night of music, the performance was a moment of pride for many of the faculty in BU’s music department, who delighted in seeing an alumni rise to such a world-class level of success.

“She just gets better and better every time I hear her,” Carbone said.

Laurence Elder, an adjunct lecturer in the department of music, was also at the show and loved seeing Thurman thrive in her performance.

“One of the most satisfying things about the job is steering someone in the right direction and helping them pursue their dreams,” Elder said. “To see it come to fruition at such a high level is especially a sweet moment.”

For Thurman especially, the night was a full circle moment and a true homecoming.

“BU is almost like a second home to me because that’s where I kinda was reborn musically,” Thurman said. “That’s where I was kinda put back on track.”

Paramore first started teasing their return in early September, when each of the group’s members changed their social media profile photos to an image of their face pressed against a droplet-streaked glass surface. Fans also found that the band’s official website paramore.net had been completely altered — the main page is reduced to a plain white background with a list of dates, some of which corresponded to a vague event like “9.12 – L A” or “9.19 – start spreading the news.” In the time since the meaning of these hints has been revealed- for example, on Sept. 12, LA tour dates were announced. A Discord link was also posted on their website, where Paramore has since been sharing tour and music updates as well as other exclusive previews such as snippets of new songs. The cryptic activity culminated when, on Sept. 16, Paramore announced they would be dropping a new single on Sept. 28.

Many fans were excited for the single, not only because of how long it’s been since the group’s last release, but also for a reason that might sound odd to anyone who’s not a longtime Paramore listener — Williams’ hair color. For those who aren’t in the know, Williams is known for dyeing her hair vibrant shades of color for each album era, but probably her most famous look was the fiery orange hue she took on when the group first debuted with “All We Know Is Falling” and continued to rock during the following release of “Riot!,” the album that catapulted them to mainstream success. However, since 2017, when the group released “After Laughter,” their last album before going on hiatus, Williams has been maintaining her natural blonde color. In fact, Williams’ hair color wasn’t the only change to come to Paramore that year. In spite of positive critical reviews, “After Laughter” sparked heated controversy among fans because it was the first time the band completely departed from the emo, head-banging genre they had championed for years. Instead, the group experimented with brighter, funky, 80s-inspired pop, which some decried as them “selling out” (in fact, the album is excellent and illustrates the group’s then untapped musical range).

Thus, when previews of the new music video were released showing the return of Williams’ iconic orange hair from Paramore’s heyday, many excitedly thought this was a sign that the group was returning to their original, punk rock sound. And while in many ways, “This Is Why” honors the music and look that made Paramore a household name, the record also demonstrates the band’s continued sonic evolution and versatility. It sounds less like one era in particular and more like a fresh take on everything they’ve done before.

The song begins with a funky guitar solo from York before steadily progressing into Williams’ opening verse. Never one to pull her punches, Williams begins the song with a cold piece of advice — “If you have an opinion / Maybe you should shove it.” Her delivery, biting and dripping with attitude, is straight from Paramore’s angsty teenage years. The song’s chorus, however, is funky and fun. It makes listeners want to dance and shout its addicting, sing-talky melody, even if the lyrics, such as “this is why I don’t leave the house,” are much gloomier than the mood the instrumental and delivery evokes. In this way, the record feels reminiscent of “After Laughter” which, for all its synth and groove, was a deeply melancholic album chronicling Williams’ recent heartbreak and mental health struggles. In “This Is Why,” Paramore has once again mastered the art of making listeners want to dance as they cry. The end of the song is especially addicting, with a satisfying key change that climaxes with Hayley belting out “oh why?” drawing out the syllable of the final word in pace with Farro’s furious drumming and York’s rippling guitar chords.

Lyrically, the chorus feels like a reference to quarantine and how, even now, it feels difficult and scary for some to leave their homes after spending so much time confined within them. But less obtusely, it also seems to be referencing the struggle the band, and especially Williams, have had with the spotlight, especially in an age where one misstep can earn a celebrity the scorching wrath of millions of online users. It wouldn’t be the first time Williams has discussed her troubles with fame. For example, in the song “Idol Worship” from “After Laughter,” she describes the suffocating pressure of being adored and mythologized by fans as someone perfect and infallible, which she knows will only end in her inevitably letting those individuals down. The music video also seems to reinforce the idea that the track is about the difficulties Paramore has experienced as a public figure. Throughout the video, the group is constantly being filmed by a production team, giving the impression that everything they do is being carefully monitored and directed.

