James Baldwin: The Messenger We Still Need

Literature Appreciation

A few years ago, I read David Leeming's biography of James Baldwin, a prominent author who was both prophet and participant in America's racial struggles during the 1950s and '60s.

Leeming shows Baldwin as a witness—an artist who carried Harlem in his bones and Paris in his passport, constantly navigating between cultures while writing with urgency about race, love, and belonging. Novels and essays like The Fire Next Time argue that America's "race problem" stemmed from fear of love and the invention of categories—Black, white, gay, straight—to avoid self-reckoning.

The book captures Baldwin's contradictions: fiery yet tender, deeply committed to justice yet elusive in his personal life. Reading Leeming, you get the sense that Baldwin saw his role less as a polished novelist and more as a messenger, always wrestling with the truth as he saw it.

Louis Menand's essay in The New Yorker adds another dimension, reminding us that Baldwin's influence wasn't simply literary but existential. Menand emphasizes Baldwin's relentless message—that America's divisions are less about policy and more about our inability to love ourselves and each other honestly. He highlights Baldwin's struggles: the failed relationships, the disappointments in later work, and the way he drifted from celebrity status to "has-been" before being rediscovered in our time. For me, that lens makes Baldwin even more human—less the flawless icon and more the flawed, chain-smoking, often embellishing witness who refused to stop reminding us of the fire next time.

Taken together, Leeming and Menand leave us with more than a history lesson. They leave us with a challenge about how to live in our own politically charged moment. Baldwin's life, messy as it was, insists that labels won't save us, policies alone won't save us, and that real change begins in how we see—and love—each other. It's a reminder to take ourselves a little less seriously, to laugh where we can, and to not let fear or division dictate our choices.

 

Sources: 

https://www.newyorker.com/magazine/2025/08/18/baldwin-a-love-story-nicholas-boggs-book-review

https://www.amazon.com/James-Baldwin-Biography-David-Leeming/dp/1628724382

Album Cover: Stone Temple Pilots - Core

Album Cover

Album: Stone Temple Pilots - Core

Released: September 29, 1992

Photographer: Katrina Dickson

Model: Maja Roble

Art Direction / Design: Kevin Design Hosmann

Illustration: Christian Clayton

Source:

https://www.stonetemplepilots.nl/forum/core/index.php?topic=11860.0

Wet Leg - Wet Dream

Music Appreciation

Wet Leg’s “Wet Dream” was written by singer-guitarists Rhian Teasdale and Hester Chambers, along with guitarist Joshua Mobaraki, and produced by Dan Carey. Released on September 28, 2021, it served as the duo’s second single from their self-titled debut album, following the breakout success of “Chaise Longue.”

Running just over two minutes, the song delivers a punchy dose of punk-leaning indie rock with squalling guitars, shouted vocals, and sharp, irreverent lyrics. Teasdale wrote it as a tongue-in-cheek response to an ex who kept texting her about having dreams of her—prompting the pointed line, “What makes you think you're good enough to think about me when you're touching yourself?” The track rides on a looping bassline, propulsive beat, and disco-style handclaps, mixing surf rock and post-punk vibes. Its humor is also laced with pop-culture nods, like the sly mention of Buffalo ’66 on DVD.

Directed by Teasdale herself, the music video leans fully into the bizarre. Set on the Isle of Wight, it features Teasdale and Chambers wearing oversized lobster claws at an absurdly elegant seafood feast, which quickly descends into food fights and chaos. The setting and surreal aesthetic, with clear nods to Dalí and cottage-core whimsy, mirror the song’s playfully offbeat tone.

