Given a listen to these adored tracks BELOW! ↴

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Michael Faherty, Editor-in-Chief– Bodyguard- Beyoncé

In “Bodyguard”, Beyoncé blends pop and R&B to craft a powerful anthem of self-protection. The song navigates themes of control, where Beyoncé positions herself as both the protector and the protected, showing a complex dynamic in relationships. The production is dramatic, with sweeping strings that heighten the sense of urgency and strength. The tone is defiant yet soft, balancing empowerment with the quiet vulnerability of needing someone to safeguard you. It’s a track that explores emotional resilience and the delicate middles between love, power, and dependence in a modern relationship.

Maddison Ng, Editor-in-Chief– Tumblr Girls (feat. Christoph Andersson)- G. Eazy

“Tumblr Girls” is a slippery exploration of objectification, framed in the ironic detachment of the internet era. The song thrives in its late-2010s energy, where nostalgia for a digital world breeds a kind of wearied indulgence. It’s a commentary on how the beauty and allure of the “Tumblr girl” is fetishized and dissected for public consumption, reducing authenticity into a clickbait culture.

Olivia Murray, Editor-in-Chief– 400 Lux – Lorde

“400 Lux” channels the bewildered intimacy of youth, where everything—moments, glances, conversations—feels monumental. Lorde doesn’t just capture adolescence, she objectifies the experience of growing up: the small rebellions, the semi-romanticized mundanities, the way we lose ourselves in our own isolation. With sparse production, the song feels distant yet familiar, like a foggy memory of nights that felt bigger than they were. The tone is wistful, but there’s an undercurrent of realism, revealing how easily we romanticize the moments we can’t fully understand until they pass. Lorde doesn’t elevate the chaos; she distills it into something personal, almost disposable.

Elizabeth Jacinto, Director of Noticias– Make Me Bad- Korn

“Make Me Bad” is a desperate cry for release, drenched in dark, grating soundscapes that reflect uneasiness. Korn’s delivery is raw, almost guttural in its search for catharsis. . This 90s nu-metal staple gives an almost sadistic view of the self, blending victimhood with agency in ways that were important in the angst-driven culture of the time. It’s a rejection of normality, something contrasting to what gained popularity within this era.

Raeanne Iacovacci, Radio Director– Everywhere – 2017 Remaster – Fleetwood Mac

The remastered “Everywhere” shines with an overwhelming sense of freedom, yet there’s an element of escapism embedded in its infectious groove. Fleetwood Mac’s inherent optimism has always played with the line between romantic fantasy and objectification. The remaster gives it more space, more air, amplifying the sense of yearning without releasing the tension. It’s the sound of loving someone so intensely you lose yourself in them, all to be forever chased by the idea of them.

Sara Malizia, Radio Director– supernatural (with Troye Sivan)- Ariana Grande

“Supernatural” is a love song that treads lightly between objectification and reverence. Ariana Grande’s breathy, celestial delivery paired with Troye Sivan’s presence gives the song a haunting sense of devotion. The tone is dreamy, with an air of both worship and enchantment, embodying the intangible beauty of an idealized relationship.

Rachel Kelly, News Editor– Sex, Drugs, etc. – Beach Weather

“Sex, Drugs, Etc.” by Beach Weather mixes breezy indie-pop with alt-rock vibes, creating a catchy yet melancholic tune. The song captures the thrill and emptiness of youthful chasing-fleeting moments of pleasure through a mix of synths and guitars. While the music feels upbeat, the lyrics reveal a deeper sense of disillusionment, reflecting on the hollowness of indulging. It’s a perfect blend of fun and introspection, a song that critiques pleasure-seeking while still embodying its draw.

Martie Inverno, Features Editor– Meet Me in the Hallway- Harry Styles

“Meet Me in the Hallway” is suffused with longing and vulnerability, where intimacy is both yearned for and feared. Harry Styles’ voice carries the weight of unresolved desires, and there’s an objectification at play—not just of the lover, but of the feelings themselves, rendered into something both beautiful and uncontainable. The production, sparse and ambient, enhances the sense of emotional fragility. This is not just a song about desire, but the human need to escape that desire, to resist its power even as we are pulled toward it. The tone is haunted, resonating with the fear of opening up and yet desperately wanting to do so.