A highlight of the video is Williams’ always captivating charisma. In some scenes, she wildly sways and gesticulates while passionately singing each phrase and in others, she twirls and high-kicks her way across the screen. York and Farro are also featured prominently in the video and, in one scene, catch Williams as she falls back into their arms. Some fans have speculated that this moment in the video might be a moving reference to how York and Farro have supported Williams throughout the band’s career and especially through some of her emotional hardships, particularly her grueling divorce from Chad Gilbert during the “After Laughter” era. In spite of the difficulties, feuds and changes in members that Paramore has experienced over the years, the lasting endurance of York, Farro and Williams’ bond and the childhood friendship that catalyzed the group’s formation is touching to witness. It’s clear the three have never been in a stronger, more stable place both as friends and bandmates, and that their lengthy hiatus provided them with the space and much-needed break they needed to return better than ever.

With such a fantastic lead single and exciting new sound, fans can only hope Paramore will be leaving the house again sooner rather than later.

For the next nine weeks, Netflix users can look forward to a new hourlong episode of the “The Great British Baking Show” dropping every Friday, with the 10th and final episode set to release in November. Spoiler-averse Netflix viewers should be wary of the fact that episodes premiere three days earlier in the U.K.

Longtime judges Paul Hollywood and Prue Leith have returned along with comedic hosts Noel Fielding and Matt Lucas. Fielding has been hosting “The Great British Baking Show” ever since it controversially switched from BBC to Channel 4, prompting the two previous hosts to depart. Up until last season, Fielding was accompanied by Sandi Toksvig. However, Toksvig departed the show and was replaced by Lucas only last season. Although he is still a fresh face for many, the duo’s chemistry has only gotten stronger and more established with the new season.

A fresh set of 12 amateur bakers — a baker’s dozen if you will — are welcomed into the iconic “The Great British Baking Show” tent. The contestants come from a vast array of backgrounds and careers, from a Malaysian cardiovascular research associate to a 60-year-old IT manager, yet they are all unified by the same passion for baking. Over the course of 10 weeks and 30 challenges, one baker will be eliminated from the show every episode until only three contestants remain. Those lucky three will then compete head to head in the finale. Although there is no cash prize beyond just the title of being the season’s victor, the honor of winning — and even simply doing very well on the show — often comes with book deals, TV appearances and public acclaim.

Each episode of the series, with the exception of the finale, has an overarching theme — such as Biscuits Week or Bread Week. Per Bake Off tradition, the first episode’s theme was cake. As is the case for every episode, the bakers underwent three challenges over two days — the signature challenge, the technical challenge and the showstopper challenge. The first day began with the signature challenge, where the bakers were given a specific type of bake to complete — for example, chocolate florentines or fruitcake — although they can be as creative and experimental as they want with the recipe they use.

The second challenge is the notorious technical challenge, which has elicited a panicked meltdown in many bakers over past seasons. The challenge requires the bakers to execute a recipe made by either Hollywood or Leith to perfection, but the catch is that they aren’t given the exact recipe, only a bare guide of ingredients and vague simple instructions that never include measurements, bake times and other vital information. Unlike with the signature and showstopper — in which the bakers are told ahead of time what the bake is so they can prepare and practice their recipe at home, the bakers have no idea what the technical challenge bake will be. More often than not, whether a baker succeeds at the technical challenge comes down to whether they’ve heard of the bake before or not. The challenge is also judged blind, with Hollywood and Leith ranking the bakes from best to worst, having no idea whose bake is whose until the end of their deliberations, when each baker is revealed in order from last to first place.

Finally, on the second day, the bakers complete their third and biggest challenge — the showstopper. As the name implies, this challenge asks the bakers to create a large, grand display that demonstrates their technical proficiency and creativity. Often, the challenge is at least two hours and requires the bakers to manage their time more than any other bake. For bakers who underperform the previous day, the showstopper is often the Hail Mary that decides whether or not they remain for another week. Along with the elimination, at the end of each episode, the best baker for each episode is rewarded the coveted title of “Star Baker.”

This week, the signature challenge required the bakers to make miniature sandwich cakes, while the technical challenge required them to bake a gigantic red velvet cake, with a recipe courtesy of Hollywood. Finally, for the showstopper, the bakers were required to create a 3D replica of a place they consider home — entirely out of cake of course.