Sources: 

Wikipedia

https://onthewight.com/wet-legs-latest-music-video-filmed-at-iconic-isle-of-wight-location

https://www.theguardian.com/music/2025/apr/04/this-weird-dream-just-keeps-going-wet-leg-on-overnight-success-sexual-epiphanies-and-facing-fears

https://www.indiependent.co.uk/track-review-wet-dream-wet-leg/

https://www.nme.com/news/music/wet-leg-are-beside-the-seaside-in-new-music-video-for-oh-no-3151477

https://www.reddit.com/r/Wetleg/comments/14ol4v8/my_wet_leg_lover_gave_me_the_boot_and_wont_stop/

https://www.promonews.tv/videos/2021/10/04/wet-leg-wet-dream-rhian-teasdale/73164

Spinners: John Summit - Mayan Warrior - Burning Man 2025

via MayanWarrior 

Cosplay is an Art: Milena Costa (Miih) as St. Louis from Azur Lane

@miihcosplay

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

MODELING: Elona House

Model: Elona House

Photographer: Manfred Baumann

via Manfred Baumann

Album Cover: INXS – X

Album Cover

Album: INXS – X

Released Date: September 25, 1990

Cover Photographer: Michael Halsband

Art Direction, Design: Nick Egan

Design: Tom Bouman

Models: Michael Hutchence, Tim Farriss, Kirk Pengilly, Garry Gary Beers, Andrew Farriss, Jon Farriss

Sources:

Wikipedia

https://www.discogs.com/release/593929-INXS-X 

Thank God Kimmel's Back!

Pardon the Interruption

Tuesday night had me counting down to 10:30 like it was New Year’s Eve. I wasn’t waiting for fireworks—I just wanted the return of Jimmy Kimmel Live. At 10:25, I shut off my Xbox, flipped to ABC, and thanked my lucky stars I don’t live in a Sinclair or Nexstar market.

Kimmel opened with a wink: “Anyway, as I was saying before I was interrupted, if you’re just joining us, we’re preempting your regularly scheduled encore episode of ‘Celebrity Family Feud’ to bring you this special report.” Now, I have to admit, I’m wondering which B-list celebrities Steve Harvey had battling it out.

Then came the heart of it. Addressing the controversy over his comments about Charlie Kirk’s murder, Kimmel grew serious: “I do want to make something clear because it's important to me as a human... it was never my intention to make light of the murder of a young man. I don't, I don't think there's anything funny about it... Nor was it my intention to blame any specific group for the actions of what... was obviously a deeply disturbed individual.” 

His voice cracked when he recalled Erika Kirk’s powerful gesture at the memorial: “She forgave him. That is an example we should follow. If you believe in the teaching of Jesus as I do, there it was. That's that's it. A selfish act of grace, forgiveness from a grieving widow."

Of course, Kimmel couldn’t skip the free-speech fight. He quoted FCC Chair Brendan Carr’s own 2022 words back at him: “Political satire is one of the oldest and most important forms of free speech.” Even Trump got airtime in a 2022 clip: “If we don’t have free speech, then we just don’t have a free country.” 

Kimmel capped it with a jab: “You almost have to feel sorry for him. He tried, did his best to cancel me. Instead, he forced millions of people to watch the show. That backfired bigly. He might have to release the Epstein files to distract us from this now.”

AI generated

Tegan and Sara - Walking with a Ghost

Music Appreciation

Tegan and Sara Quin, identical twin sisters from Calgary, Alberta, formed their eponymous indie pop duo in 1995. Initially performing under the name "Plunk," they gained early recognition after winning Calgary’s Garage Warz competition. 

Their 2004 album So Jealous marked a pivotal moment, propelling them into broader recognition. Known for their introspective songwriting and advocacy for LGBTQ+ rights, Tegan and Sara have built a dedicated fanbase over the years. ​

"Walking with a Ghost," featured on So Jealous, was primarily written by Sara Quin. The song touches on  themes of post-breakup denial and emotional detachment, portraying the lingering presence of a past relationship. Its minimalist composition, characterized by a repetitive guitar riff and sparse instrumentation, mirrors the song's haunting narrative. 

The music video for "Walking with a Ghost" was directed by Troy Nixey. It features Tegan and Sara in a stark, monochromatic setting, interacting with ghostly figures. The video's minimalist aesthetic and use of negative space underscore the song's themes of isolation and the inescapable presence of past emotions. This visual representation complements the track's lyrical content, offering a poignant exploration of lingering emotional ties. 

