Body Art: Luis Diego Méndez

via Amón Cultural

Dance: The Ting Tings - That's Not My Name

Choreography: Molly Long

The Dance Awards: Junior Jazz Solo

via Ellie Anbardan 

Travel + Leisure: Great Wall of India by Emmett Sparling

 

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Source: https://www.instagram.com/travelandleisure/

Fashion is DEFINITELY Art: Dior Men's Spring/Summer 2026

Creative Director: Jonathan Anderson

via Christian Dior

MODELING: Lina Shabani for Lui Magazine

Director: Raf Stahelin

Model: Lina Shabani

via localboy

Branwell Brontë

Art Appreciation

Patrick Branwell Brontë, born on June 26, 1817, in Thornton, West Yorkshire, was the only son of Reverend Patrick Brontë and Maria Branwell. He was the brother of the renowned writers Charlotte, Emily, and Anne Brontë. Educated at home by his father, Branwell exhibited early talent in literature and art. Alongside his sisters, he created intricate imaginary worlds, notably Angria, which they documented in miniature books. These early collaborations laid the groundwork for the literary pursuits that the Brontë siblings would later undertake.

In 1835, Branwell aspired to study at the Royal Academy of Arts in London. Although there is no official record of his enrollment, it's believed that financial constraints and personal challenges prevented him from pursuing formal studies there. Despite this setback, Branwell continued to develop his artistic skills, producing several portraits, including the well-known painting of his three sisters. 

Branwell's early career included work as a portrait painter and contributions to local newspapers. He also held positions as a tutor and railway clerk. His literary works, often centered around the fictional world of Angria, showcased his vivid imagination and narrative prowess. However, his creative endeavors were frequently overshadowed by personal struggles, including issues with alcohol and opium, which impeded his professional progress. 

Branwell Brontë died on September 24, 1848, at the age of 31, likely from tuberculosis, compounded by his substance use. His death marked the beginning of a tragic period for the Brontë family, as his sisters Emily and Anne succumbed to the same illness within the following year.

Anne, Emily and Charlotte, c. 1834

c. 1828

Self caricature of Branwell in bed waiting to die, 1847

Sources:

Wikipedia

https://www.annebronte.org/2023/06/25/youngbranwellbronte/

https://www.britannica.com/biography/Patrick-Branwell-Bronte

https://www.the-independent.com/arts-entertainment/books/features/bronte-sisters-emily-charlotte-anne-branwell-death-contagious-tb-tuberculosis-romantic-a8595516.html

https://litreactor.com/columns/lurid-branwell-bronte-wastrel-or-romantic-hero

https://jamestkelly.com/did-branwell-try-to-get-into-the-royal-academy/

Melinda Windsor

Model Appreciation 

Melinda Windsor, known to friends and family as Ann Brockway, captivated Playboy readers in February 1966 as Playmate of the Month. At 5'4" with a slim yet curvaceous figure and natural 38DD bust, she quickly became a fan favorite, gaining a ranking on the site decades later. 

Born on June 25, 1944, in Akron, Ohio, Melinda was a small-town girl with big ambitions, taking on Los Angeles in the '60s with her sights set on academia. At the time of her Playboy feature, she was a psychology student at UCLA, working as an insurance rater to fund her education—a determined young woman balancing work, school, and the allure of the spotlight.

While her Playboy appearance certainly turned heads, Melinda's goals were refreshingly down-to-earth. She intended to use her modeling earnings to finish her bachelor's degree (which she did later in 1966) and then pursue a PhD to become a teacher. 

Her pseudonym sparked a minor stir when UCLA couldn’t confirm a student named "Melinda Windsor." Playboy clarified that she’d been enrolled in fall 1965 and had chosen the alias to keep a bit of mystery in her public persona. For Melinda, the experience in Playboy was simply a stepping stone toward her academic dreams, though she certainly enjoyed her brief time in the limelight.

