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iPad 5 Rumours: What's Next For Apple's Tablet?

October 24

Next Tuesday Apple will hold its annual pre-Christmas press conference, where speculation suggests it will unveil more than one new product to put on Santa's list. (Invites read 'We still have a lot to cover'.)In decreasing level of likelihood they could include: a new iPad Mini, a new MacBook ...

The Setonian
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The 10 Cities With The Fastest Growing Incomes In America

October 24

Positive income growth for people who work in a city is an important factor in its value to prospective residents.A city that demonstrates yearly growth in the earnings of its workers provides a reassurance of its economic health and presents an opportunity for more growth in the future.Cities with ...

The recent release of singer Lorde's debut album "Pure Heroine" follows months of stateside hype and unprecedented success. In August, Lorde became the first woman to top the Billboard Alternative Songs chart in over 17 years. When Lorde (her real name is Ella Yelich-O'Connor) burst onto the music scene in her native New Zealand last November, it was impossible to predict how quickly she would rise to fame. But now, less than a year after releasing her EP "The Love Club" for free online, her single "Royals" sits comfortably in the iTunes top 10, flanked by big names like Miley Cyrus, Katy Perry and Avicii. In a pop era dominated by mindless hooks and unrelenting dubstep, Lorde stands out from her competition. While "Pure Heroine" is practically guaranteed to be a hit regardless of the quality of its content, the album lives up to the hype that precedes it. For the most part, Lorde delivers strong tracks driven by layered vocals and hypnotic beats.At just 16, Lorde is surprisingly cynical, half intrigued by fame and half wary. A self-dubbed "Internet kid," she grew up with social media and American music at the tips of her fingers. She alternates between mocking and glorifying society's obsession with pop culture - either way, its influence can be felt throughout "Pure Heroine." Lorde is very similar to Lana Del Rey - both singers have the "cool" factor and velvety voice down to an art. Lorde is significantly younger, though, and perhaps more disconnected from the persona that she hides behind. Unlike Del Rey, she sings little about relationships (which is refreshing), focusing instead on growing up in a working-class city. At her best, she captures both the monotony and excitement of the teenage experience with impressive insight, but at times, her lyrics are more pretentious than provoking. Lines proclaiming, "I'm kind of older than I was when I reveled without a care," become less meaningful when the person singing them is still in high school. Still, as the writer or co-writer of all of the songs on the album, her lyrics are generally relatable.The album begins with the striking "Tennis Court," a previously released track, and continues its momentum with "400 Lux," a rare love song that intrigues listeners with a killer intro and haunting verses. Then comes the third and most recognizable song, "Royals." With its minimalistic style and showy chorus, "Royals" sets the tone for the entire record. Indeed, the latest single off the album, "Team," is very reminiscent of "Royals," once again contrasting the glamor of stardom with Lorde's self-proclaimed ordinary lifestyle and humble background. Just like the opening lines of "Royals," in which Lorde declares, "I've never seen a diamond in the flesh / I'm not proud of my address," the chorus of "Team" develops that theme even further: "We live in cities you'll never see on screen / Not very pretty, but we sure know how to run free." Regardless of the similarities, the track still holds it own as an impressive melodic feat, making it a standout on the album.The same cannot be said for every song. Part of Lorde's appeal is that her music seems effortless, though sometimes this detracts from the overall effect of the album. A few of the songs never reach a climax, instead meandering aimlessly until they die out and transition into the next, catchier tune. "Buzzcut Season" and "Still Sane" lack the bravado of some of the other tracks and never really hit their strides. Lorde seems to recognize that the more fast-paced, energetic songs on the album pack the biggest punch and stacks them accordingly. Another upbeat tune, "White Teeth Teens" precedes the album's longest and last song, "A World Alone," which is Lorde's personal ode to solitude.Lorde will find alone time difficult to come by as she trades in her small town lifestyle for international pop stardom. Whether you are an avid Lorde fan or merely in search of a new pop anthem after overplaying "We Can't Stop" all summer, this album deserves your attention. The songs are not as dance friendly as other radio fare, but there is an undeniable pulse running through the entire album. Lorde's career is just beginning, but she is already a creative force to be reckoned with - and will hopefully only grow better with age.
News

Icahn To Apple's Tim Cook: Buy Back $150B In Stock, Now

October 24

Carl Icahn, fresh off a victory lap at Netflix NFLX -1.73%, is turning up the burners on his effort at getting Apple AAPL +0.17% to shell out more cash to shareholders.In a letter to Chief Executive Tim Cook Thursday, Icahn revealed he has increased his stake in the iPhone-maker to 4.7 million shares ...

