Such talent was certainly visible at Thomas’s  sold-out concert  at Brighton Music Hall in Boston. The small space was packed with people squeezing close together, trying to get the best view of Thomas when he came out. Although the chosen venue was smaller than other concert halls in Boston, it was a smart choice to host the show in such an intimate space: the experience felt more personal, and the chance to share the music with other concertgoers in such a setting was one that can’t be duplicated. 

DJ Toney Handsome opened the show with a unique blend of music that left no dull moment for the crowd –– particularly when he chose to start the night with various theme songs from childhood TV shows, including the aforementioned “Victorious.”  Even if you weren’t a fan or didn’t know DJ Toney Handsome before attending the “MUTT” tour, it was easy to leave with a new favorite DJ. Toney Handsome has a one-of-a-kind ability to create music that doesn’t seem to go together, but makes perfect sense when blended. 

When Thomas came on stage, he hyped up the crowd with the first song on the “MUTT” album, “How Fast.” Thomas immediately followed “How Fast” not with the rest of the album, but with songs across his discography. He also showcased his range of talents –– including guitar-playing and percussion –– allowing the audience to see a range of his talents. That Thomas is a successful writer and producer in addition to his performance talents is no surprise;  his vast knowledge of music and instrumentation shines through  in everything he does. 

Thomas’s multifaceted qualities as an artist were on full display during his performance of “Blue Hundreds,” which was a shift away from Thomas’s usual R&B into Psychedelic Soul.  A combination of soul and rock that was popular in the 60s and 70s, Psychedelic Soul isn’t typically represented in the music industry today. Thomas’s choice to display it was bold and educational, and paid homage to the  genre that has roots in African American communities. 

As the concert ended and Thomas left the stage, the crowd yelled for an encore. A minute later, Thomas re-entered the stage with a “We got something else for y’all” and performed one final song. It was clear that Thomas cares for his fans, and he curated a brilliant experience for everyone in attendance.

Unfortunately, all of Thomas’s concert dates are currently sold out. However, “MUTT”  probably won’t be his last tour. If you get the chance to see Leon Thomas in the future, I would suggest taking it –– the night truly felt like a special experience.

Contact the editors responsible for this story: Ivy Buck, Norah Catlin

As we approached The Boiling Crab, I couldn’t help but wonder how I had never noticed it during my many trips to Harvard Square. My question was answered upon seeing its house-like appearance: it’s the last restaurant on the edge of a cul-de-sac of other eateries. 

The customer service was wonderful. My friends and I were immediately greeted with smiles, and although we were a bit indecisive on what to order, the smiles and helpfulness persisted. As most college students do, my first question to our lovely waitress was, “Do you all have any discounts or deals for college students?” I was immediately filled with gratitude when she pulled out a sheet with all the information we needed. One of the highlights of eating at The Boiling Crab is that they offer affordable combo options for students with a taste for seafood.

I ordered the ½ pound of shrimp, which allowed me to add extra items to my bag of shrimp like sausage, eggs, and potatoes. It was like a faux seafood boil bag without the crab. Then, I added their signature seasoning, “The Whole Sha-Bang” –– a combination of Cajun, lemon pepper, and garlic butter. Overall, the order was tasty and pretty affordable, and you get your money’s worth with the amount of food they give you (there was enough for the next day). I would only suggest getting non-spicy if you’re not a fan of very spicy foods. 

My only gripe was the fact that if you want to order crab or crab legs, there is no set price. It is market price, which is unusual in comparison to other seafood restaurants. Other than that, the Boiling Crab offered a good experience for someone looking for something close to the seafood I and others have enjoyed in the South. The restaurant is a reasonable distance from Wellesley if you take the Local Motion shuttle, and the prices weren’t bad either. If you have time over the weekend, it’s the perfect spot in Harvard Square to experience something new, and get a taste of Cajun cooking.

Student Combo Options:

• Sha-Bang Bang Shrimp with a scoop of rice – $10
• Fried Shrimp with a soda – $10
• ½ pound of shrimp with fries or rice and a drink – $13

As the group walked to the front of the audience to open the concert, their dedicated fans and friends cheered ecstatically, knowing that The Wellesley Widows have consistently crafted wonderful shows throughout their well-established history as the first acapella group on Wellesley’s campus founded in 1949. Throughout the night, The Wellesley Widows certainly fulfilled this expectation.

They began the concert with their original song “We Are the College Widows,”  written by members of The Wellesley Widows in 1954 and later arranged by alum K. Henrickson ’94. It was a charming and nostalgic introduction, reminiscent of an old-timey, tightly-harmonized commercial jingle. Current and former Widows recently celebrated their 75th anniversary as an organization this past spring, and it was quite heartwarming to start the first show of the semester with a song rooted in such rich history. 

The Wellesley Widows don’t shy away from using various kinds of music within their shows –– the chosen songs ranged in both pace and genre, and they even selected songs from (what I feel are) currently-underappreciated artists. The concert definitely gave me more music to add to my personal playlist! 

