On Aug. 24, the Biden administration announced its three-step process to cancel $10,000 in student debt for low- to mid-income individuals. A myriad of reactions from relief to anger indicated the plan was as ambitious as it was controversial; such an idea has circulated the U.S. political sphere from figures like Bernie Sanders and contemporaries, but similar proposals lacked traction until this abrupt announcement.

Those with questions about funding and outreach were quick to express intrigue and curiosity regarding the program’s specificities. Thus far, the details of the plan have proven to be rather unclear, though not without direction: the White House claims that federal student loan repayments will now be paused through Dec. 31, with payments to proceed following the new year. Those affected by student debt are eligible for the aforementioned $10,000 in relief if their individual income is below $125,000 per year or $250,000 for married couples. Those listed as dependents on tax filings reportedly also qualify. Eligibility extends to an additional $10,000 in available aid if borrowers benefited from the federal Pell Grant, which itself offers 66% of its aid to those from families with average incomes beneath $60,000 per year.

The Biden Administration estimates that this plan will extend aid to 43 million Americans who have taken student loans, with a projected potential to cancel the remaining debt of approximately 20 million Americans within the total scope. In all, 27 million Americans are estimated to be eligible for the full $20,000 sum — just over 8% of the total U.S. population. Moreover, the White House calculates that nearly 90% of these benefits will be allocated to individuals making less than $75,000 per year.

According to the Aug. 24 press release, this recent push for loan forgiveness invokes a plethora of socially just advancements through racial equity, relief to low and middle-income borrowers and diversified distribution of aid to many age groups. 

Jewell students said they could experience benefits of this policy as well — hardly a surprise on account of the price tag that a higher education degree in the U.S. carry. One student, Waylon Masters, a sophomore philosophy major, said he sees the appeal of the policy as a college student.

“I’m glad there are accommodations for the Pell Grant in particular; it’s almost scary that these loans amount to a larger sum of money than I’ve held in my entire life,” Masters said. ”I can definitely see why student debt is such a huge problem for most Americans.”

No application for this form has been released to the public yet, though the date of Nov. 15 has been recommended in order to ensure borrowers receive aid before the federal debt freeze expires. Government websites remain practically evergreen in their opaque wording and constant cross-references to other federal sites; as such, those interested in the offer can visit the Department of Education’s email subscription page for further notice on the application’s availability. Additional information from the Student Aid FAQ assures would-be applicants that the program’s deadline extends into Dec. 31, 2023 — additional queries regarding eligibility may be answered there.

Odd Future is a name that became practically ubiquitous during the early 2010s, most often remembered as a collective of ambitious teenagers reputable for influencing both skateboarding and hip-hop while sporting frequent Adult Swim appearances. 

Artists including Earl Sweatshirt, Frank Ocean and Tyler the Creator catapulted to stardom, even — or perhaps especially — in the years following Odd Future’s 2015 breakup. For members left on the outskirts of Odd Future’s fame, however, the group’s title doubles as a statement regarding the uncertainty of their independent careers.

While peers like Domo Genesis and Left Brain effectively faded into obscurity with the disbanding of Odd Future, 28-year-old Compton-born rapper Vince Staples has fostered a successful solo career despite infrequent music releases. 

Recognizable for his feature on Earl Sweatshirt’s “Hive” alongside songs of his own creation such as “Norf Norf” and “3230,” Staples has since managed to cultivate an evolving sound that has grown more introspective with the arrival of each project.

“Feels Like Summer” and “FUN!” proved to be wildly popular songs from Staples’ 2018 album “FM!”. Three years of relative silence drew to a close June 9, 2021, with the arrival of self-titled album “Vince Staples” which was met with no shortage of acclaim from fans and critics alike.

Following his 2021 project was “Ramona Park Broke My Heart,” released April 8, 2022, with both the title and its accompanying songs all stylized in full capitalization. 

Cited as a crystallization of lessons Staples has learned in years past, songs including “The Beach” and “When Sparks Fly” lyrically reflect on topics entailing regrets and trauma associated with past gang affiliation. An upbringing in poverty and relationship struggles also intertwine with the subject matter.

“I’m still working through things and the questions that life poses. This album will make even more sense if you heard the previous one,” Staples said in an interview with Complex, referring to his latest album’s predecessor. In naming the album after himself, a double meaning of sorts is achieved, given the prior release’s intention of characterizing his identity.

From a purely musical standpoint “Ramona Park” doesn’t disappoint. Despite gritty lyrics, “Lemonade” features Staples and Ty Dolla $ign rhyming over a beat light-hearted and melodic in nature. This song and “Papercuts” before it both manage to tackle the past struggles and concurrent tests the rapper faces even after his career reached its present level of success. Joining this pair is yet another highlight; “East Point Prayer,” a mellow three-and-a-half-minute song boasting a closing verse from Grammy-nominated star Lil Baby.

With success in mind, both singles released prior to the full album have grown popular among fans who anticipated its availability. On Spotify alone, “Magic” with DJ Mustard has garnered 9.3 million streams. 