Even only one episode in, some contestants have already made a lasting impression as possible contenders for the finale. 34-year-old Janusz in particular established himself as the one to beat, offering up fantastic bakes for every challenge and ultimately earning the first-star baker title. Hot on his heels for the star baker title was 32-year-old Syabira, a Malaysian baker with a flair for incorporating her home country’s flavors into her bakes. With a strong showing in the signature and a first place win in the technical, it’s likely she could have won star baker over Janusz had she not stumbled in the showstopper with weak flavors.

30-year-old Sandro also proved to be a steady, confident competitor with strong technical skills. Usually, the baker that goes home during the first episode is very clearly not at the same skill level as the other contestants, and it’s usually clear who’s going home midway through the episode. This season was no exception. Will, a 45-year-old former charity director from London, was struggling from the get-go when his buttercream for his ginger and caramel squares split, resulting in a messy final product that the judges deemed bland and disappointing. Note for new viewers — it’s never a good sign when Hollywood finishes his judgment by saying “nevermind then.” Will was also near the bottom of the technical rankings, and an overbaked showstopper unfortunately cemented his fate. Still, it’s an incredible feat to even make it onto the show, and it was touching as always to watch Will’s fellow bakers hug and comfort him after his name was announced as the first episode’s elimination. Rest assured, it gets even more heart-wrenching each week.

Each season, certain weekly themes are recurring, such as Biscuits Week or the notoriously difficult Patisserie Week, which is always the penultimate episode. Traditionally, this Friday’s episode will be Biscuits Week, and the episode after will be Bread Week, wherein Hollywood, who specializes in baking bread, is even more of a scathing judge than usual. Along with the recurring themes, each season also debuts brand new theme ideas, such as a dairy week or caramel week, and it’s exciting to imagine what new themes will appear this year.

Tune in to the Great British Baking Show every Friday and begin your weekend with a wholesome, feel-good hour of impressive bakes and thrilling competition.

Once seated, we both marveled at the stylish vibe created by the neon purple lighting and softly glowing candles. Not long after arriving, our waiter, who was wonderful throughout the night, arrived to take our orders. The restaurant also very generously offered to serve us any drinks outside of the Restaurant Week menu free of charge. Never one to turn down free booze, I ordered the cincider cocktail. The crisp sweetness of the apple cider, laced with fiery notes of cinnamon, was wonderfully refreshing. With its combination of fall flavors and warm auburn color, it was truly like sipping autumn in a glass.

Due to a slight mix-up, Michael and I were served our entrees first instead of our appetizers, but neither of us had a problem and, if anything, we were more than happy to dig into our main courses. I ordered the birria tacos for myself, which consisted of three tacos served fancifully on a black slab. The soft shells, warm and just the right amount of crispy, were overflowing with filling and garnished with crumbly cheese and cilantro. The braised beef — the star of the dish — was heavenly, pleasantly chewy and deliciously flavored. Melted cheese added an extra burst of flavor and gooey goodness. Fresh, earthy flavors were accompanied the richer ones, thanks to the onions and cilantro. The tacos also came with beef consomme, which you’re meant to dip the taco into. Hearty and rich, it enhanced the flavors of the beef even more.

Michael opted for the New York strip, which comes with a $10 supplement charge. He was served a gloriously thick slab of 12 ounce steak, served with garlic parmesan fingerling potatoes and drizzled with bleu cheese fondue. Michael had nothing but praise for the fondue, which was creamy and bursting with flavor, punctuated by a sharp kick from the bleu cheese. As for the steak itself, Michael said it was firm but not chewy, and cooked to a perfect medium rare. Needless to say, we both vigorously devoured our entrees.

We were then served our appetizers. I ordered a garlic parmesan sourdough bread that came with four sides — a vodka sauce, pesto, garlic butter and extra virgin olive oil mixed with balsamic. The sourdough loaf was baked to a golden brown and sprinkled generously on top with parmesan cheese, which, in the oven, melted into warm gooey goodness. Its large portion size is likely too much for one person, especially if you want to save room for an entree, but it would make a perfect shared appetizer among friends. Of the sauces and spreads, the pesto was the standout for me. I’ve never had a fresher pesto, and the fresh kick of herbs was the perfect way to balance the cheesy, rich bread. The vodka sauce was also stellar, with a vibrant tomato flavor that perfectly complemented the parmesan. The garlic butter, while flavorful, was a little too rich for me to handle more than a few bites, pairing with the already decadent bread. The oil dip was also too heavy of a dip for me.