The Setonian
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Microsoft pulls some Windows Phone web 'apps' following complaint

October 24

Microsoft started repackaging popular mobile websites into Windows Phone apps earlier this week, but it appears some of the companies involved weren't aware of the effort. The software giant has now removed three of the apps: Southwest, Cars.com, and Atari Arcade. It's not clear whether all ...

For some, concerts are a form of performance art - a chance for an artist or band to reveal a wild side or grandiose conceptual act. From the most extreme cases - Kanye West's postponing of the Yeezus tour because a few of his outrageous props had been damaged - to even the most subtle interactions - like Taylor Swift's occasional walk through the crowd - it seems that artists now find concerts to be a more intimate chance to put themselves out there. But English indie rock band Arctic Monkeys do not belong to this school of thought. Ironically, that is a breath of fresh air.The group's packed show at Boston University's Agganis Arena on Feb. 6 was a treat. Although their set list unsurprisingly encompassed most of the newly released, AM" (2013), the band also incorporated older, more guitar-heavy tunes like "Brainstorm" (2007) and "Dancing Shoes" (2006). It brought you back to what classic rock shows used to be like for an earlier generation.Yet, it's hard to speak to the quality of the show without mentioning the surprisingly delightful opening groups. The Orwells - a peculiar bunch from outside Chicago, with a stumbling front man who chose to moan away much of his husky voice - provided an interesting start. Deerhunter, an ambient punk rock group that has recently been gaining popularity, followed as the second opener. Finally, after much baited breath, frontman Alex Turner, in tight pants and slicked back hair, took the microphone and started belting the opening tune of their new album, "Do I Wanna Know?" - skipping any sort of introduction. It wasn't until the middle of the third song, "Don't Sit Down 'Cause I Moved Your Chair" from "Suck It and See," (2011) that Turner's creamy English voice slurred the word, "Boston."Notwithstanding Turner's apparent apathy about the crowd's experience, the audiences' excitement and passion charged the atmosphere. Who could complain when the Arctic Monkeys played songs in quick succession, and each jam was somehow just as crisp and fresh as the last? While the guitars strummed out perfect - albeit distorted - melodies, Turner hit every falsetto
News

12 Cool Hidden Features Of iOS 7

October 24

iOS 7. We've had the rumours, we've had the help-the-newness-of-it-all-is-making-me-feel-sick phase, now it's time for the tips and tricks.Apple's new operating system has refreshed the asthetics of your iPhone, but it's also added several small, cool features and sorted out some ...