“Rose Street” also appears set to surpass 3 million streams of its current 2.9 million listeners on one platform, a respectable feat given the 16-track, 40-minute project’s age of less than two weeks. 

With a fifth full-length album to his name, Vince Staples once more asserts himself as a confident lyricist while also proving his capacity to appreciate his roots and what they have taught him. Catchy and captivating in equal fashion, the insightful material the Long Beach rapper has put forth shows no signs of letting up any time soon.

Frequent collaboration with Travis Scott, Kanye West and a multitude of other members of Kanye’s record label allowed prolific artist Kid Cudi to maintain a modern sound and a degree of popularity beyond his own cult following. Given the peak of his popularity between the 2000s and early 2010s, it becomes worth questioning whether his sound still gives listeners the earworms it used to.

The artist-christened Scott Mescudi has several critically acclaimed albums that received adoration from fans in prior years, though there’s one that catches more eyes than most –  2010 debut release “Man on the Moon II: The Legend of Mr. Rager.” 

What especially sticks out about this album’s composition is its unique approach to the hip-hop genre. Choir samples and rock influence are certainly nothing new, though the sort of harmony that Cudi delivers on this album, and practically every other under his name, proves both unique and unparalleled. 

This distinction is due in large part to the ad-libbed humming and synchrony that have become a staple of Cudi’s music. It’s an aspect most visible even on his most popular songs, including the prior album’s most popular single, “Day ‘n’ Nite,” where he can be heard delivering what equates to an entirely new layer of instrumental prowess in between the chorus.

Another of the elements that result in Cudi’s claim to fame consists of the rollercoaster of variance between the tone of his songs. Listeners can be delivered to new heights with the euphoric melody of songs like the titular “Mr. Rager” before being met with a sharp reality check via the introspection of tracks including “GHOST!” and “Don’t Play This Song,” featuring Mary J. Blige’s heartfelt vocals.

Although the album’s sonic distinction speaks for itself, Mescudi has garnered widespread fame for the openness with which he discusses his ongoing struggle with mental health. He makes it no secret that such struggles have bogged him down before, but the continuity and success of his career makes it abundantly clear that he strikes a chord with listeners worldwide.

“Man on the Moon II” is an album that holds strong to this day, one that listeners can tune into for that sense of comfort and nostalgia in the exact same way they experienced it 11 years ago. It’s for this reason that Kid Cudi’s music still resonates with fans today – and a large part of why his releases have maintained similar consistency throughout a career spanning over a decade.

Aug. 29 marked the day that sent Kanye West’s discography of studio albums into the double digits with his release of “Donda,” a 27-track behemoth of an album that doubles as his largest project to date. To some, this proves to be a welcome contrast to his previous album “Jesus is King,” which clocked in at just under 30 minutes in length. To others, it’s a bit too much to handle.

The album opens with self-titled intro “Donda Chant,” a 52-second long track bereft of rhythm or accompaniment beyond the repetition of the titular name. The late Donda West – the album’s namesake – was Kanye’s mother and has been cited as one of his most influential role models throughout his life. 

Lyrics paying homage to the West family matriarch aren’t exclusive to this album  – they remain present all throughout Kanye’s work on songs like “Hey Mama,” “Touch the Sky” and many earlier tracks. “Donda” itself is similarly laden with references to his beloved mother who West referred to as his day one manager, confidant and best friend.

What sticks out about “Donda” is that the album is still distinctly Kanye – though in a different light. Neither introspection nor discussions of faith are foreign topics in the context of 2018’s “Ye” or 2016’s “The Life of Pablo,’ although many wrote West off as an artist incapable of making an album centered around anyone but himself. 

Setting emotions and background aside, West distinguishes himself once again with a full-length release. Songs like “Off the Grid,” “Hurricane” and “Moon” maintain the same high-energy sound he’s become recognizable for since “Yeezus” and before.

His sound is bolstered by an all-star list of featured artists: Travis Scott; Pop Smoke; The Weeknd; Lauryn Hill; Kid Cudi; Playboi Carti; and about a dozen other artists lend guest verses scattered throughout the album with the majority knocking it out of the park. 

Admittedly, one of the album’s pitfalls happens to be its length. The “pt. 2” addition to some songs’ titles adds five songs and about 20 minutes to the end of the album, with many listeners finding the addition of such tracks unnecessary.

Perhaps the most egregious example of this is “Jesus Lord pt. 2,” which goes on for a shocking 11-and-a-half minutes to close out the album amidst a backing choir. This, too, elicits a widespread complaint from some listeners: the religious undertones of Kanye’s music have grown to be a bit preachy.

Religion has taken a backseat for most of the time it was a subject in West’s music, as exemplified by “The Life of Pablo.” The extent of its influence was lent by occasional samples, whereas the topic takes up entire interludes on “Donda.” The polarizing content of the 2019 release “Jesus is King” implied that perhaps Kanye fans would rather get their sermons from a pastor rather than a prolific artist.

Yet and still, this release is distinctly Kanye. It may prove too early to offer a full assessment, but it’s safe to say that West’s 10th release holds its own in spite of the two-year wait from his previous album.