For his appetizer, Michael ordered the sticky chicken. He was served three Korean BBQ drumsticks with a side of miso aioli. Michael said the chicken was cooked perfectly, and enjoyed how easily the meat tore off the bone. He loved the flavor and added that the chives and parsley sprinkled on top added a pleasant freshness. We also both loved the miso aioli and agreed it was an ingenious concept flavor-wise. Finally, we were served our desserts. I selected the pumpkin spice espresso martini, a seasonal beverage that had me squealing with delight inside. Flavored with mix-ins like vanilla vodka and pumpkin spice coffee, the resulting cocktail tasted exactly like a Starbucks pumpkin spice latte, with virtually no alcoholic bite. While I nursed my martini, Michael dug into his dessert, the campfire chocolate mousse. Michael loved the fluffy textures of the dessert, and said the flavors brought back nostalgic memories of childhood s’mores nights.

Social on State isn’t the kind of place that Binghamton University students normally gravitate to, perhaps due to its prices, and honestly that’s a shame. The chic atmosphere, kind staff and delicious and creative dishes and drinks make it well worth the splurge.

The creation of the artwork is the product of the iDistricts Murals & Mosaics Public Art Program. Funded by a $240,000 grant from the New York State Department of State, the project is a collaboration between the Broome County Arts Council (BCAC) and the Broome County Planning Department (BCPD). Their aim is to vibrantly reimagine Broome County’s innovation districts — aka iDistricts — by hiring artists to create 28 murals and mosaics throughout Binghamton, Johnson City and Endicott. Nancy Barno Reynolds, who has served as the executive director of the BCAC since 2018, spoke about the effort.

“The county was interested in changing and improving the perception of Binghamton, Johnson City and Endicott, which were formerly industrial, corporate areas in the county,” Reynolds said. “In an effort to help these areas that were filled with families and industry before, there’s a great revitalization effort going on, and part of that revolves around the arts.”

Over the course of three weeks, a web page was created and marketing for the project began. However, hopes for a smooth launch were short-lived when a week after the call for artists was launched in early 2020, COVID-19 erupted and lockdown measures were put into place.

“We were like, ‘Oh my God, no one’s gonna apply!’” Reynolds said.

Yet in spite of the overwhelming hurdle the COVID-19 pandemic posed, 50 artists from across the world applied over three weeks, 35 of whom qualified under state requirements. From there, artists were assigned business owners, who had selected them using a blind viewbook and were matched with their top choices. The selected artists were given significant creative freedom when it came to their designs, and, in fact, they were told not to feel constrained to align their art with the business they were assigned to. Rather, Reynolds said they were instructed more broadly that the theme of their art should be “innovative, creative and to spark joy.”

Scott Walker, 34, from Norfolk, Virginia, is an artist who found a way to connect his art with the bridal boutique he was assigned to as well as the area on a broader level.

“Roses and flowers, in general, are strongly associated with weddings and celebrations, but the rose specifically is the flower of the state of New York,” Walker said. “And so I thought that that worked quite well and that there was a nice synergy there between the public art piece but also the nature of the industry that it was going inside of.”

The final mural, of gorgeous, blooming roses colored by contrasting black and red stripes, fulfills Walker’s goal of creating a beautiful yet “apolitical” visual that he hopes not only brightens a passerby’s stroll but also helps to boost his client’s business.

Meanwhile, in Binghamton, Damien Mitchell, 36, focused his mural on the area’s gorgeous nature, and has transformed the wall of a rental snowboard business with a spectacular naturalistic display. Mitchell is an Australian native, who now resides in Brooklyn, New York.

“I think the area around Binghamton is very beautiful,” Mitchell said. “I kinda just wanted to do something that reflects the nature of the area.”

Per the owner’s request for the piece to feature a character, a large portion of the mural is taken up by a white-bearded man gripping a ski board.

“I didn’t want to celebrate or ignore any particular part of the community, so I kinda kept it a bit ambiguous,” Mitchell said.

Decorating the figure’s ski board are stickers that also subtly pay tribute to the Binghamton area, like a green Bearcat sticker. But perhaps most eye-catching of all is the wintery, natural landscape that stretches across the entirety of the wall — white, snowy hills, surrounded by dark, leafy trees.

“More than anything else, I wanted the majority of the wall to be a love of nature,” Mitchell said.

When creating his Johnson City mural, 38-year-old J Muzacz of Austin, Texas turned to the area’s rich artistic history as his inspiration.

“Research on the area [and] discussions with locals in the know, helped to inform my design,” Muzacz said.