For someone who once vowed that his lone alternate profession to being a rapper would be "a f****n' rapist in a Jason mask," it's remarkable how little turbulence Eminem has caused in recent memory. His year-long Rihanna-assisted comeback in 2010 notwithstanding, the best-selling rapper in history has spent the better part of a decade on the outskirts of the rap music scene - a far cry from when he was overwhelmingly at its forefront at the opening of the century.Sadly, the man born Marshall Bruce Mathers III has been subject to a wide range of personal demons, including a second divorce, battles with drug addiction and the loss of his best friend. All of these have combined to significantly limit the output of one of hip-hop's most phenomenally gifted and troubled megastars over the latter half of his career.With the release of his first album in three years, "The Marshall Mathers LP 2," will it be time to exorcise these demons?Hard to say. It's doubtful that this album - or any rap record in the foreseeable future, frankly - will be able to generate the level of commercial success and cultural backlash that defined Eminem's signature release, "The Marshall Mathers LP" (2000). But 13 years later, the album's sequel offers plenty of reminders of what first made Mr. Mathers one of the most magnetic and unavoidable figures in the hip-hop landscape - reasons that extend well beyond his status as "the" white rapper.On this record, Eminem finally manages to embrace his role as an emcee, after having contemplated leaving it behind for so long. Whereas his more recent albums, "Relapse" (2009) and "Recovery" (2010), have displayed signs of skepticism, with lyrics like " ... I may be done with rap / I need a new outlet ..." and "F**k you hip-hop / I'm leaving you / My life sentence is served," the verdict here is different: "Don't know what the f**k I would doing if it weren't rap / Probably be a giant turd-sack."Indeed, there are plenty of moments on "Marshall Mathers LP 2" which prove that if anyone was born to rap, it's Eminem. At this point, he refuses to let anyone deny him his rightful place in the upper echelons of hip-hop. On 2002's "Til I Collapse," he told listeners, "In this industry, I'm the cause of a lot of envy / So when I'm not put on this list, the s**t does not offend me." However, that is clearly no longer the case: "F**k top five ... I'm top four / And that includes Biggie and Pac ..." he raps on "Evil Twin," adding "And I got an evil twin, so who do you think that third and that fourth spot's for?" Tough question. But Eminem certainly does his part to back up that boast time and time again on this album. It's hard to imagine any other emcee pulling off the combination of speed rap, rhyme scheme and verbal energy to the mind-blowing extent that Eminem manages on "Rap God" and "Berzerk," among other tracks. At age 41, his versatility as a rapper remains as singular as ever.Always renowned for his storytelling gifts, Eminem shows audiences what he's made of with tracks like the introspective "Legacy" and "Stronger Than I Was." The standout, though, has to be the seven-minute album-opener, "Bad Guy." After long deliberating a sequel to his signature single, "Stan," off of his first album (Lil Wayne stepped up to the plate with his own take on the topic, 2011's "Dear Anne"), Eminem finally pulls off the feat by rapping as Stan's little brother, Matthew, who is bent on avenging Stan's death. The original remains quite possibly the most hair-raising rap song of all time. Amazingly, the sequel finishes not far behind.Like his last album, "Recovery," "The Marshall Mathers LP 2" includes several collaborations that may seem odd and overly commercial on paper, but work surprisingly well on the record. Fun.'s lead singer, Nate Reuss, is featured on "Headlights," a sorrowful reflection on Eminem's relationship with his mother, and Reuss's contribution makes the song all the more affecting and memorable. "The Monster" builds well upon the masochistic themes of Slim Shady's past duets with Rihanna. And it goes without saying that "Love Game," the first-ever Eminem-Kendrick Lamar faceoff, is a must-listen.In the end, while this 21-track album may have been better off with about five fewer songs - although, to be fair, this same critique could be applied to more than one of his past records - "The Marshall Mathers LP 2" still emerges as one of the most satisfying entries in this iconic emcee's catalogue. It's the "tragic portrait of an artist tortured / Trapped in his own drawings," as Eminem himself explains on the opening track.The results are admirable.
News

Five Of London's Best Burritos

October 24

Swiftly making their way up the ranks as king of the fast-food world are the freshly prepared, simple, and dangerously moreish, burritos.Here we round up five of the best places in London to grab one. 1 | Poncho 8Providing a healthier burrito option for the people of London (you can check the nutritional ...

The Setonian
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Katy Perry: Prism

October 24

Some of Katy Perry’s best songs have made anthems out of self-help platitudes (see: “Firework”), and that tactic is how the pop star approaches her fourth record. On “Love Me,” she sings: “I don’t negotiate with insecurities…. No more standing in my own way.” Prism largely—and vaguely—chronicles ...