The guest performance from Tufts’ S-Factor group added to the audience’s experience by expanding the range of music even further.  Their skillful transition from “I Like It” by Debarge to “Just The Two of Us” by Bill Withers and Grover Washington Jr. was a masterful connection of songs that music listeners might not typically hear together, and it provided a smooth flow from R&B into Soul –– a choice commemorative of the profound impact Black people have had don music and the historical creation of individual genres.

A highlight of the entire concert was The Wellesley Widows’ rendition of “Skate” by Silk Sonic, featuring solos from Julia Pekowitz ’27 & Sophia Espaldon ’27. It was arranged by Marie Luu-Pierce ’26 with vocal percussion from Jessica Dai ’27. “Skate” was the final song of the night, an excellent choice on behalf of The Wellesley Widows, for it was truly a crowd pleaser. The vocal performances, vocal percussion, and group energy to match were exciting to experience, and brought the concert to a joyful close. 

After the show I spoke with Lauryn Collins ’25, the Widows’ co-Assistant music director about the process of crafting the show and what we can expect at their fall concert..

“The Widows worked incredibly hard to give you all a Good Pitch, Bad Witch Teaser Performance,” Collins said. 

“Preparing for the show included hours of planning, rehearsing and coordinating. For our final concert, Dec. 7, we plan on performing new songs featuring amazing soloists and showcasing the talents in our group. We’re super excited and can’t wait to see everyone there!” 

If you are interested in attending The Wellesley Widows’ final concert of the semester, follow their Instagram page @wellesleywidows for more details coming soon!

Contact the editors responsible for this story: Ivy Buck, Anabelle Meyers

When I first saw the announcement on the “Wellesley in Entertainment” Facebook group, I wasn’t sure if I would be able to see the film in a theater. Ayoub had written a letter on her social media stating that 100 theaters in the United States weren’t sure if they would include the film in their showings: “they’re still not convinced there’s ‘enough of an audience’ for it in their communities.” On account of this, she encouraged people to prove them wrong and bring the film to a theater near their area.

 “Empire Waist” started strong with the image of our protagonist, Lenore, dressed in black from head to toe. Her style juxtaposed heavily with the brightness of the school behind her, and this contrast became more apparent when Kayla –– the film’s second protagonist –– appeared. The aesthetic opposite of Lenore, Kayla wears colorful and vibrant clothing. As someone who has always found an “opposites attract” moment appealing, I was immediately hooked, and I’m pretty sure everyone in the audience was as well. 

One of the most compelling things about “Empire Waist” is the memorable side characters; Ayoub makes it easy to see that each character has a purpose and is meaningfully crafted. Lenore’s father, Mark, for example, captured the audience’s attention with his hilarious one-offs and t-shirts with puns on them (I don’t think I’ll ever get over his “split happens” shirt with a bowling pin graphic on it). Then there’s Kayla’s suspicious grandmother with a fear of Girl Scouts because apparently, “They put cocaine in those thin mints. Nothing God made could be that addicting.” She isn’t wrong about that. Holly Mcdowell’s Tina, a friend of the protagonists, has a  lack of situational awareness  and added physical comedy which was the perfect touch to the film and kept the audience laughing. And this is just to name a few –– these characters seem just as important and well thought out as Lenore and Kayla, our main protagonists, and such a decision feels particularly rare in films these days. “Empire Waist”, no doubt, highlights the brilliance of Ayoub’s writing and direction.

As a film about fashion, the costumes included also stand out. As Lenore grows in confidence in herself and her work as a fashion designer, the clothes that she makes reflect a growing sense of self. Ayoub stated that “Empire Waist” isn’t a “makeover movie”, which is significant ––the characters don’t change overnight, but they grow into themselves over time. For instance, by the end of the film the all-black outfit which Lenore initially donned changes into a light gray with hints of purple. 

After the film’s screening at the Capitol, the founder of Cashmerette, Jenny Rushmore, held a Q&A talkback with Ayoub. Throughout their discussion, the audience got a chance to learn more about the care put into “Empire Waist”. From creating a care plan with actors to help them process the script’s sensitive subject matter, to talking with social workers and teachers for perspective on how to approach the creation of this film, no stone was left unturned. Above all, Ayoub’s behind-the-scenes efforts reveal  the importance of creating art in an environment filled with care. 

As I look back on Ayoub’s letter about theaters across the United States not wanting to screen “Empire Waist” because there isn’t “enough of an audience” for the film, I’m shocked. The large round of applause that ensued when the credits rolled seems to prove the opposite. People walked out of the theater raving about the film and connecting it to their own experiences and stories –– it certainly has the ability to appeal and speak towards many communities and audiences.  I would argue that most people can definitely relate to at least one character in “Empire Waist” –– I know I could. 

If you would like to support this film, fear not; there is ample opportunity to do so. On Tuesday, October 29, the film premieres on digital and on-demand. Host a watch party and grab a friend (or two). You won’t regret it.

Contact the editors responsible for this story: Anabelle Meyers, Ivy Buck