Jack Antonoff

When it comes to Lana Del Rey, you either get it or you don’t. And even if you think you get it, you probably don’t.

With Midnights, rather than reinvent herself through a new tale, Swift strives to rediscover her identity through strikingly vulnerable reflections.

The five-year gap between “Despicable Me 3” and the latest film in the franchise — “Minions: The Rise of Gru,” released July 1— meant that audiences young and old were shaking in anticipation of the cinematic evil to come.

In a virtual press conference with The Daily Californian, deputy arts editor and senior staff reporter Taila Lee spoke to the night’s winners.

Previously having struggled with the ironic solitude that comes with fame, Lorde advocates for healthy escapism on her latest record.

The album is an amalgamation of sounds and emotions from all over the musical indieverse — it’s a sampling platter, the ultimate indie tasting palette.

Sling undoubtedly cements Clairo’s lofty place within the ranks of today’s indie pop girls, proving her intricate lyricism is not to be underestimated or outshined by her catchier songs.

Some may dismiss it as an attempt at musical time travel, but it is not so much the present returning to the past as the 1970s being dragged into the 2020s with runs in its stockings and curlers in its hair.

Wright brings an impressive attention to detail in his directing, to the point where anyone who watches the film can instantly read how dearly he admires this goofy glam rock band.

While American politics may continue to divide, music in 2017 amplified oft-marginalized voices, providing a glimmer of hope, however small, for 2018.