Muzacz’s mural depicts three of Binghamton’s iconic jazz legends — Slam Stewart, Al Hemme and Dena DeRose. His research also led him to discover the work of another Binghamton artist, abstract painter Renata Bernal. Her artistic style — and in particular her painting “Jazz” — inspired the color scheme and geometric shapes that take up the mural’s background.

Reynolds said she and the BCAC hope to continue to bring attention to public art, not just in Binghamton but the whole county.

“I know people are always like, ‘Ugh Binghamton what do you do here?’” Reynolds said. “But we’ve got so much art if you know where to find it.”

Hot pot — China

Hot pot is an extremely popular Chinese dish that has been eaten in China for over 1,000 years. Although many varieties exist throughout the country, it generally consists of three basic components: broth, dipping ingredients and sauces. The centerpiece of the meal is a large metal pot brimming with a clear broth. A heat source keeps the pot, well, hot, and the soup inside simmering. Typically, there are two types of soup bases: a spicy soup flavored with Sichuan pepper, chilies and other ingredients and a lightly seasoned soup flavored with seafood or meat bones. Diners gather around the pot and dip an assortment of foods into the broth to be cooked. Popular hot pot dipping foods include rolls of meat, including beef, mutton, lamb, chicken and seafood like shrimp. Vegetables are also cooked, such as sliced mushrooms, bok choy and cabbage, along with tofu. Beyond being a warm, hearty meal, hot pot is particularly special because it has an integral communal aspect to it. It’s meant to be eaten in the company of others, and often the meal goes on for hours.

Borscht — Eastern Europe

Borscht is a favorite winter dish among many Slavic countries, including Ukraine, Poland and Russia. There are many varieties of borscht, but generally it is made from a meat or bone stock, cooked vegetables and beet kvass, which is a type of fermented beetroot juice. The main vegetable component is beets, from which the soup derives a vibrant red hue, as well as other vegetables like cabbage, carrots, potatoes, etc. Borscht is a sour soup, and it owes its distinctive tartness to the addition of beet kvass. This flavor can also be more easily achieved by adding vinegar or lemon juice. The dish is often garnished with a creamy dollop of sour cream.

Pho — Vietnam

Pho is a warm, nourishing Vietnamese noodle soup. There are many variations of the dish to try from. Pho bo, a beef pho, consists of a rich bone beef broth, cooked with rice noodles and thin slices of beef. The dish is garnished with herbs like basil and cilantro, along with bean sprouts and radishes. To further flavor the soup, other popular add-ons are hoisin sauce, sriracha or a fresh squeeze of lime. The beef can be substituted for chicken to be called pho ga, or the dish can be served vegetarian and be called pho chay.

Rooibos tea (South Africa)

Rooibos is a popular herbal tea in South Africa. It’s derived from the fermented leaves of the rooibos plant, whose name means “red bush.” Fittingly, the tea is an intense red color, with a delicate earthy taste. Rooibos tea is also non-caffeinated and boasts high levels of disease-fighting antioxidants.

Mexican hot chocolate (Mexico)

Hot chocolate is a beloved winter drink in many parts of the world, but this specific version enjoyed in Mexico offers a new level of saccharine deliciousness. Hot chocolate in Mexico traces back to ancient civilizations like the Aztec and the Maya. Mexican hot chocolate is also drunk in countries like Colombia and Panama but under different names such as “bebida de cacao.” To make it, boil milk or water with Ceylon cinnamon sticks or powder, and then whisked with a wooden whisk called a molinillo with chocolate until frothy and combined. The main difference with this version of the beverage is that pure, unrefined chocolate must be used, instead of processed, sweetened forms like cocoa powder or chocolate chips. As a result, the chocolate flavor is stronger, darker and more bitter, but the intensity is balanced out by the sweetness of the sugar, creaminess of milk and the kick of spice from the cinnamon. If you want to keep with tradition, you can also pair your steaming cup of chocolatey goodness with a piece of sweet bread or a pastry.

Cynthia Dioquino, ‘05

Cynthia Dioquino recalled that her favorite college memories involved nights out in Downtown Binghamton with her friends.

“We had rented a house on Oak Street so our house was the default pregame congregation point for our friends,” Dioquino said.

Dioquino said she remembered going out drinking with her friends and specifically downing “scorpion bowls” at The Rathskeller. The local bar derives its name from the German word “ratskeller,” which refers to a bar in the basement of a city hall. Today, “The Rat” as it’s often called by Binghamton residents, remains a student favorite for social hangouts and drunken excursions. Some things, it seems, never change.