Sources:

Wikipedia

https://toomuchmusic.wordpress.com/tag/tegan-and-sara/

https://collectivespeakers.com/speakers/tegan-and-sara/?utm_source=chatgpt.com

https://pitchfork.com/reviews/albums/tegan-and-sara-hey-im-just-like-you/?utm_source=chatgpt.com

https://www.avclub.com/tegan-and-sara-s-walking-with-a-ghost-is-a-portrait-i-1798285955?utm_source=chatgpt.com

RANDOM WEDNESDAY: Barry Blitt's “Remote Control” for The New Yorker

Source:

https://www.newyorker.com/culture/cover-story/cover-story-2025-09-29

Jerking Off the Right Amount

Before falling asleep at night, I have a routine. I login to XVideos and surf an interest.  Often times, I go to my "liked videos" for those nights I need a quick fix before bed. 

As I'm about to ejaculate, my heartbeat and breathing increases, my legs become restless, and I feel a testicle slowly retract. At release, my body relaxes. I place my phone on the nightstand, find a comfortable spot, and fall asleep.

Daily ejaculation can be like a wellness routine with a wink -- boosting mood through a happy hormone cocktail, improving sleep thanks to prolactin's cozy effects, giving your circulation a mini workout, possibly lowering prostate cancer risk, and even lending your immune system a hand. It's like your body's built-in stress relief and bedtime story, minus the plot twists. Of course, like anything else, what feels indulgent and harmless to one person might not work the same for another.

Making it a daily must-do can drift into "can't-stop-won't-stop" territory, where it becomes more compulsion than choice. This could interfere in a person's work, social, and personal life. Overdoing it might dampen libido, lower sperm count if you're trying to conceive, or even train your body for quick sprints instead of romantic marathons. 

As implied in this video, there's no universal magic number as to how many times a person should ejaculate. Balance and self-awareness are the real MVPs. If it's boosting your mood without causing problems, enjoy; if it's creating issues, maybe give your body (and brain) a breather.

via Men's Health 360

Happy First Day of Fall!

 

Evie Lee Mikomin

Model Appreciation

Evie Lee Mikomin, known online as Mikomin, first caught my attention with her doll-like beauty and meticulous cosplay portrayals. Standing at 5'1", with blonde hair, blue eyes, and an enhanced 34DD figure, she has carved out a striking presence in the world of online modeling and cosplay. 

Born on September 22, 2003, in the United States, Mikomin launched her social media career in 2022, captivating audiences with her anime-inspired looks and gaming references. Her posts often feature iconic characters like Tifa from Final Fantasy Rebirth and Nami from One Piece, blending sultry aesthetics with precision and artistry.

Her brand spans cosplay, adult modeling, and content creation across platforms like Patreon, TikTok, and Twitch. A gamer and anime fan at heart, she connects with her audience through candid posts, interactive streams, and stylized shoots. Whether with blue hair, dark pigtails, or elaborate costumes, Mikomin presents a curated yet approachable persona. 

Sources:

https://linktr.ee/evieleemikomin

https://www.instagram.com/evieleemikomin

https://x.com/MikominCosplay

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

https://www.reddit.com/r/Mikomin/

https://vipthots.com/p/44076

https://t.me/evieleemikomin

https://www.patreon.com/mikomin/about

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

https://youtu.be/NEKzeFUxqAg

Spinners: Sinitsa - Chill Set on a Rainy Day (Nu Disko)

via Sinitsa 

Spinners: EMBRZ - Sunrise Set

via This Never Happened 

Carly Rae Jepsen - Call Me Maybe

Music Appreciation

When Carly Rae Jepsen released "Call Me Maybe" on September 20, 2011, as the lead single from her EP Curiosity, no one could have guessed it would become one of the catchiest songs of the decade. Co-written with her longtime collaborator Tavish Crowe, the song was originally a folk tune before being reworked into a bright, synth-laced pop track. 

The song's message is delightfully simple: the giddy rush of crushing on someone and impulsively giving them your number with a "Hey, I just met you, and this is crazy..." It's flirty, fearless, and just awkward enough to feel relatable.