With her signature natural beauty and a brain to match, Melinda Windsor embodied the era's blend of glamour and ambition. Beyond the cameras, she was a dedicated student and family-oriented woman who grew up alongside two sisters, with a chemist father and a homemaker mother. Her turn-ons were as scholarly as they come ("school"), and her turn-offs? People who aren’t true to themselves. To this day, Melinda Windsor remains a classic symbol of the '60s: beauty, brains, and unapologetic ambition all rolled into one.

Sources:

https://www.babepedia.com/babe/Melinda_Windsor

https://tour.playboyplus.com/model/gallery/melinda-windsor/playmates-1966-2-melinda-windsor-0?nats=MzY3NjY2LjYuMTAyMy4xMDY5LjEzMjIuODAyMDI1NS4wLjAuMA

https://www.boobpedia.com/boobs/Melinda_Windsor

https://live.ogglebooble.com/album.html?folder=1838

RANDOM WEDNESDAY: "Nothing to See" by Haruka Aoki for The New Yorker

https://www.instagram.com/p/DKr0V5jIUcR/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

Brendan Loper - "Your Handy Road Map to Authoritarianism"

By Brendan Loper, April 7, 2025

Source:

https://www.newyorker.com/magazine/2025/04/14/your-handy-road-map-to-authoritarianism

Body Art: Seth Sexton - Lavi

Art Direction and Creator: Seth Sexton

Choreography: Lavi

via Seth Sexton

Dance: Portugal. The Man - Feel It Still

Choreography: Emma Scherer (Instagram: @emma.scherer)

Dancers: Elizabeth Allan, Natasha Jane Chambers, Grégory Garell, Romain Rachline, Emma Scherer, Marie Shirl

via Emma Scherer

Trump’s Latest Distraction Drop

Pardon the Interruption

Tonight, in true Trump fashion—bold, brash, and without a permission slip from Congress—President Donald J. Trump authorized an airstrike on three Iranian nuclear sites: Fordo, Isfahan, and Natanz. The self-proclaimed America First president is now acting like Netanyahu’s wingman, dropping six bunker busters to show just how “not chicken” he is.

Trump quickly took to his favorite megaphone, Truth Social, to announce the “very successful attack,” congratulating American forces and capping it off with the somewhat ironic: “NOW IS THE TIME FOR PEACE!” That’s like setting your neighbor’s shed on fire and then offering them a garden hose.

Let’s be honest—this was no strategic masterstroke. It feels more like a dramatic distraction, the political equivalent of yelling “Look over there!” while your house of cards collapses behind you. Since starting his second term, Trump has been spinning scandals like a DJ at a conspiracy-themed rave. And sure, being nicknamed TACO (Trump Always Chickens Out) by a Financial Times columnist probably didn’t sit well. Trump’s never been known for his thick skin—remember the Comedy Central roast? Yeah, he didn't love that either.

The bombing decision reportedly came despite skepticism from within his own intelligence circle, including Director Tulsi Gabbard. But hey, why let caution or credibility get in the way of a dramatic headline?

Bottom line: this might not just be a “operation.” It’s feeling more like a warm-up act for something much bigger. And all the distractions—economy woes, shady friendships, Elon tweets—can’t keep the snowball of chaos from picking up speed.

So, buckle up. The drama’s just getting started.

Maroon 5 - Moves Like Jagger ft. Christina Aguilera

Music Appreciation

"Moves Like Jagger" is a song by American pop rock band Maroon 5 featuring singer Christina Aguilera. It was released on June 21, 2011, as the fourth and final single from the re-release of the group's third studio album Hands All Over (2010). 

The track was written by Adam Levine, Ammar Malik, Benny Blanco, and Shellback, with the latter two also handling production duties. The collaboration between Maroon 5 and Aguilera was facilitated by their roles as coaches on the television show The Voice, where they first performed the song live.

Musically, "Moves Like Jagger" is an upbeat electropop song with elements of disco and rock. It features a catchy whistling melody, funky guitar riffs, and electronic drum beats. The lyrics describe a man's ability to impress a woman with his dance moves, which he compares to those of Rolling Stones frontman Mick Jagger. 

