Rating: 7.2/10

Singer-songwriter Gracie Abrams released her second studio album entitled “The Secret of Us” on June 21 as a follow-up to her debut album from last year, “Good Riddance.”

The eye-catching, aesthetic-changing album cover seemingly motioned for a newfound optimistic direction for the artist. It portrays Abrams basking in a yellow-tinted glow compared to the somber, blurred grays from the previous album.

With two hard-hitting singles and 13 total tracks — alongside production by frequent collaborator Aaron Dessner of The National, who also produced “Good Riddance” — the 47-minute album is frankly an emotional whirlwind. It spirals through the ups and downs of relationships within Abrams’ life, explicitly depicting and never shying away from the truth — never keeping “us” a secret.

The strumming chords of a heavily synthesized banjo reel listeners into the opening track, “Felt Good About You,” with Abrams diving head first into the chorus without a hesitating breath.

The song is easily summed up by its title; Abrams acknowledges she felt good about the relationship between her and her partner until she eventually didn’t. As the song progresses, strings appear in the refrain, followed by a tambourine in the final chorus, alluding to the layout for the following tracks — the production’s building takes its time, slowly intensifying until erupting chaotically in the bridge.

Released a little over a month ago as the album’s first single, the second track, “Risk,” leads with an acoustic guitar as Abrams’ vocals swarm the listener’s ears alongside the background vocals of Audrey Hobert.

Abrams’ vocals effortlessly swell throughout the notably well-written bridge as she anxiously and breathlessly pleads for an ever-flourishing romance.

“I’m gonna bend ‘til I break/ And you’ll be my favorite mistake/ I wish you could hold me, here shakin’/ You’re the risk, I’m gonna take it,” Abrams sings.

The guitar strings continuously build upon each other into “Blowing Smoke” with a heavier influence as Abrams reflects on what her past lover is doing with this new girl, yet assessing that the newly developed relationship is entirely superficially constructed.

The balancing act of deliberately undemanding verses with quick-paced guitar strumming choruses is heard throughout the album numerous times — somewhat redundant but overall effective.

However, the choruses’ production throughout the third track feels intentionally muted — the created expanse is seemingly minuscule where it was supposed to be unequivocally soul-gripping.

Track four, “I Love You, I’m Sorry,” is a possible parallel to “I miss you, I’m sorry,” a song from Abrams’ 2020 debut EP, “minor.” 

The guitar is the chosen instrument for this track again — and is nearly the chosen instrument for every other track on the album — with Abrams admitting her tendency to be the barrier in relationships, pushing people away rather than valuing the frighteningly intoxicating proximity.

Throughout each chorus, the beginning and ending lines remain the same, whereas the lines in between differ, possibly representing how relationship experiences may vary, but the results remain unchanged.

“That’s just the way life goes/ I like to slam doors closed/ Trust me, I know it’s always about me/ I love you, I’m sorry,” Abrams sings in the first chorus.

Abrams has much to say, and that’s no secret — the heart-wrenching yet honest guttural truth carries through to “us.” The fifth track is the only feature on the album, with Abrams singing alongside singer-songwriter Taylor Swift, where they are incessantly questioning whether their exes miss the relationship as much as they do.

A plucked mandolin and soft vocals by both artists bleed seamlessly together, eventually causing a chaotic uproar throughout the bridge backed by Dessner and record producer Jack Antonoff’s production.

“Let It Happen” introduces itself with laughter and a muddled guitar, delving into Abrams’ attempt to not become a barrier in this relationship yet fighting against vulnerability and loss of control. 

Around the two-and-a-half-minute mark, Abrams amplifies her vocals throughout the bridge, encapsulating the loss of control she’s already experienced but letting it happen solely for that person.

Track seven, “Tough Love,” diverges from the previous tracks, steadily constructing itself with a synthesizer behind Abrams’ fast-flowing lyrics throughout the verse. 

A slower building production throughout “Tough Love” leaves listeners waiting for more, with drums silently building in the background during the choruses, yet barely resonating upon first listen.

“I Knew It, I Know You” — fans may have thought Abrams was directly heading toward a promising upbeat album, but this song squashes those assumptions with another agonizingly heartbreaking ballad.

From the acoustic guitar and chorus alterations to Abrams belting toward the end of the bridge, the storytelling track unfolds into a shatteringly breathtaking expanse with raw, exposing lyricism.