Composition-wise, “Call Me Maybe” thrives on its string section hook and sugary production, keeping things light and upbeat from start to finish. Its infectious chorus and Jepsen’s charming vocal delivery helped it climb the charts worldwide. 

Musically, the track balances a polished pop sensibility with just enough emotional earnestness to feel genuine. It’s the kind of song that worms its way into your head—and then convinces you to hit replay. Over and over and --maybe-- over again.

The music video, written and directed by Ben Knechtel, adds a fun twist to the song's lovestruck vibe. Filmed in British Columbia, it follows Jepsen as she swoons over her handsome neighbor (Holden Nowell) while trying to get his attention. 

She daydreams about impressing him with her band skills, car-washing prowess, and just sheer charm. But the punchline? After finally working up the courage to give him her number, he smiles... and hands it to her male bandmate. 

Sources:

Wikipedia

https://americansongwriter.com/who-wrote-carly-rae-jepsens-call-me-maybe/

https://www.dailymotion.com/video/x5ho849

https://storyofsong.com/story/call-me-maybe-2

https://ew.com/article/2012/12/10/carly-rae-jepsen-call-me-maybe-behind-the-scenes

Fashion is DEFINITELY Art: ART HEARTS SWIM WEEK LAS VEGAS, AUG 2025

Art Hearts Fashion’s Swim Week Las Vegas returned for its second annual run at AREA15 from August 15-17, 2025. It transformed the venue into a multi-sensory playground, combining high-glamour runway shows, immersive video mapping, and after-dark festivities that stretched from Fontainebleau and LIV Beach to LIV Nightclub. 

The event brought together an international roster of designers—both veterans and rising stars—each showing distinct interpretations of swimwear, resort wear, and evening swim looks. Highlights of the styles on display: sculptural one-pieces, swimlingerie (swimwear that borders on intimate apparel), athletic swimwear with couture details, and artisan knits. 

 via Swimwear & Underwear

Sources:

https://resident.com/fashion-and-style/2025/08/20/swim-week-las-vegas-powered-by-art-hearts-fashion-returns-with-runway-brilliance-and-vegas-energy

https://creatorsfaire.com/brand-news/swim-week-las-vegas-powered-by-art-hearts-fashion-returns-for-most-iconic-swim-week-yet

https://www.apparelnews.net/news/2025/sep/19/swim-week-las-vegas-dazzles-with-flash-and-makes-history

https://losangelesinquisitor.com/swim-week-las-vegas-powered-by-art-hearts-fashion-returns-for-its-most-iconic-year-yet

https://www.yvonlux.com/the-lux-blog/artheartsfashionarea15

https://area15.com/events/swim-week-las-vegas/

When Steve Harvey Becomes the Emergency Broadcast System

Pardon the Interruption

I first caught wind of the news earlier in the evening but waited until 10:30 to see it for myself. Instead of Jimmy Kimmel Live, I was greeted by Family Feud with Steve Harvey. Why is it always Steve Harvey when something gets canceled? Does ABC/Disney keep Steve in a vault marked In Case of Cancellation, Break Glass? Don’t get me wrong, we love Steve. But the real story is what wasn’t there: Jimmy Kimmel.

Late-night isn’t just filler for many of us—it’s part of the nightly routine. A laugh before bed, a monologue that teases the day’s political circus, followed by an interview, a skit, and some music. It’s a simple formula, but it works. And at the center of it all is the monologue—a space where comedy and free speech meet. That’s why pulling the show feels so unsettling.

According to The New York Times, the decision followed remarks Kimmel made about Charlie Kirk’s death—comments that didn’t sit well with FCC Chairman Brendan Carr, a Trump appointee tied to Project 2025. Soon after, ABC/Disney pulled the plug. And, of course, President Trump couldn’t resist celebrating on social media, even dragging Fallon and Meyers into the mix, "... That leaves Jimmy [Fallon] and Seth [Meyers], two total losers, on Fake News NBC. Their ratings are also horrible. Do it NBC!!! President DJT."

It’s tempting to laugh at the pettiness—Trump’s odd first-name basis with late-night hosts, the over-reliance on Steve Harvey reruns—but the bigger picture isn’t funny. This brushes right up against the edges of free speech, one of the foundations we hold most dear. 