Supattra Samanyaphon, ‘08

Many BU alumni made their best memories with close friends and suitemates. Supattra Samanyaphon found she didn’t meet the people that made her time at the University memorable until she transferred to a new community.

“Fortunately, it wasn’t because I didn’t get along with my roommate, which we did,” Samanyaphon said. “I just couldn’t stand the vibe [where I was].”

It wasn’t easy transferring to the popular Hinman College. According to Samanyaphon, she connected with her potential roommate over AOL Instant Messenger (AIM).

“Lucky me, my friends heard of a vacancy in a suite right across the hall from them,” Samanyaphon said.

It was while chatting online that Samanyaphon noticed something which made her feel an instant connection to her potential roommate. Users on AIM could select from a vast number of icons, yet the two had coincidentally chosen the same one. It was through this move that Samanyaphon says she finally found her “Bing fam.”

“My Hinman roommate and I stayed close through our time at [BU] and have been ever since, ‘’ Samanyaphon said.

Samanyaphon’s roommate even went on to become a bridesmaid at her wedding to a husband who also happens to be a BU alumnus.

“As for the Bing fam, even after 17 years [and] even though we may not see each other or talk as often, we’re still family,” Samanyaphon said.

Shari Waldbaum Feinberg, ‘87

Shari Waldbaum Feinburg said her best memories occurred near the end of her time at BU, at a time she needed it most.

“I spent my junior year abroad studying at the London School of Economics [and Political Science] and had a very hard time adjusting,” Feinberg said.

Luckily, she was able to live in an off-campus house with three friends — Pam Koblentz Shlissel, ‘87, Cindy Kanter Sonnabend, ‘87 and Leslie Lucania Winograd, ‘87. Their home on Davis Avenue quickly became a source of many happy times for the group, including memories of cooking — mostly frozen spinach souffles — watching television and hosting friends.

“We have one photo that was taken of the four of us that I gave each of them as a graduation gift,” Feinberg said. “I know that this photo has graced a number of places as we have all moved over the years.”

Time and distance resulted in the group losing touch for a few years, all of them living in different places and raising families of their own. However, Feinberg says they have developed a special tradition that has helped them maintain their closeness in spite of these obstacles. Once a year, the women reunite for a weekend of nostalgia and friendship at the Jersey Shore. Although the tradition was briefly halted because of the pandemic, Feinberg said that they plan to resume their weekend getaways this fall.

Kimberly Go, ‘15

Kimberly Go is another BU alumna that has a hard time narrowing down her best times at BU to just one memory.

“I’ve had so many wonderful memories during my time at [BU] that it is difficult to pick one specific moment,” Go said.

Most of them, however, are about the friends she made living on campus at the Old Dickinson Community. Go graduated from BU twice, first in 2014 with a bachelor’s degree in integrated neuroscience and then again in 2015 with a bachelor’s degree in nursing. For much of her time at BU, she called the Old Dickinson Community her home. However, at the time it wasn’t quite the same place students know it to be today.

“I was one of the last [BU] students who actually lived in the Whitney Building at what is now considered Old Dickinson [Community],” Go said. “I lived there during my first two years and made many friends in my hallway that I still keep in touch with to this day.”

Go and her friends often traveled back and forth between Whitney and its sister building, Champlain.

“The dorms were corridor style and there were only three floors, so it felt like a close-knit community,” Go said.

As a result, residents of the two buildings would regularly spend time mingling and talking, as well as accompanying each other to grab meals from the nearby Chenango Champlain Collegiate Center (C4).

“We celebrated birthdays, cooked holiday dinners, played Super Smash Brothers and even did a hot sauce challenge in the common area,” Go said. “Our gatherings always became unintentionally large as many of us would just be passing by to hang out for a bit. At some point, we even had a Nerf war.”

As a result of the close friends and fond memories they shared during her time at BU, Go said it was especially difficult to say goodbye when she graduated.

“During the last week before graduation, we all had one last big celebration in one of the Susquehanna [Community] apartments,” Go said.

The gathering amassed 15 to 20 students, who eventually congregated in the Nature Preserve to sit in the woods and reminisce. The group talked about everything from “our inside jokes to what our future plans were.”

“Although it was a bittersweet memory because it marked the end of a chapter in my life,” Go said. “It was also one of my favorite memories because I realized how much of a positive experience that I had while attending [BU].”