“And we don’t even know each other now/ And I’d blow all my plans if you’d meet me out/ We could talk, we could get it, we could both calm down/ Down (Down, down),” Abrams restlessly pleads throughout the bridge.

After she utters the last line of the bridge, the third verse weakens as Abrams realizes that no matter her apologetic state — or lack thereof, for that matter — the likelihood of reuniting with this person is slim to none.

The synthesizer arises again in track nine, “Gave You I Gave You I.” The song depicts Abrams giving herself over and over again with a willingness to do anything for this person; however, they knowingly recognized they weren’t ready for a relationship, fleeing with no explanation.

Abrams brutally captures the essence of betrayal, ripping apart her self-worth and attempting to move on throughout the track.

“When did you slip through my fingers, did I ever have you?/ Was I just a placeholder to fill the hole inside you?/ I’ve been feeling sick but I should help myself, not call you/ Nothing left to say ‘cause you’re not over her, now, are you?” Abrams sings.

Tracks 10 and 11, “Normal Thing” and “Good Luck Charlie” respectively, are underwhelming and disconnected, engulfed by those surrounding them.

“Normal Thing,” with its synthesizer and quirky kicking beats, outlines Abrams falling in love with a “movie star” but realizing it was all for show and not recommending the “scripted” part for anyone else. “Good Luck Charlie” illustrates a relationship’s end between two of her friends, one being Hobert, whose background vocals are attributed on “Risk.”

The uncorrelatedness between these songs compared to the rest of the album may be due to a blurred relation. The other tracks’ usage of unambiguous depictions — rather than universal storytelling — allows listeners to personally sympathize with Abrams’ romantic liaisons.

Throughout this album, Abrams’ use of explosive bridges showcased the singer’s vocality, and “Free Now” is no exception. The track follows Abrams detailing a failed romance, as her partner had not moved on from their previous relationship.

Despite the heartache, Abrams’ hopefulness simultaneously shines through, relishing in the newfound freedom — regardless of the hollowness within her.

“If you find yourself out, if there is a right time/ Chances are I’ll be here, we could share a lifeline/ If you feel like fallin’, catch me on the way down/ Never been less empty, all I feel is free now,” Abrams sings in the outro. 

The 13th and final track was worth the wait. “Close To You” — the second single that first appeared in 2017 via Instagram and then teased again in 2018 — was not originally supposed to be included on the album, but after fans continuously begged, Abrams decided to add the track.

And it’s a good thing she did. After encountering music for a sad girl summer like no other, “Close To You” is a perfect closer for a nearly perfect album and may be one of the many pop hits of the summer.

Although “The Secret of Us” shares similar vibes with her first record, there’s no doubt that Abrams has demonstrated growth throughout this past year. Illustrious lyricism, astoundingly expansive bridges and two hit singles have set the bar for the singer-songwriter, and it’s no secret to us that it’s set pretty high.

chloeb4@dailyillini.com 

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June 18, 1999, marks the release date of “Tarzan,” a coming-of-age Disney animated film. This year is its 25th anniversary.

Following the story of a child raised by wildlife creatures surrounding him — mainly gorillas and one elephant — “Tarzan” is a comical, childlike-wonder creation that certainly lived up to previous productions like “Hercules” (1997) and “Mulan” (1998).

Although seemingly absurd, the storyline portrayed can resonate with all audiences no matter the age — just ignore the talking animals and an elephant that can see through its trunk as if it were a pair of binoculars.

The intense opening scene follows a couple escaping from a burning, broken-down ship, with the woman holding a baby in her arms as they row away from danger. They venture to an island unmarked by humankind and are met with a residing gorilla troop, with the human family mirrored in this gorilla form.

Music by Phil Collins narrates the scene — and the rest of the movie, for that matter — with lyrics from “Two Worlds” excruciatingly detailing what viewers are witnessing. 

This song is the first one Collins worked on with composer Mark Macina for the film, and it’s woven throughout the score, earning a callback numerous times while simultaneously depicting the theme.

“A paradise untouched by man/ Within this world blessed with love/ A simple life, they live in peace/ Softly tread the sand below your feet now/ Two worlds, one family,” Collins sings as the humans reach the shore.

