7 Thursday, July 18, 2019 The Michigan Daily — michigandaily.com ARTS In the truest sense of the word, a “mixtape” is a compilation of songs that come from multiple sources. This definition harkens back to the days before digital playlists. Mix- tapes were not endlessly augmented, so they were often made with a cer- tain vibe or theme in mind. In the mid to late 2000s hip-hop scene, though, the definition began to change. At this time, a mixtape was essentially a free album that could not be held accountable for any sort of uncleared sample or copyright infringement. Entire careers were made off of this plat- form. Take Lil Wayne for example: Some fans only listen to mixtape Weezy. That’s how popular mix- tapes were for a time. Today, the def- inition of a mixtape is changing once again. Mixtapes are being released for profit, but they are intended to be taken less seriously than a nor- mal studio album. With his latest release Angel’s Pulse, Blood Orange, also known as Dev Hynes, combines each interpretation of the mixtape into one final product. Hynes said during the tape’s short promotional period that after each album he creates, he also cre- ates a mixtape of sorts to serve as an epilogue. He usually gives these mixtapes to friends and random passersby, but for the first time, Hynes is sharing one of these tapes with the world. Angel’s Pulse serves as the epi- logue to Hynes’s phenomenal 2018 release Negro Swan. It fleshes out any incomplete ideas and wraps up this chapter of Hynes’s career. With this mixtape, Hynes explores the different sounds presented on Negro Swan and experiments with their strengths and limitations in a context that is not meant to be taken as seriously as an album. With that said, the sound is not cohesive throughout, true to the original defi- nition of a mixtape. Angel’s Pulse is a collection of songs that Hynes felt effectively represented this moment in his life. Despite the implications of the word “mixtape,” Angel’s Pulse deserves to be taken seriously. It’s lighthearted, but that doesn’t mean it’s not heartfelt. Opening track “I Wanna C U” is bouncy and loved up. It ponders Hynes’s relationship with the person trapped in his head. It’s very sweet sounding, but the repeti- tive nature of the song makes Hynes seem almost tortured in a way, as if performing the song is the only way to make the person in his head man- ifest themselves in real life. In stark sonic contrast to “I Wanna C U” are “Dark & Hand- some” and “Benzo.” The songs depart from the light tone of “I Wanna C U” to a more contempla- tive and somber sound, but they share the same themes and suggest the mixtape’s overall concept. “Dark & Handsome” yearns for days long gone as Hynes’ sings, “Nothing lasts forever, and I told you / Everything you need to know is not true / Lyin’ to myself because it hurts you.” “Benzo” continues this theme of yearning for something that is not there. He laments, “Open the door, leave with arms exposed / Outside, I saw where I belong.” Hynes knows what will make him content, but the only way he can get there is if he can leave the past behind him. Angel’s Pulse continues this theme of yearning for an altered past with the heartwrenching “Bir- mingham,” a reflection on the 1963 16th Street Baptist Church bomb- ing in Birmingham, Alabama that tragically took the lives of four chil- dren, and “Baby Florence (Figure),” a track in which Hynes assures his partner that he will help deter- mine where their relationship went wrong. However, mixtape standout “Gold Teeth” seems a stark depar- ture from this theme. The track is stacked, featuring Tinashe, Gangsta Boo and Project Pat. It’s highlighted by braggadocio and talks of life in the streets over a chopped sample of Project Pat’s “Rinky Dink II/We’re Gonna Rumble.” Everything on the track screams assuredness: Project Pat’s gruff delivery on the refrain, Gangsta Boo’s empowering verse and Hynes and Tinashe’s lush, con- fident chorus. Despite all this, it still falls perfectly in line with the vibe of the mixtape. It presents a desire to be someone who does what they want, when they want to do it. Hynes redefines ‘mixtape’ JIM WILSON Daily Arts Writer ALBUM REVIEW THE NEW YORK TIMES On July 11, Nevertheless Film Festival, founded and directed by University FTVM alum Meredith Finch, launched its inaugural run at the Michigan Theater. The festival assembled a wide variety of feature- length and short films, all created by female-identifying filmmakers. The name was inspired by wom- en’s rights motto, “Nevertheless, she persisted.” Within the film indus- try, equal representation behind and in front of the lens has been, to say the least, concerning. In 2017, USC Annen- berg conducted a study which found that across the top movies from 2007 to 2016, only four percent of the respective directors were female. However, filmmakers who identify as female make up at least half of the leader- ship behind every film presented at Nevertheless, as proclaimed in every program given out at each showing. Between actors speaking publicly about the need for more women in the film industry — like Regina King vowing to make future projects 50 percent female during her Golden Globe acceptance speech — and sexual misconduct running rampant around the industry, the festival sets a much needed precedent for the next generation of filmmakers. Two films were screened open- ing night: “Throat Singing in Kan- girsuk,” directed by Eva Kaukai and Manon Chamberland, as well as “A Colony.” directed by Genevieve Dulude-De Celles. The former was a three-minute short film, which managed to blow my mind in just that amount of time. It depicted the rugged Arctic terrain of the direc- tors’ home of Kangirsuk, a village in Quebec, Canada, while they throat sang their way through the short. The guttural and, at first, borderline- frightening throat-singing acted as a complete contrast to the peaceful, snowy landscape. Next was the full-length film “A Colony,” screened in French with English subtitles. Sometimes, I find that watching a movie with subtitles adds a layer between the viewer and the film which can hinder emo- tional connection, but the subtitles did not take away from the immer- sion. Language was one of the many themes throughout that added to the endearing and fragile nature of the piece. Along with showing films, the festival held panels that were free to attend. Connecting film audi- ences with these filmmakers gave a perspective to movies that many in Ann Arbor have yet to experience. Held in North Quad at Michi- gan, the various filmmakers spoke on their creative process as well as what drew them to their respective projects. The main objective of these panels being to connect film audi- ences with film- makers, a privilege afforded to both parties. Every filmmaker exuded excitement and gratitude. It was sur- real to see such high-quality work and then get the filmmaker’s per- spective on it. After certain show- ings, viewers even had the option to head over to HopCat afterwards to share a beer with the filmmaker. Nevertheless Film Festival was a refreshing and soul-fulfilling break from this summer’s superhero mov- ies. As I entered the Michigan The- ater, women smiled at me from the welcome desk encouraging me to take whatever swag I wanted. Scat- tered along their table were pins with “the future of film is female” emblazoned on them. I shyly took two of those with anticipation of adorning it on my rapidly deterio- rating backpack for senior year. Not only is the festival socially beneficial, but the selection of films was easily the most emotionally nuanced I’ve seen this summer. I’m looking for- ward to seeing what they have in store for Ann Arbor next year. New female film festival fascinates NATALIE KASTNER Daily Arts Writer FESTIVAL COVERAGE Read more at michigandaily.com The festival assembled a wide variety of feature-length and short films, all created by female filmmakers. Angel’s Pulse Blood Orange Domino Recording Company