Julia Curran, Opinions Editor– Good Graces- Sabrina Carpenter

“Good Graces” feels like a proclamation of independence, as Sabrina Carpenter uses each note to assert her autonomy in a world that constantly seeks to label her. The track’s tone is sunny and defiant, but the subtext is laced with the undercurrent of objectification; Carpenter sings not only to be seen but to redefine how she’s viewed. The production and catchy hook are infectious, but they also reflect the complexity of public perception versus private life.

Jack Diamond, Sports Editor– Free- Zac Brown Band

“Free” is an escape anthem, both comforting and disarmingly naïve in its reverence for simple pleasures. The song’s tone is relaxed, almost breezy, as Zac Brown Band sings about the freedom that comes from stepping away from life’s expectations. There’s an objectification of freedom itself—the pursuit of liberation as a goal that can be owned, something that can be captured and held.

Brady O’Sullivan, Sports Editor– Fade Into You- Mazzy Star

“Fade Into You” is an emotionally languid exploration of yearning. The song feels both tender and melancholic, with Hope Sandoval’s haunting vocals capturing the sensation of slipping into someone else’s orbit, losing yourself in the shadows of another person’s gaze. There is an undeniable objectification here—an obsessive, almost passive desire to merge, to become one with someone else. Overall, an anthem that claims the front of love being a fragile force.

Lola Duhov, Arts Editor– Drive- Recorded at Electric Lady Studios- Bleachers

Bleachers’ creative cover of “Drive” (Originally performed by The Cars) is saturated with urgency, the pulse of ’80s synth-pop propelling it forward, as if racing against time. The song rides the line between exhilaration and anxiety, capturing the feeling of a youth eager to escape into the unknown. The tone is electrifying among the smooth instrumentals and semi-sultry backing tone, yet an objectification of youth presents itself—the desire to harness its fleeting before it slips away. The production creates a sense of isolation , like being in the center of a whirlwind that never quite lets you go, forcing you to face the reality that youth is both a treasure and a trap.

Matthew Gonzalez, Community Editor– Practice- Drake

In “Practice”, Drake explores the blurred lines between lust and emotional connection, delivering a slow-burning track with a smooth, minimalist beat. The song slides into themes of longing, self-assurance, and intimacy, as Drake reflects on a relationship driven by physical attraction yet tainted with deeper emotional complexities. The tone is cool, with a sense of arrogance that defines much of Drake’s persona. It’s a track that plays with the notion of love as a game—where the “practice” becomes a metaphor for the rehearsal of desires before fully committing to them.

Owen Herz, Distractions Editor – Ditmas- Mumford & Sons

“Ditmas” explodes with emotion, as Mumford & Sons embrace both folk and rock to create a landscape of longing and frustration. The lyrics portray the self as a vessel for pain, constantly searching for answers in a relationship that feels both comforting and suffocating. The tone is explosive, as the band’s intricate instrumentation underscores the conflict of their subject within the song. It’s a reflection on how we place so much of our identity in others, leaving us vulnerable.

Princesse Ashley Hyppolite, Editor of The Quarterly– Trust In God (feat. Chris Brown) – Elevation Worship

“Trust In God” is an anthem of faith, intertwining spirituality with a deep sense of personal reliance. The tone is reassuring, with Chris Brown’s soulful vocals offering a comfort that bridges gospel and contemporary R&B. The song is both powerful and serene, speaking directly to the listener’s need for guidance while offering a reminder of the larger forces at play.

Isabella Campos, Social Media Editor– White Ferrari- Frank Ocean

“White Ferrari” is an agonizing, slow-burning meditation on loss and the ties that bind us to people we’ve loved. Frank Ocean’s delicate vocal delivery, paired with minimalist instrumentation, turns the song into a raw confession. The tone is ethereal but full of ache, as Ocean contemplates the long shadows of love, regret, and the connections we can’t quite untangle. The song feels like a funeral, not just for a person, but for the fragments of identity left.