Unfortunately, the gorilla family, composed of Kala (Glenn Close) and Kerchak (Lance Henriksen), loses their child to the ferocious leopard, Sabor. Devastated by this loss, Kala hears cries from a distance and is immediately entranced by the sound.

Within the residence rests Tarzan (Tony Goldwyn), his cries quieting and eyes lighting as they rest upon Kala. Destruction is evident throughout the space as Sabor slashes at Kala while she fearlessly escapes with the baby in her clutches.

Throughout the following years, Tarzan is raised to be an ape-man but never completely accepted by his “father” Kerchak, who repeatedly says, “He will never be one of us.” Tarzan doesn’t meet another like him until the audience is introduced to Jane (Minnie Driver), Clayton (Brian Blessed) and Professor Porter (Nigel Hawthorne).

While a weirdly forced attraction begins to unfold between Jane and Tarzan, which seems nonsensical considering he can barely function as a human, Clayton malignantly schemes in the background to capture the gorilla troop.

The climactic action ends with the vine-hanging death of Clayton, his knife plummeting into the ground — a death that is hopefully lost upon children viewers — and the death of Kerchak, which causes Tarzan to rise as the group leader.

As the film naturally ends happily, it remains the same old conventional Disney tale overall: good vs. evil, with the protagonist saving the day after being the reason it needed saving.

However, the animation style, and most importantly the score, elevate “Tarzan” to be a picturesque film encapsulating themes of identity and family, questioning whether the biological side matters or not.

After its establishment, some believed the movie motioned for the end of Disney’s decade-long animated creations; six years later, studios began switching to computer animation.

With the arrival of its 25th anniversary, it’s no surprise that “Tarzan” remains a classic Disney hit among all generations. Talking animals, memorable sing-along lyrics and childlike humor enhance the film, even as decades pass.

chloeb4@dailyillini.com 

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Rating: 7.6/10

American alternative rock band Wallows released their first single, “Your Apartment,” from their third studio album on Feb. 16, 2024, nearly two years after their second album. The unveiling of the entirety of “Model” — a 12-track, 36-minute record — occurred today, three months later.

The release of five singles — four constituting the top five best songs on the tracklist — throughout those months prepared fans for a vividly vibrant, never-ending record of summer hits — the ones that blare through the car speakers driving down a straight-ahead road, hands dancing out the window with the wind.

Composed of guitarists/vocalists Dylan Minnette and Braeden Lemasters as well as drummer Cole Preston, the band originated in 2017 when they released their first single, “Pleaser,” followed by their EP “Spring” in 2018. Ever since, the trio and the spotlight have gone hand in hand, embarking on a journey as they do throughout “Model.”

The opening track, “Your Apartment,” paves the way with Lemasters on guitar, holding the same rhythmic stroke for seven seconds before Preston relinquishes the drums, followed by Minnette on lead vocals.

Although optimistically upbeat, the song details the narrator’s failed attempt at creating a newly developed relationship, which seemingly ended mutually. However, throughout the three minutes he sings, Minnette persistently wonders what his used-to-be lover is up to at her apartment.

“But I promise I get your sentiment/ I wonder who’s been at your apartment/ Would you give in or would you relent who’s been trying to get in your bed?” Minnette sings in the chorus.

“Anytime, Always” is the following track, one that can genuinely be played anytime, always. Even though the repetition of these words within the chorus doesn’t set the song up for anything mind-blowingly spectacular, one can’t deny the overall effect it possibly has as another summer hit.

The track lacks notable underlying meaning, with both verses under 15 seconds and repetitive choruses, but the focal point would have to be the instrumental breakdown after the first chorus.

Although exceedingly brief, it constructs a contrastingly brilliant expanse for the guitar, causing one to put their pedal to the metal and perhaps excessively speed on a backroad. 

Tracks three, four and five are all singles, each ranked in the top five alongside “Your Apartment” and track nine, “Don’t You Think It’s Strange.”

“Calling After Me” is vocally led by Minnette again, with the guitar, bass and drums keeping a simple yet catchy tempo. The lyrics illustrate a newly forming relationship, exploring the toxicity and exhilaration of withholding a secret from the public eye.

“Don’t play dumb, I know you fantasize/ You could have me on my back every night/ I don’t mind the things that you’ve been doing/ Think you need someone like me to get through it/ And I know you can see we’ll have people talking/ You know we can be just what they want,” Minnette sings.