The chorus emphasizes this theme with lines like, "I don't need to try to control you / Look into my eyes and I'll own you / With the moves like Jagger." Aguilera's contribution comes in the bridge, where she adds a sultry response, enhancing the song's dynamic interplay. ​

The music video, directed by Jonas Åkerlund, was filmed in Los Angeles, California, on July 8, 2011. It features archival footage of Mick Jagger and showcases various individuals attempting to emulate his iconic dance moves. 

The video intersperses scenes of Adam Levine performing shirtless and Christina Aguilera delivering her parts with a retro-inspired look. The homage to Jagger's style and the energetic dance sequences received positive feedback, contributing to the song's widespread acclaim. 

Sources:

Wikipedia

https://thephoenixremix.com/2020/08/20/the-magic-of-the-music-video-maroon-5-month-moves-like-jagger/?utm_source=chatgpt.com

https://www.npr.org/2011/11/28/142709728/moves-like-jagger-the-making-of-maroon-5s-mega-hit

https://www.reddit.com/r/Music/comments/1dpnrtb/maroon_5_moves_like_jagger_ft_christina_aguilera/?rdt=44367

HAPPY SUMMER!

 

MODELING: Ariana Dugarte - Mirror Mini Dress

Model: Ariana Dugarte (@aridugarte)

via Ariana Dugarte 

Anto Rabzas - The Waste City 3.0: Public Spaces

Film Appreciation

The Waste City 3.0: Public Spaces is an interdisciplinary performance project directed by Anto Rabzas, blending Butoh dance, video art, and urban exploration to reimagine public space as a site of knowledge, memory, and transformation. 

Performed by Tania Garrido and Nazaret Laso (Cranämour Butoh Dance Theater Company) and developed over years of site-specific interventions, the project examines how we experience, alter, and fragment space through perception and language. 

Rooted in philosophical and literary references, it reflects on the ephemeral nature of reality and the creative impulse to grasp its meaning, even if only through illusion. 

via AntonioRabazas

Sources:

https://antoniorabazas.com/videoarte-performance/the-waste-city-3-0/

RANDOM WEDNESDAY: Best of Lynda Carter - Wonder Woman (1975-1979)

via Fusion Kidd 

RANDOM WEDNESDAY: Sabrina Carpenter by David LaChapelle

By David LaChapelle, Rolling Stone (July/August 2025)

 

Reading “They” from a Bird's Eye View

While lounging at the Delta Sky Club and waiting for my flight, I picked up a copy of The New Criterion—a conservative publication not typically on my nightstand, but hey, travel invites a bit of curiosity. An article by Joshua T. Katz caught my attention, especially as a parent of a transgender daughter. The piece? A critique of children’s books centered on gender pronouns.

Going in, I reminded myself to keep an open mind. Katz, a new father himself, shares concerns about books like The Pronoun Book, which introduce pronouns that don't align with traditional notions of biological sex. He worries these stories mix imaginative play with ideology and muddy the grammatical waters too early in a child’s development.

And from an education standpoint? I get it. Teaching sentence structure is tough enough before throwing neopronouns into the mix.

Katz’s broader point is about language itself. He argues that personal pronouns are critical building blocks of communication, and sudden shifts—especially those driven more by culture than linguistic evolution—can complicate things unnecessarily. One compelling example: changing “Do you live here?” to “Do they live here?” might sound inclusive but could confuse young learners trying to pin down grammar basics.

I don’t agree with everything Katz says, but I respect his call for balance. He urges parents to be mindful—not dismissive—of the materials they put in their kids’ hands. Respect and inclusivity matter, yes, but so do clarity and developmental readiness.

No matter your politics, it’s worth a read: https://www.aei.org/op-eds/pure-episcopalianism/

Andy Landorf and John Colquhoun, 2019

Sara Bareilles - Love Song

Music Appreciation

Sara Bareilles’ Love Song, released on June 16, 2007, wasn’t initially written from a place of romance—it was a response to pressure. Epic Records had been urging Bareilles to write a marketable love ballad for her debut album Little Voice. Frustrated by the creative interference, she penned Love Song as a pointed refusal. 