It may be hard to believe, but Shawn Carter, the businessman, husband to Beyonc?, temporary vegan and video game producer is still a rapper - and as such, he still performs with a swagger and audacity that has not been seen in hip-hop since the unfortunate death of his friend and fellow Brooklynite the Notorious B.I.G. Indeed, there is no doubt that Jay-Z, despite his age, can still put on the show of a lifetime.As a part of the Magna Carter World Tour, Jay-Z stopped at Boston's TD Garden on Jan. 18 to support the album he released last summer. Despite some chart success, Jay-Z's 12th work - regally titled "Magna Carta Holy Grail" - was a disappointment in a summer of hip-hop dominated by several Drake songs that reached the Top 40, Kendrick Lamar's continuing rise to stardom and a pseudo-rivalry involving Kanye West and J. Cole. Jay-Z reminded listeners about his age and business endeavors, which made it seem like they're beginning to take priority over his rap career.The Magna Carter World Tour has so far proved this false - with the Brooklyn rapper treating attendees to a beautifully lit stage that warped and transformed perfectly as the Roc-A-Fella co-founder demonstrated his smooth flow. In "U Don't Know" (2001), fans were reminded of Jay-Z's humble beginnings - the former crack dealer from the Marcy Projects who can now truly say he has made it. Each lyric was delivered with an undeniable combination of confidence, charisma and talent. A fantastic backup band also accompanied Jay, with phenomenal players on electric guitar, keyboard and drums. Occupying their designated spaces at different levels on the elaborate stage, the band served as a complementary element of the grandiose sound that Jay-Z created.The show changed pace midway through, as the rapper sandwiched two tracks off of his 1996 classic "Reasonable Doubt" between some of his best work from the 21st century. "Dead Presidents II" (1996) and "Can I Live" (1996) were both expertly performed and served as a shout out to dedicated fans that were more familiar with this early material.However, the whole concert was not merely a tongue-twisting display of cleverness and street knowledge, but rather a party that celebrated years of memorable songs and shifting styles. Jay-Z provided a fun, energetic environment for concertgoers with renditions of "Dirt Off Your Shoulder" (2004) and "Paris" (2011), which had the crowd jumping. He performed with the spirit of a young man and had the delivery of a seasoned veteran.This spirit was fully demonstrated during the encore performances. The aptly titled "Encore" (2003) started off this segment of the show and was quickly followed by timeless hits like "Izzo (H.O.V.A.)" (2001) and "Hard Knock Life (Ghetto Anthem)" (1998). The concert culminated with the best display of the entire night: "Young Forever" (2010). With phones and lighters in the air, Jay-Z serenaded humming fans and reminded them to appreciate youth. It was a fitting finale - the rapper even playfully interacted with individual attendees - and every part of this extended ending had the feeling of a perfect goodbye.In 2003, "The Black Album" was supposed to be the last of Jay-Z's albums, and it concluded with the ironically titled "My 1st Song." On the track, he rapped, "Treat my first like my last, and my last like my first." The music mogul stuck with that theme during his visit to Boston - delivering a late career performance with the same joy and hunger as that of a young musician. If Jay-Z finally does decide to end his music career to pursue his other lucrative endeavors, he will be remembered as extraordinary rapper with an unparalleled and lasting appeal.
News

A walk on the wild cider

October 24

Move over, pie: An hour northwest of the city, the Spirit Tree crew is elevating the humble apple into a boozy concoction ripe for the sipping.When you get out of your car at Spirit Tree Estate Cidery (1137 Boston Mills Rd. in Caledon, Ont.), the first thing you’ll notice is the smell of a wood-burning ...

The Setonian
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Susie Church | Food Fight

October 23

With the leaves falling and the air getting chillier, this week felt like the perfect time to warm things up with some hot soup. Too many college students consider ramen - the Japanese noodle soup dish - to be little more than a hunk of noodles you boil with some water in the microwave. But real, house-cooked ramen can make anyone's day. Here me out while I, amidst my food coma, try to decide where you should go to slurp down this delicious dish.

The Setonian
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Adam Kaminski | The Cool Column

October 23

I don't classify myself as a "sports guy." That is, I don't drink beer, shout profanities at my TV or have children on which to thrust a variety of oddly shaped and colored balls. Though it's true I do prefer watching others work out to even thinking about exercising myself, I am only a sports fan to the most miniscule and pathetic degree. Why then am I, a hulk of apathy incarnate, excited for the Red Sox and their postseason? I would suggest it's October fever, but I've already had my booster in the form of life-consuming, joy-leeching midterms.

The Setonian
News

Researchers explore macular degeneration treatment

October 23

Researchers from the Tufts University School of Medicine have found a possible topical treatment for age-related macular degeneration (AMD) by applying a molecule called PPADS to the eye in the form of eye drops. 

The Setonian
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Lily Sieradzki | Media Junkie

October 23

Women make up 59 percent of Tufts' International Relations program. I've seen this strong female presence reflected in every IR-related class I've taken, and throughout the school, we have plenty of intelligent, out-spoken, high achieving ladies. As someone who would consider myself one of the above, it feels empowering. But the unfortunate truth is that this isn't reflected in the real world, where women make up less than 30 percent of top foreign policy positions.