A three-and-a-half minute breakaway from Minnette’s overdominance occurs in “Bad Dream,” as Lemasters flips the script, wholly switching to a muddled, slow-mo vibe. However, the synth can never be left behind, strangely intervening after choruses before the following verse.

Most will not choose to feature this on the same playlist as the prior tracks; with an almost wistful sound, the song makes a sharp 180-turn compared to the other tracks, tires screeching on the backroad as the car rolls to the exact speed limit. Despite this, it’s still a hit of its own.

Dual lead vocals are evident in “A Warning” by Minnette and Lemasters, a punchy bass kicking the album back up a notch from the previously muted sound.

The lyrics reference unrequited love as the narrator begrudgingly recognizes their partner is no longer in love with them but is slowly and surely falling out of love.

“Did you cross your fingers when you said forever?/ Did it look the same with the other before me?/ Am I just a name you flip through in your story/ Of people/ You’ve made to love you?” Minnette sings.

The instrumentals are strikingly elevated compared to another loss of a repetitive chorus, with the track title sung three times within each. However, the pre-choruses become one with the instrumentals as both singers venture into their lower register, the rhythmic drums ebbing and abiding, creating a minuscule expanse, the listener eagerly waiting for what’s next — except it’s the same previously installed beat.

Track six is “I Wouldn’t Mind,” but we actually do very much mind. As the only track on the album with vocals by Preston and only the third throughout the band’s discography, it surely attracts attention. 

After three listens — not even consecutively — it’s puzzling to follow as none of the pieces connect. The vocals can’t grasp a hold of the abnormally drum-heavy instrumentals in the background, veering to and from every direction rather than straight ahead. Coated with a bizarre whistled melody, this one is a possible skip.

“I Wouldn’t Mind” is a disappointing track by Preston, especially after his lead vocals on “Quarterback,” a single released in 2021 that’s undeniably memorable.

On track seven, “You (Show Me Where My Days Went),” the synth reappears, flaring throughout the first 15 seconds of the song. The dreamy melody sounds weirdly similar to the aforementioned “Quarterback,” but quickly, the guitar slices through its essence, and a funk vibe seeps through the area.

Though the overall tone is lively, the dreamlike nature from the beginning re-emerges in the pre-chorus, with Minnette floating on echoey vocals before the tactful return to the previously established vibe.

“You’re what I’ve been chasing/ Show me where my days went,” Minnette sings.

When track eight begins, a sparkly and summery intro ensues. “Canada” is immediately promising, though the tone abruptly transitions with intimate and gentle vocals by Minnette. 

With such soft lyrics, it’s difficult to hear them over the resounding instrumentals, meshing with two different intentions. It’s simply mediocre, not even kept as an afterthought.

“Don’t You Think It’s Strange?” is easily the standout track. Track nine sees vocals from Lemasters, and the instrumentals at the beginning bring with them vibes of Portugal. The Man.

Originally performed as an unreleased song on Sept. 23, 2023, at The Roxy Theatre in Los Angeles, Lemasters guides the 12-second opening with an electric guitar, amplifying the audience before the drums’ intensity increases from Preston, crashing profoundly downward for the first verse.

The steady magnitude of “Don’t You Think It’s Strange?” decelerates as Lemasters reaches the second half of the chorus — slowing as he renders the track’s title — almost exemplifying him carelessly escaping from reality yet again without hesitation.

“Even if I look the other way, love/ Doesn’t mean I’ve got nothing to say, love/ I’m just looking for any change up/ Wonder if I’m ever gonna wake up/ Oh, don’t you think that it’s strange,” Lemasters sings in the chorus.

Track 10, “She’s an Actress,” is a stark turnaround from track nine. It’s forgettable at best; at worst, it struggles to seize attention and lacks uniqueness. Sonically, there’s nothing wrong, but it’s nothing fans haven’t heard before. 

Minnette reappears with his almost oddly uncomfortably close vocals, which once again establish no connection with the backing instrumentals. The track feels as though it’s building toward a climactic final chorus, but it instead stumbles, and the song’s atmosphere expands in no direction it hasn’t already covered.

Track 11, “Going Under,” epitomizes the overall album vibe. With full layering and slowed vocals by Lemasters, the dreamy tone persists from earlier tracks.