The lyrics—"I'm not gonna write you a love song 'cause you asked for it"—are a witty and defiant retort, cloaked in a catchy pop melody. Ironically, the song became the very hit the label had been demanding, propelling Bareilles into mainstream success.

Musically, Love Song is built on upbeat piano chords and a strong melodic hook that belies its rebellious message. It blends pop and soul influences with a conversational tone, allowing Bareilles’ voice and piano to carry the emotional weight. The composition remains straightforward but effective: its dynamic rhythm and directness reflect her refusal to compromise. 

The music video, directed by Josh Forbes, complements the song’s theme of constraint and self-determination. It features a miniature Sara Bareilles playing piano inside a coin-operated jukebox, visible only when listeners insert coins. As she sings and plays, the camera cuts to various people trying to get her to perform, underlining the transactional nature of commercial music. The visual metaphor underscores the song’s message: art created on demand loses its authenticity. 

Sources:

Wikipedia

https://www.cbsnews.com/news/sara-bareilles-not-writing-a-love-song/

https://www.billboard.com/artist/sara-bareilles/chart-history/hsi/

Bailey Soogs

Modeling Appreciation

It all started with that one post -- Bailey Soogs, casually rocking a Marcus Rashford jersey, socks, and a strategically placed soccer ball. That was it. I was intrigued. Who was this effortlessly cool, undeniably gorgeous girl? And why was I suddenly so captivated?

Naturally, a little social media deep dive was in order. Before I knew it, I was following her on TikTok, checking out her content, and well, subscribing to her OnlyFans (purely for research purposes, of course).

Standing at 5'4" with striking green eyes and signature bangs, Bailey isn't just an adult model -- she's a cosplayer, a gamer, a TikTok star, and an all-around bundle of fun. There's just something about her playful energy and expressive personality that makes her stand out. Maybe it's the way she lights up every video, or maybe I just have a thing for bangs. 

Either way, watching her evolve has been nothing short of entertaining. Here's to hoping she keeps serving up the same mix of charm, creativity, and killer looks -- because, let's be honest, she definitely stimulates the visual appetite. 

Sources:

https://www.instagram.com/soogs__x/

https://x.com/soogz1

https://onlyfans.com/soogsx

https://www.tiktok.com/@soogsx

Glazed Muffin

A few days ago, I celebrated my 49th birthday—the final lap of my forties. Since it fell in the middle of the week, I chose a quiet dinner at home when my wife asked how I wanted to spend it.

When I got home from work, she was already in the kitchen preparing a birthday meal. She greeted me with a smile and told me to head upstairs and get comfortable. When I came back down, I noticed a few wrapped presents waiting on the dining table. She then pulled blueberry muffins from the oven and, with a mischievous grin, began slowly drizzling glaze over them. “I have a surprise for you,” she said.

Then came the letter candles—arranged carefully to spell out: “ASK ME.” I raised an eyebrow, confused. “We’re already married,” I said.

“No,” she laughed. “Ask me.”

Grinning, I asked, “Can we have sex?”

“After you open your presents,” she replied, smirking. “Then we can go upstairs for some... quality time.”

Doing my best to play it cool, I opened two beautifully wrapped shirts—classic Tommy Bahama button-downs. Perfect for future date nights or beach days.

Soon after, we headed upstairs and enjoyed a much-needed, intimate moment together. An hour later, we returned downstairs where she finished preparing a delicious dinner. Afterward, as we shared the glazed muffins, she asked how I liked my birthday.

I couldn’t help myself. “Best birthday ever,” I said. “You made me glazed muffins… and I got to glaze your muffin.”

ai generated

Album Cover: Alice Cooper - School’s Out

Album Cover

Album:  Alice Cooper - School’s Out

Released: June 13, 1972

Cover Art Design: Craig Braun

Sources:

Wikipedia

Henry Scott Tuke

Art Appreciation

Henry Scott Tuke was born on June 12, 1858, in York, England, into a Quaker family. His father was a physician and a supporter of the arts, which helped nurture Tuke’s early interest in painting. 