The Setonian
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The Artsy Jumbo | Brian Aronow blends jazz, hip-hop, R&B with band 'Bad and Blue'

October 23

When sophomore Brian Aronow started playing saxophone in third grade, he had no idea that it was going to become a lifelong passion. Today, Brian is a dual degree student studying cognitive and brain science at Tufts and jazz at the New England Conservatory of Music (NEC), and his band Bad and Blue has a gained a significant following on campus.

Fitz and the Tantrums and Capital Cities drew large crowds to the House of Blues on Monday night. Throughout the concert, the bands exhibited two stage presences as different as their songs.Capital Cities, whose meteoric rise in recent years is due to their single "Safe and Sound," delivered a performance that diverged from the typical electro, neo-pop sound that characterizes their major hit. During the show, the group brought a pink bass and purple trombone onstage to complement the lead vocals of songwriting duo Ryan Merchant and Sebu Simonian. These extra elements, combined with drummer Channing Holmes' beats, produced a strange, intoxicating sound. Wavering somewhere between blues-rock, electro-pop, dance and soul, Capital Cities wove seductive brass hooks between cleverly-worded melodies - all with a stage presence that was as electric as the giant neon sunglasses glowing in the background during the show.Capital Cities played to the dance-music taste of their target audience, mostly comprising young adults. Simonian, whose facial hair is almost as remarkable as his command of the stage, treated the audience to equal parts sass and sweetness. His raw, devious charm was infectious - the perfect introduction to each of the band's songs. It's true that Capital Cities tends to lack stage movement - but though they don't have One Direction-esque dance moves, the audience didn't expect those same antics. The sexy walk of the trombone player, who strutted around like a young Miles Davis, was enough to entertain any fan.Their performance managed to capture the feeling of a unique listening experience in the best way possible. Whether it was raucous dance-powered hits like "Kangaroo Court" or harder rock anthems like "I Stole My Bed, But Not My Stereo," the band demonstrated their knack for diversity, all the while maintaining an overarching cohesive sound. And if their electronic, slowed-down version of the Bee Gees' 1977 hit "Stayin' Alive" didn't deliver a funky enough vibe for concert-goers, then the band's closing number - an extended, dynamo version of "Safe and Sound" - was sure to convince any listener of Capital Cities' talent. Their finale, received by an enthusiastic audience waving articles of clothing in the air and screaming lyrics, was the icing on the cake.Fitz and the Tantrums did not even remotely measure up to the same level of showmanship, stage presence and musical ability of their opener. Although they began with a crowd favorite, "Break the Walls," their show had a slow, tentative start that was saved only by the powerful energy of lead female singer Noelle Scaggs. Unfortunately, lead male vocalist Michael Fitzpatrick gave weak song introductions and struggled to move the concert along. The band's set was clearly controlled by Scaggs - the ringleader of the show - while Fitzpatrick appeared to move aimlessly around the stage. The band chose to play well-composed songs, but they were rarely well delivered. "Get Away" nearly reached Muse-like power with a healthy dose of background synth, but it ultimately missed the mark. "House is On Fire" also had a promising introduction from Fitzpatrick and Scaggs, but soon disappointed with its low energy.One couldn't help but think that the band was lacking in originality, especially when they used songs like the Eurythymics' "Sweet Dreams (Are Made Of This)" as a crowd energizer, but neglected to add their own personal spin. Despite these shortcomings, it was still fairly evident that the band possesses potential, particularly when they played their hit "Out of My League." As Scaggs gratefully said to the Boston crowd, "It is ... people like you who have made it a hell of a year for this band." Indeed, it's been a successful year for Fitz and the Tantrums, who had a string of late night talk show performances and released a new album that displayed promise. But that was all that the concert delivered: promise. Falling flat, Fitz and the Tantrums could take a note from Capital Cities and fine tune their performance. Overall, Capital Cities seems to have an exciting future ahead of them, while Fitz and the Tantrums must work fast to avoid getting left in the dust by newer bands.
News

How to Prep Your iDevice for iOS 7

October 23

Apple’s iOS 7, the biggest change to iOS since its debut, launches Wednesday. While you may be itching to get your fingers on the new operating system, you’ll want to take some time to make sure your device is 100 percent ready for this major software update.First, make sure all the media and memories ...