Strangely, though, Lemasters begins quite literally screaming into the microphone and peaking around two-thirds of the way through the song. Though intentional, the artistic decision will likely be lost on most listeners. 

Throughout the song, fear and worry are conveyed with the lyrics.

“Oh, I’m scared of going under/ Thinking that it’s over with you/ Now my head has hit the pavement/ You’ve been isolating,” Lemasters sings. 

Once he reaches a lyrical breaking point, the somber tone quickly redirects to emotional anguish.

“But you know I would never leave/ Just give me time to think and figure out how I let it get this far/ Now you’re screaming that you’ll lose it all/ I’m so sure that we’ll make it out once more.”

“Only Ecstasy” concludes the record, originally performed at a Lollapalooza aftershow in 2023. 

Compared to the other album closers produced by Wallows, “Only Ecstasy” trails behind “Do Not Wait” and “Guitar Romantic Search Adventure,” falling victim to repetition. 

Even though it’s the longest song by a minute, lyric significance becomes displaced within the verses, followed by the bridge becoming an assortment of oohs. The atmospheric expanse stirred throughout the other two songs builds upon itself, whereas “Only Ecstasy” leaves the listener tirelessly waiting for more and then some.

As the group’s third album, “Model” complements the rest of their discography well. With frequent themes of otherworldly synthesizers and catchy vocals, it’s reminiscent of driving carefree with a mindless destination on a cool summer evening.

At times, driving fast is in order, and at others, a slower pace is more fitting. For some tracks, the skip button is enticing to ensure good vibes. More notably, the replay button will likely be used often.

slabosz2@dailyillini.com

chloeb4@dailyillini.com

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Rating: 8.5/10

Just as nine-time Grammy-winner Billie Eilish is fully submerged underwater in the cover of her new album “HIT ME HARD AND SOFT,” fans worldwide are similarly drowning in its sorrow-filled hits. 

With its release on May 17, the 43-minute album showcases singer-producer duo Eilish and Finneas’ diverse nature, with lyricism encompassing topics like the crucifying public eye and changing relationships over time.

The 10-track album opens with “SKINNY,” which sees Eilish’s falsetto reeling listeners underwater as the lullaby-like guitar strings progress behind her vocals. 

The song alludes to society’s judgment surrounding Eilish’s weight, which was previously addressed in “Overheated” and “Not My Responsibility” from her 2021-released album, “Happier Than Ever.”

“SKINNY” delves into other topics regarding falling in love and uncertainty underneath fame’s spotlight.

“Am I acting my age now?/ Am I already on the way out?/ When I step off the stage, I’m a bird in a cage/ I’m a dog in a dog pound,” Eilish sings.

The following track, “LUNCH,” individuates Eilish’s sexual exploration after coming out in Variety’s Power of Women cover story in November 2023. The sensuous lyrics, alongside the hard-hitting production, provide a vivaciously experimental tune that showcases a never-before-seen side of Eilish.

A segue away from the mainstream media and reality materializes in “CHIHIRO” by exploring the world of “Spirited Away,” a 2001 Japanese animated film that guided the artistic direction of “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” — Eilish’s debut album. 

References are evident in lyrics like “Said you won’t forget my name/ Not today, not tomorrow” and “Saw you turned around, but it wasn’t your face,” which imply the protagonist Chihiro’s inability to remember anything once she returned from the spirit world; the second quotation references Kaonashi, the no-faced spirit.

In “BIRDS OF A FEATHER,” Eilish fantasizes about everlasting love, contradicting track five, “WILDFLOWER,” which follows Eilish comforting a girl after a breakup, yet having a romantic relationship with the other person. It seems love only lasts forever in some cases.

“THE GREATEST” is reminiscent of “Happier Than Ever” at a sedated tempo with elongated line-by-line pronunciation. A plucky guitar unfolds into an atmospheric expanse around the three-minute mark as more guitars unleash in an uproar alongside Eilish’s overpowering vocal range.

The omnipresence of musicality and vocality is influential, and a strategic concluding lyric alteration from the first to the second chorus is a minuscule yet heartfelt tug that erupts in emotional tides ashore.

“Man, am I the greatest/ God, I hate it/ All my love and patience/ Unappreciated/ You said your heart was jaded/ You couldn’t even break it/ I shouldn’t have to say it/ You could’ve been the greatest,” Eilish sings.