In 1870, the family moved to Falmouth, Cornwall, a seaside town that would later become central to Tuke’s artistic identity. Surrounded by coastal scenery and a vibrant harbor community, young Tuke developed a fascination with the sea—a theme that would appear repeatedly in his work. His formal art education began at the Slade School of Fine Art in London, where he trained under prominent figures like Alphonse Legros.

Tuke’s early career was marked by experimentation and travel. In 1880, he received a scholarship that allowed him to study in Italy and France, where he was exposed to Impressionist techniques and classical themes. 

By the mid-1880s, he returned to Cornwall and became associated with the Newlyn School, a group of artists focused on plein air painting and working-class life. Tuke’s early works were traditional in style, often depicting maritime labor and naturalistic seascapes. He also began to paint portraits, gradually gaining recognition for his sensitive and realistic portrayals.

In the 1890s, Tuke's reputation grew significantly. He settled in Falmouth permanently and converted an old fishing boat into a floating studio. During this period, his most distinctive work emerged—scenes of young men bathing or lounging by the sea. 

While these works were admired for their technical skill and light-filled naturalism, they also carried an undercurrent of sensuality that would later lead to both praise and controversy. Tuke was elected an Associate of the Royal Academy in 1900 and became a full Academician in 1914, affirming his place in the British art world.

Tuke’s style is best described as a fusion of Impressionism and Victorian realism. He worked primarily in oils and watercolors, favoring natural light, outdoor settings, and fluid brushwork. His subjects ranged from coastal life and portraiture to male nudes in idyllic maritime settings. 

Though often interpreted through a homoerotic lens today, Tuke’s contemporaries largely viewed his work as innocent and romanticized depictions of youth and nature. His technical mastery and emotional subtlety earned him awards at international exhibitions, including a gold medal at the Paris Salon.

Two of Tuke’s best-known paintings are August Blue (1893–94) and The Bathers (1888). August Blue depicts four young men diving and lounging in the blue-green waters of a calm bay, capturing a moment of harmony between body and landscape. It remains his most celebrated work and was purchased by the Tate Gallery in 1894. The Bathers, painted a few years earlier, helped establish his reputation with its bold composition and luminous treatment of flesh and water.

A Soldier (possibly T.E. Lawrence), 1921

Return from Fishing, 1907

Rounding the Manacle Buoy, 1888

August Blue, 1893-94

The Bathers, 1888

Sources:

Wikipedia

https://www.tate.org.uk/art/artists/henry-scott-tuke-555

https://artuk.org/discover/artists/tuke-henry-scott-18581929

https://outstoriesbristol.org.uk/people/biographies/henry-scott-tuke/ 

RANDOM WEDNESDAY: Charles "Chas" Addams - The New Yorker June 14, 1958

Cover art by Chas Addams 

Elvis Costello and the Attractions - Pump It Up

Music Appreciation

Released on June 10, 1978, Pump It Up is one of Elvis Costello & the Attractions' most electrifying songs, originally appearing on Costello’s second album, This Year’s Model. A driving force of the new wave and pub rock scene, the song captures the manic energy of late-'70s punk-infused rock. 

Lyrically, Pump It Up is both a satirical take on hedonism and a commentary on frenzied desire, with Costello’s signature wit shining through. The pounding bassline, rapid-fire drumbeat, and Steve Nieve’s signature swirling organ give the song an almost relentless pulse, reinforcing its theme of excess. Built on a tight, repetitive riff reminiscent of Bob Dylan’s "Subterranean Homesick Blues", the track is a masterclass in controlled chaos.

The song’s music video, directed by Paul Flattery for Jon Roseman Productions, perfectly captures its restless energy. Costello, decked out in his trademark skinny suit and Buddy Holly glasses, showcases his iconic jerky dancing, flailing and bouncing around with an urgency that matches the song’s unrelenting beat. The video’s low-budget, high-energy aesthetic only adds to its charm, embodying the raw, no-frills attitude of the punk/new wave movement. 

Sources:

Wikipedia

Is That Democracy in the Rearview Mirror?