I can always change the channel, boycott a sponsor, or just turn off the TV. What I shouldn’t have to worry about is political pressure silencing voices in comedy, journalism, or anywhere else.

Nine years ago, I wrote about Trump’s threats toward journalists. Last year, I revisited those warnings. Now, here we are, watching the guardrails vanish in real time. The truth is, late night may be designed to make us laugh before bed, but right now it feels more like a wake-up call.

AI generated

 

Anton Mauve

Art Appreciation

Anton Mauve, born on September 18, 1838, in Zaandam, Netherlands, was raised in a deeply religious and modest household. The son of a Mennonite minister, Mauve grew up in a setting that valued introspection and simplicity -- traits that would later shape the tone of his artwork.

He studied under landscape painters Pieter Frederik van Os and Wouter Verschuur, both known for their animal paintings, especially horses. Mauve's early experiences in the Dutch countryside and his apprenticeships instilled in him a strong affinity for rural life, which became a hallmark of his later work.

Throughout his career, Mauve became a leading figure in the Hague School, a movement known for its muted palette and focus on everyday rural scenes. His technique often combined oil and watercolor with a loose, atmospheric brushstroke that gave his works a soft, almost melancholic feel. 

Mauve had a significant influence on his younger cousin-in-law, Vincent van Gogh. It was Mauve who introduced van Gogh to oil painting and watercolor, encouraging his artistic development during their brief but formative relationship. However, personal tensions eventually led to their estrangement. Still, van Gogh credited Mauve with helping him understand color and composition in his early works.

Mauve is best known for paintings like Morning Ride on the Beach and Returning Home from the Fields, which exemplify his mastery in capturing serene, pastoral life. Morning Ride, in particular, features riders on horseback along a misty shoreline -- a composition praised for its light and movement. 

Morning Ride on the Beach, 1876

Returning Home from the Fields

The Harvest

Sources: 

Wikipedia

https://www.vangoghmuseum.nl/en/art-and-stories/artists/anton-mauve

https://www.rijksmuseum.nl/en/search?p=1&ps=12&involvedMaker=Anton%20Mauve

https://www.getty.edu/art/collection/person/103XSB

https://www.nga.gov/collection/artist-info.2295.html

RANDOM WEDNESDAY: @picardlooking recovers archival footage of a Zoom call

via picardlooking

Mini Trees - Cracks In The Pavement

Music Appreciation

I first discovered Mini Trees when Lexi Vega performed at SXSW in Austin in 2022, and I was instantly captivated. Seeing her live felt like stepping into someone’s journal — raw, intimate, and profoundly vulnerable. One song that stood out immediately was "Cracks in the Pavement," a track from her debut studio album, Always in Motion, released on September 17, 2021. The song beautifully explores the tension between desire and doubt, unraveling the emotional intricacies of relationships.

The music video for "Cracks in the Pavement," directed by Erik Shute and photographed by Nina Raj, translates Vega’s introspective lyrics into a stunning visual narrative. Featuring Kati Garceau and Mary Ives, their performances deepen the storytelling, intertwining subtle expressions of human connection with Vega’s themes of self-reflection. Throughout the video, Vega herself appears walking in a darkened room illuminated by a single light source, mirroring the song's exploration of finding clarity amid chaos.

With poignant lyrics like “I count the cracks in the pavement to throw a wrench in it, distracting my brain wave,” Vega conveys the universal yearning to make sense of life’s uncertainties. Shute’s direction amplifies these emotions with a restrained yet powerful visual style, while Raj’s photography bathes each frame in a soft, melancholic glow. The result is a music video that feels as intimate as a handwritten letter and as refined as an art exhibit, cementing Mini Trees as a project of not only sound but deep emotional resonance.

via Run For Cover Records

Source:

Wikipedia

https://runforcoverrecords.com/collections/mini-trees

Jóhann Jóhannsson - Flight From The City

Music Appreciation

Jóhann Jóhannsson’s "Flight From The City" opens his 2016 album Orphée, a work deeply influenced by the myth of Orpheus and themes of transformation. The album reflects Jóhannsson's personal transitions, including his move from Copenhagen to Berlin, and explores concepts of change, love, and the artistic process. Drawing inspiration from Ovid’s Metamorphoses and Jean Cocteau’s 1950 film Orphée, the album traces a journey from darkness into light, mirroring the Orpheus myth's exploration of loss and rebirth.​

"Flight From The City" is characterized by its minimalist composition, featuring a simple piano melody accompanied by gradually building strings and subtle electronic elements. The piece exemplifies Jóhannsson's ability to blend classical instrumentation with ambient textures, creating a meditative soundscape that invites introspection .​

The music video for "Flight From The City," directed by Clare Langan, complements the composition's themes through visual storytelling. Filmed in the hot springs at Flúðir, Iceland, the video portrays a mother and daughter immersed in 'black' water, symbolizing the profound bond between them. This imagery reflects universal themes of connection, love, and transition, resonating with the album's exploration of change and the human experience .

Sources:

Wikipedia

https://songoftheday.ca/2020/10/25/flight-from-the-city/

https://www.whitechapelgallery.org/exhibitions/artists-film-international/clare-langan-flight-from-the-city/

https://crawfordartgallery.ie/wp-content/uploads/AFI-2021-Press-Release-final.pdf

https://www.clarelangan.com/portfolio/flight-from-the-city

https://classicalexburns.com/2020/09/13/johann-johannsson-flight-from-the-city-a-loving-tribute/

https://floodmagazine.com/41930/dark-night-johannsson

https://pitchfork.com/news/67330-johann-johannsson-to-score-new-blade-runner-sequel

Yoga: Anna Engelschall - 25 Min New to HIIT Workout, for Beginners

via growingannanas 

Dance: Nagada Sang Dhol Baje Dance Performance

Choreography: Mannat Dance Academy

via MANNAT DANCE ACADEMY 

Spinners: Patrick Mason - Radio Rudina

via Radio Rudina

Tom Jones & The Cardigans - Burning Down The House

Music Appreciation

In 1999, Welsh crooner Tom Jones teamed up with Swedish pop sensation The Cardigans to cover Talking Heads' classic "Burning Down the House" for his album Reload, which was released September 13, 1999. The original track, written by David Byrne, Chris Frantz, Jerry Harrison, and Tina Weymouth, was released in 1983 and is known for its energetic vibe and abstract lyrics. Jones and The Cardigans' rendition brought a fresh twist to this iconic song.

Their version infuses the track with a blend of Jones' powerful vocals and The Cardigans' smooth pop sensibilities. The arrangement maintains the original's funky rhythm while adding a contemporary pop-rock flair, showcasing the seamless collaboration between the artists.

The accompanying music video, directed by David Mould, features Tom Jones and The Cardigans' lead singer, Nina Persson, performing amidst dynamic visual effects and vibrant backdrops, capturing the song's energetic essence. 

Sources:

Wikipedia

https://www.imdb.com/title/tt9673924/

https://www.moopy.co.uk/threads/tom-jones-the-cardigans-burning-down-the-house.100524/

https://www.openculture.com/2021/06/tom-jones-covers-talking-heads-burning-down-the-house.html

https://www.discogs.com/release/440788-Tom-Jones-And-The-Cardigans-Burning-Down-The-House?srsltid=AfmBOoqSX1_TVyX93A7CyPL669JY2SWayqrf-aDIOLJwUdzj1Ux7_S8q

MODELING: Best of Pirelli Calendar

Featured Models: Miranda Kerr, Milla Jovovich, Malgosia Bela, Margareth Madè, Lara Stone, and others

Photographers: Terry Richardson, Peter Beard, Karl Lagerfeld, and Mario Sorrenti

via Quokka Fashions

Charlie Kirk’s Death and the Uneasy Road Ahead

Pardon the Interruption

On September 10, 2025, conservative activist Charlie Kirk was shot and killed while speaking at Utah Valley University, the first stop of his “Prove Me Wrong” tour. Kirk, founder of Turning Point USA, played a major role in mobilizing young conservatives and fueling the MAGA movement. Even Donald Trump acknowledged his influence in remarks last night, calling him “a martyr for truth and freedom” and praising his efforts to bring young people into politics.