“At least to begin with, I would recommend closing our eyes.” With these opening lines, Brian DeGraw’s debut solo album, “SUM/ONE,” begins. Listeners should take DeGraw’s introductory suggestion to heart. Full of incredibly varied instrumentals and experimental, electronic sounds, the album requires some concentration. Right from the start, DeGraw prepares listeners for an adventure of noise and emotion — and the album certainly does not disappoint. As the keyboardist of Manhattan-based group Gang Gang Dance (GGD), Degraw has had over a decade of experience in the experimental electronic genre, allowing him to perfect his ability to blend synthesized percussion with innovative vocals and melodies. “SUM/ONE” is DeGraw’s first album under his moniker bEEdEEgEE, a name derived from his initials. This LP comes during a GGD hiatus; the band is set to return in 2014. Taking a break from the fast-paced city lifestyle, DeGraw recorded “SUM/ONE” in upstate New York. However, there is nothing rustic or natural about this album. Though it features dance-influenced beats, “SUM/ONE” tends to stick to the atmospheric, yet wide-ranging electronic sound that made GGD so successful. The main difference between the two stems from the creative process: While bEEdEEgEE’s music feels planned and organized, most of GGD’s pieces originated from jam sessions and collaboration. Yet “SUM/ONE” does include collaboration with other artists, and it is these tracks that are the most satisfying and complete. While some numbers, such as the opener “Helium Anchor,” move awkwardly through swirling synth beats and piano chords and often seem unsure of where they stand, the album functions most effectively when DeGraw works together with other vocalists. “F.U.T.D. (Time of Waste)” is a house-infused seven-minute track of thudding club beats layered beneath the vocals of Hot Chip’s Alexis Taylor. Though, at times, DeGraw’s music seems to mainly support Taylor’s repetitive “All I want to do is f*** up the day” lyric, DeGraw’s presence definitely strengthens the piece. This near-perfect track is a highlight of the album, despite its excessive length. As it reaches its end, “SUM/ONE” proves that its head bobbing beats operate best when at their most dynamic. On “Flowers,” vocals from Lovefoxxx of Cansei de Ser Sexy work in tandem with emotional ’80s beats, creating a hint of desperation that sets the track apart from the rest of the album. More contemporary trap-inspired beats in “Bricks” tease listeners by avoiding complete measures as London grime-style percussion shuffles from thump to thump. One of the more distracting tracks on the album, “Bricks” is certainly not an ideal tune to play as background studying music. A few slower, sunnier sounding tracks work to infuse the album with a more upbeat feel — the tone of “SUM/ONE” seems mostly uncertain, though it is more neutral than negative. The Caribbean percussion and buoyant synths of “Quantum Poet Riddim” will elate listeners, while GGD singer Lizzie Bougatsos’ varied vocals on “Like Rain Man” escalate slowly, culminating in a poignant, powerful conclusion. One wishes after hearing this second track that DeGraw had collaborated more frequently with his bandmates on this debut. As the year comes to a close and blogs and magazines begin to release their best of 2013 lists, keep bEEdEEgEE’s “SUM/ONE” in mind. This eclectic and multi-layered album is sure to be a favorite of the year, and even those less interested in the genre definitely owe it a listen. One can only hope that DeGraw will bring some of the dynamism and dance beats present on “SUM/ONE” back to his band in the future.  
News

Warren Buffett Nails It On The Importance Of Luck In Life

October 23

I liked these thoughts from Warren Buffett on Bloomberg today:WARREN BUFFETT: Well I came up with that a long, long time ago to describe the situation that – I was lucky. I was born in the United States. The odds were 30 or 40-to-1 against that. I had some lucky genes. I was born at the right time. ...

The Setonian
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Inside MLB | World Series preview

October 22

Nine years ago, the Boston Red Sox snapped a historic World Series drought with a 4-0 sweep of the St. Louis Cardinals, easily winning their first title since 1918. Since then, these two teams have been among the best in baseball nearly every year, and each has won two titles apiece in the last nine years. 

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Bhushan Deshpande | Words of Wisdom

October 22

As I have been reminded these past few weeks by current sophomores and juniors running up and down Medford and Somerville (though never more than a few blocks away from campus), the annual six-month housing rush for next year has started. As much as I would like to, it's hard to make all of the annoyances of game theory ResLife's fault.

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