Pardon the Interruption

I recently read a thoughtful opinion piece in the Austin Chronicle by Erblin Ribari titled “There Is an ‘Us’ in USA. Let’s Act Like It.” Ribari, MIT and Harvard graduate, reflects on leadership, unity, and civic responsibility, urging Americans to live up to the “us” in USA—by building bridges instead of walls, showing care over convenience, and remembering that democracy only works when we all participate.

In theory, this is exactly how democracy should work. I say “in theory” because, under the Trump administration, we’ve seen a steady shift toward something more authoritarian in style. And let’s be clear—authoritarianism isn’t just about a strongman at the podium. It’s about limiting public input, tightening control over media and education, and shrinking the space where free expression once thrived (e.g. entertainment and the arts). These are all elements we've seen touched by executive orders and policy shifts, recently.

The result? A rising fear among Americans that speaking out might come at a cost. Students worry their scholarships or enrollment might be on the line for expressing dissent. Foreign students face the threat of deportation or harassment for joining protests. Judges’ families are being targeted--online and off-- for cases questioning the Trump Administration's directives.  Meanwhile, militarized agents dressed like they raided a Spirit Halloween store are storming businesses and detaining elected officials for doing their jobs, representing their communities.

The fear is real. And in a climate like this, it’s no wonder many people are unsure if their voices matter—or even if they’ll be heard. But if we take Ribari’s message to heart, we’re reminded that the only way through this moment is together, by choosing courage over comfort and community over silence.

by Guy Parsons, November 25, 2024

Sources:

https://www.austinchronicle.com/columns/2025-05-30/opinion-there-is-an-us-in-usa-lets-act-like-it/

https://cagle.com/cartoonist/guy-parsons/2024/11/25/290531/span-idtitle_290531trump-escalator-autocracy

AJR - Sober Up

Music Appreciation

AJR's "Sober Up," featuring Rivers Cuomo of Weezer, made its debut on June 8, 2017 as a single from their second studio album, The Click. The track was crafted by the band’s members—Adam, Jack, and Ryan Met—and showcases a delightful collaboration with Cuomo that fans embraced from the start.

Musically, "Sober Up" is a buoyant blend of catchy pop rhythms, indie rock vibes, and quirky electronic touches. The song’s lyrics offer a lighthearted reflection on the bittersweet nature of growing up, mixing nostalgia with a playful call to hold on to the magic of youth. Its infectious hooks and spirited composition create an atmosphere that’s both reflective and irresistibly upbeat.

The music video, directed by Aaron A. and brought to life in the bustling streets of New York City, perfectly mirrors the song’s energetic charm. It features a series of whimsical scenes that capture everyday urban moments with a twist of playful creativity. From unexpected visual surprises to its vibrant storytelling, the video has been well received for its fun and imaginative portrayal of the track’s spirited vibe.

Sources:

Wikipedia

Cosplay is an Art: Sakura-Con 2025

via Justin Cosplay 

Martin Solveig - Hello / Ready to Go / Big in Japan

Music Appreciation

Back in 2011, French DJ and producer Martin Solveig served up Smash, a pop-electro album bursting with charm, dance beats, and...tennis drama? Yep. Released on June 6, Smash was led by the global hit “Hello,” a bubbly collab with Canadian synth-pop band Dragonette. The track became a runaway success, topping charts in five countries and somehow ending up everywhere — from Gossip Girl to Ted Lasso, even a Tim Hortons ad.

But Smash wasn’t just about catchy singles — it came with its own mini music video series that plays like a French rom-com meets sports spoof.

The full-length music video for “Hello” isn’t just a video — it’s the kickoff to an absurdly entertaining mini soap opera set in the high-stakes world of...tennis. Chapter one opens with sportscaster Nelson Monfort narrating the setup: Martin Solveig (as himself) is a hopelessly determined tennis player, while his wildly enthusiastic manager/coach Lafaille (played by DJ Grégory Darsa) is doing everything short of summoning the tennis gods to get him a win.