The two-part divided structure — soft-sounding but eventually sweepingly expansive — prevails in “L’AMOUR DE MA VIE” and “BLUE,” both detailing the complexities of love. 

The French title, directly translating to “love of my life,” comprises a carefree air, with an overjoyed Eilish due to the relationship’s termination, admitting to the respective person they were, in truth, not the love of her life.

“Thought I was depressed or losing my mind/ My stomach upset almost all of the time/ But after I left, it was obvious why (Oh), mm/ Because for you, you/ I was the love of your life, mm/ But you were not mine (But you were not mine),” Eilish sings.

Contrastingly, “BLUE” revolves around the phrase “true blue,” meaning an undying loyalty toward a relationship irrespective of circumstances.

“THE DINER” and “BITTERSUITE” are not necessarily inferior songs, but they are somewhat forgettable between dynamically dominating tracks.

“THE DINER” is an effortless callback to the hauntingly, soul-stirring style throughout “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” — especially in “bad guy.” 

But the album’s previously established, intricately woven tracks cause “THE DINER” to leave a few crumbs on the plate, unlike “LUNCH,” in which Eilish ate the entire meal and then another.

On the other hand, “BITTERSUITE” follows a similar layout to previous songs, as it’s split into two stylistically distinct parts — however, Finneas’ immeasurable production throughout the track’s five minutes muddle Eilish, leaving her to become engulfed by the water with no buoy to stay afloat.

The transformative essence and complexity of each track provide a maturing narrative for the 22-year-old after some considered “Happier Than Ever” as her flop era. As a response, Eilish has never been more open or honest — or louder, for that matter — with the release of this album.

chloeb4@dailyillini.com

The post Review | Billie Eilish hits it hard and not at all soft with third studio album appeared first on The Daily Illini.

The Marching Illini sousaphone section will participate in the Christie Clinic Illinois 5k Run/Walk on Friday to raise money for Crisis Nursery — with their instruments.

For nearly a decade, the Marching Illini have run for Crisis Nursery, a non-profit organization based in Champaign County dedicated to preventing child neglect and abuse. It is the only 24-hour emergency care open the entire year in the county with no fees, and the sousaphones have a goal to raise $7,500 for the organization.

Wilson Shrout, junior in FAA, has run the race throughout his three years at the University — and doing so with a 35-pound sousaphone is no joke.

“My first year I went into it, and I was kind of like, ‘I don’t know how prepared I had to be to do this,’” Shrout said. “I got to the first-mile marker, and I was like, ‘Oh my gosh, that took forever’ … It is just difficult because of the way that you’re holding it. You can’t run as efficiently as you normally would.”

Shrout said around 30 people from the Marching Illini registered to partake in Friday’s events, with around an estimated 20 wearing instruments ranging from sousaphones to trumpets.

Tim Pfeiffer, freshman in ACES, will be one of those 20, using his middle school cross-country skills to boost him past the finish line. Even with the difficulty lying ahead — possibly a case of shin splints — he’s more excited than scared.

“I’d say there was no convincing (to join the race) honestly … I don’t think I’m going to be one of the faster ones, but as long as I finish the race with the sousaphone on, I’ll be happy,” Pfeiffer said.

Although neither Shrout nor Pfeiffer said they think they’ll place due to the weight upon their shoulders, there are medals given to the top three male and female runners; there will also be top three awards for the 17 divided age groups.

The course begins on Oak Street, runs through the University campus and ends on the 50-yard line of Memorial Stadium, where finishers can receive a medal, food and drink after the race and a beverage at the Fourth Mile Street Fest located outside.

The Marching Illini sousaphones recently uploaded a promotional training video for the Illinois 5k featuring Kendall Bostic, senior forward on the Illinois women’s basketball team. 

“We have some people that run with us that don’t (play) sousaphone,” said Josh Moore, graduate student studying computer science. “We appreciate anyone and everyone who wants to run with us.”

Registration opened on June 26, 2023, and remains open. It costs $50 per person. Virtual options are also open for those who cannot attend in person, and race goodies and finisher medals can be shipped. Goodies include a Bella + Canvas-brand short-sleeve unisex jersey tee in heather green and a drawstring backpack.

The real race starts this Friday at 7:30 p.m. — the sousaphones won’t be hard to find.

chloeb4@dailyillini.com 

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