Catherine Rivera, Multimedia Editor– Igual Que Un Ángel- Kali Uchis

“Igual Que Un Ángel” is a serenade to the pull of a lover, where Uchis’ sensual voice brings you into a world where love itself becomes an object of worship.
Uchis elevates love to something divine, something to be held at a distance yet adored . The Latin influences here deepen the sense of passion, turning every note into a gesture of longing and admiration.

Daniella Campos, Multimedia Editor– we can’t be friends- Ariana Grande

Ariana Grande’s “we can’t be friends” is a sobering, bittersweet reflection on love turned toxic. The production, understated but piercing, mirrors the vulnerability in Grande’s voice as she grapples with the dissolving of a relationship. The song objectifies both the lover and the lost connection, presenting them as things to mourn, things that no longer serve a purpose. It’s a narrative about boundaries and the impossibility of returning to a past version of something once cherished. The tone is fragile but laced with resolve, as if acknowledging the inevitable death of something that was once whole.

Barbarah Mesamour, Multimedia Editor– Did you know that there’s a tunnel under Ocean Blvd- Lana Del Rey

Lana Del Rey’s “Did you know that there’s a tunnel under Ocean Blvd” is an exploration of love and memory, drenched in nostalgia. Del Rey’s voice—deep, wistful, and heavy with emotion—objectifies time itself, turning it into something to chase, something that can be both remembered and lost. The tone is haunting, as she recalls a time and place that feels suspended. Her lyrics blur the line between fantasy and painful reality, painting a world where both love and loss are bound together.

Sara Velasquez, Multimedia Editor– rises the moon- liana flores

“Rises the Moon” is an intimate lullaby, where Flores’ voice becomes a soothing balm for the soul. The objectification here is gentle, with the moon as both a metaphor for hope and a guiding presence—something permanent, even as everything around it changes. The tone is soft and nurturing, yet filled with quiet strength, capturing the way we attach meaning to simple things in moments of hardship. The moon rises, steady and constant, reminding us that even in the darkest times, there is light, however faint.

Alexander Garcia, Multimedia Editor– Like Him – Tyler, The Creator

“Like Him” is Tyler, The Creator’s challenge to societal norms, with a beat that’s just as disjointed and aggressive as his lyrical approach. Tyler doesn’t shy away from objectifying himself in the process. The tone is experimental, confrontational, and is as much about the outward projection of identity as it is about the deep insecurities that come with it. It’s a song about the complexities of desire, self-awareness, and paternal struggles. Tyler’s self-reflection here is messy but revealing, painting a picture of chaos that refuses to be silenced.

Eileen Rella, Multimedia Editor– Bags- Clairo

“Bags” is an exploration of the intimacy and complexities of love, wrapped in a lo-fi, dreamy soundscape. Clairo’s voice, soft and almost detached, carries an undercurrent of vulnerability, playing with the way relationships can both bind and alienate us. The song has a subtle objectification of emotion itself—how love and desire become things to possess, catalogue, and ultimately lose. The tone is emotionally subdued, yet it’s precisely this understated approach that makes the song so powerful. The minimalist production enhances this sentiment, creating an atmosphere that both soothes and haunts. The song captures a saddening nostalgia for love, where attachment becomes almost like an object you cling to.

Deiny Cezeria, Noticias Director– ADIVINO- Myke towers & Bad bunny

In “ADIVINO”, Myke Towers and Bad Bunny combine reggaeton and trap to craft a moody, atmospheric track about power, control, and the nature of relationships. With hypnotic beats and a dark, ominous tone, the song sees both artists boasting of their ability to predict the future, from career success to romantic encounters. However, this confidence is laced with thought, acknowledging the fragility of their dominance. The track balances self-assurance with vulnerability, turning the typical strength of reggaeton into something more complex. It’s a reflection on the power dynamics in love and fame.