Chapter two cranks things up. We're suddenly courtside at Roland Garros, watching Martin face off against DJ Bob Sinclar in a match so lopsided it hurts — Martin can’t win a single point. At 6–0, 6–0, 5–0, just as Sinclar is about to serve for the match, “She” (played by Flo Lafaye) enters the stands and inspires Martin to dig deep. One serve, one dramatic line call later (thanks, Mathilde Johansson), Martin is given a lifeline by none other than Novak Djokovic, who storms the court to overturn the decision. Our boy starts clawing his way back. Just when it looks like love might win, Gaël Monfils strolls in and plants a kiss on “She.” Heartbroken, Martin throws in the towel — literally — and the screen teases: to be continued.

Enter episode two: “Initial S.H.E.” This time, Martin's love-struck condition is so severe, he consults a therapist (François Rollin), who solemnly concludes, “Martin irresistibly wants she.” The prescription? “You need a swim.” Lafaille, ever the hype man, hands Martin a new headband and swears it’ll take him to the next level. Martin muses about his fascination with Japan — but Japan, as it turns out, is not fascinated with him. Recuperating in Singapore, Martin dreams of Lafaille hosting a ridiculous dance show called Mambo Jambo. Later, the two find a magical remote that controls the lights of the Marina Bay hotel. Naturally, they hijack it to flash a massive “I ❤️ She” during Martin’s performance of “Ready to Go.” As one does.

Episode three, titled “Ready 2 Go,” kicks off in a recording booth with Dragonette laying down vocals. Lafaille bursts in, announcing the album's title: Smash! Martin, unimpressed, asks, “You thought of this yourself?” Lafaille then has a brainwave: they must debut the song during a football match. He knows a guy who knows a majorette — which, Martin explains to a puzzled Dragonette, is “like a cheerleader… but with a baguette. It’s very French.” What follows is an elaborate seat-card stunt, a stadium sneak-in, and Martin dashing onto the field to perform “Ready 2 Go” with the majorette. The crowd obliges, flipping their cards to spell out the song’s title in glorious splendor.

By episode four, “The Night Out,” Martin is finally prepping for a romantic evening with She. He and Lafaille are seen carefully arranging a theater marquee. The video, which was suppose to display a heartfelt message, ended up as a video of Lafaille. Fortunately, She is unbothered and suggests they grab a beer and make a night of it. Cue a scenic motorbike ride through Paris, a dance club interlude, and a moonlit boat ride on the Seine, complete with Captain Lafaille at the helm. Just as things seem to reach a sweet conclusion, we’re treated to a flash of Martin performing “Hello” on TV before we’re whisked back to him riding off into the Parisian dawn.

Romance, rivalries, remote-controlled light shows — Smash isn’t just an album, it’s a spectacle. 

via Martin Solveig

Sources:

Wikipedia

https://www.youtube.com/@spinninrecords

Stella Jones

Modeling Appreciation

Stella Jones, a Hungarian model from Sátoraljaújhely, brings a mix of charm and ambition to her career. At 5’2” with a slim frame and striking natural 34F figure, Stella is admired for her authentic, all-natural look and an impressive smile that captivates her fans. Despite her presence on 72 covers, 44 photosets, and 28 videos, Stella remains somewhat of an online rarity, which only adds to her mystique and appeal. Her striking brown eyes and jet-black hair complete her look, making her a memorable face in her field.

Beyond modeling, Stella has a passion for fashion and is currently studying economics, with dreams of launching her own label and opening a shop. She loves to balance her studies and career with active pastimes like swimming and skating, and she’s rarely seen without her signature style. Stella’s fans are drawn not only to her beauty but also to her determination to carve out her unique path in both modeling and business.

Sources:

https://www.babepedia.com/babe/Stella_Jones

https://en.girlstop.info/models.php?name=Stella-Jones

https://www.imdb.com/name/nm6536010/

https://erotic-beauties.com/milf-with-big-natural-boobs-stella-jones-toying-her-bald-pussy-16954/

https://www.boobpedia.com/boobs/Stella_Jones

https://www.freeones.com/stella-jones

https://www.indexxx.com/m/stella-jones

https://www.busty-legends.com/model/888/index.html

https://babesrater.com/infinite-scroll/16388/stella-jones

Itzchak Tarkay

Art Appreciation

Itzchak Tarkay, born in 1935 in Subotica, Yugoslavia (now Serbia), experienced a challenging early life. During World War II, he and his family were sent to the Mauthausen concentration camp, where they remained until the camp's liberation in 1945. This harrowing experience shaped his worldview, and after the war, Tarkay and his family immigrated to Israel. Settling in Tel Aviv, Tarkay pursued his passion for art and enrolled at the Bezalel Academy of Art and Design, where his artistic journey truly began.

Tarkay's style is often described as a blend of Impressionism and Post-Impressionism, with clear influences from artists like Matisse and Toulouse-Lautrec. His use of vivid colors, graceful figures, and fluid lines gave his work a dreamlike, almost serene quality. Tarkay primarily focused on women in intimate, quiet settings, often sipping coffee, lounging in cafes, or sitting in contemplation. This theme of elegant women became a hallmark of his work, reflecting his fascination with beauty, femininity, and moments of stillness in everyday life.

Among his most famous pieces are Red Hat and The Conversation, both of which capture his characteristic vibrant palette and peaceful, reflective female figures. These works, like much of Tarkay’s art, invite viewers to pause and appreciate the elegance of ordinary moments. His technique of creating depth through layering rich colors and patterns, while keeping the forms of his subjects soft and almost abstract, helped distinguish his work in the contemporary art world.

Tarkay's art has enjoyed international acclaim, with his paintings and prints displayed in galleries around the world. His legacy as a graphic artist and painter remains influential, particularly in how he captured both the complexity and simplicity of human emotion in his expressive, colorful style. 

Tarkay passed away in 2012 in Detroit, but his works continue to resonate with collectors and art enthusiasts, offering a window into a peaceful, aesthetically rich world.

Red Hat

Conversation Les Femmes (2006)

Out the Window (2006)

Sources:

https://en.wikipedia.org/wiki/Itzchak_Tarkay

https://rogallery.com/artists/itzchak-tarkay/

https://modernartifact.com/collections/itzchak-tarkay?srsltid=AfmBOop8zIyjN33Hu6EwZu8dF0zlf_ak3UR2CYci1AdYM4BJkxYWW8Ic

https://www.artsy.net/artist/itzchak-tarkay

https://www.renjeau.com/artist/tarkay-itzchak/

https://www.parkwestgallery.com/famed-artist-itzchak-tarkay-dies-at-77/

Kylie Minogue - Love At First Sight

Music Appreciation

Ever since Kylie Minogue's infectious rendition of "The Loco-Motion" in the late '80s, I've harbored a not-so-secret crush on the Australian pop princess. Standing at just 5 feet tall, she's a few inches shorter than me, which only adds to my crush. Fast forward to 2002, when she released "Love at First Sight," and my admiration for her reached new heights. The song's upbeat tempo and Kylie's radiant vocals had me—and countless others—dancing along.

"Love at First Sight" was written by Kylie Minogue, Richard Stannard, Julian Gallagher, Ash Howes, and Martin Harrington. The track was produced by Stannard and Gallagher and was released on June 3, 2002, as the third single from her eighth studio album, Fever. The song became an international hit, further cementing Kylie's status as a pop icon. 

The lyrics of "Love at First Sight" describe the exhilarating feeling of meeting someone special and instantly feeling a deep connection. The song's dance-pop composition, infused with house and Europop elements, perfectly complements its joyful theme. Kylie's effervescent delivery brings the lyrics to life, making it a feel-good anthem that continues to resonate with fans. 

The music video, directed by Johan Renck, features Kylie and her backup dancers in a futuristic, geometric maze. Shot in Dublin in May 2002, the video showcases Kylie's signature dance moves and vibrant energy. The sleek, modern visuals align seamlessly with the song's upbeat vibe, creating a memorable and iconic representation of the track 

Sources:

Wikipedia

Yoga: Mady Morrison - Simply Good Yoga

via Mady Morrison 

Album Cover: David Bowie – David Bowie

Album Cover

Album: David Bowie – David Bowie

Released Date: June 1, 1967

Cover Photographer: Gerald Fearnley

Model: David Bowie

Sources:

Wikipedia