Kirk was always a lightning rod. His speeches and online posts often pushed conspiracy theories and combative views. He labeled COVID-19 the “China Virus,” compared vaccines to apartheid, and promoted the “great replacement” theory. He railed against diversity, equity, and inclusion, while arguing that women should prioritize motherhood over careers. 

Recently, he even declared that gun deaths were an acceptable price for preserving the Second Amendment: “I think it’s worth it… some gun deaths every single year so that we can have the Second Amendment to protect our other God-given rights.” Moments before he was shot, Kirk was fielding a question about gun violence in America.

Watching the news coverage, I couldn’t help but feel unsettled—not only about his death, but about where this might lead. Trump’s response only deepened my concern. His words—“radical left political violence has hurt too many innocent people and taken too many lives”—were less about healing and more about stoking anger. It’s hard not to ignore the possibility that this tragedy will fuel even greater division.

I texted my daughter, who is transgender, telling her to stay alert and aware of her surroundings. Her reply was simple but sobering: “It’s heating up.” That message, more than anything, captured the dread I was already feeling.

by Clay Jones (Sept 10, 2025)

Sources:

https://www.snopes.com/fact-check/charlie-kirk-gun-deaths-quote/

https://www.cbc.ca/news/world/charlie-kirk-controversies-1.7630859

https://www.standard.co.uk/news/us-politics/charlie-kirk-most-controversial-statements-b1247191.html

https://abcnews.go.com/US/total-shock-witness-fatal-charlie-kirk-shooting-recounts/story?id=125453787

https://rollcall.com/factbase/trump/transcript/donald-trump-vlog-charlie-kirk-september-10-2025/

https://claytoonz.com/2025/09/10/sorry-charlie/

Stephen Etnier

Art Appreciation

Stephen Morgan Etnier was born on September 11, 1903, in York, Pennsylvania, into a family of privilege. Although he initially followed family expectations to enter the manufacturing business, he instead pursued art. His education was varied and somewhat irregular -- attending institutions such as Haverford School, Yale's School of Art, Haverford College, and the Pennsylvania Academy of the Fine Arts. He apprenticed under artists including Rockwell Kent and John Carroll in the mid-1920s.

Etnier launched his solo exhibition career in New York in 1931 and later showed at Midtown Galleries through the 1960s. During World War II, he paused paintings to serve in the U.S. Navy as an officer aboard convoy and troop ships from 1942 to 1945. After the war, he settled in South Harpswell, Maine, building his studio-home "Old Cove" in 1948. The 1950s and 60s marked his most productive period -- he exhibited widely, won awards such as the National Academy of Design's Saltus Medal and Samuel F.B. Morse Gold Medal, and received honorary doctorates from Bates and Bowdoin Colleges.

Etnier painted in a realist and luminist style -- his scenes often showed coastal and industrial subjects with precise composition and an emphasis on atmospheric light. He worked mostly en plein air, rising early to capture morning light on Maine waterfronts, boats, buoys, wharves and select tropical locales during winter voyages. Among his well-known works are Still Morning (1960), Fort Popham (1981), Storefront, Nassau (1957), the mural Waiting for the Mail (Spring Valley, NY, 1938), and Mail from New England (Boston, 1940). 

Still Morning (1960)

Fort Popham (1981)

Storefront, Nassau (1957)

Sources:

Wikipedia

https://www.wikitree.com/wiki/Etnier-2

https://daviddike.com/portfolio/etnier-stephen-morgan/

https://www.invaluable.com/artist/etnier-stephen-morgan-8vrpm8rz5i/sold-at-auction-prices/

https://www.artbrokerage.com/Steven-Etnier

https://fineart.ha.com/artist-index/stephen-morgan-etnier.s?id=500049429

https://www.1stdibs.com/furniture/wall-decorations/paintings/stephen-etnier-modernist-painting-harpswell-maine-seascape-circa-1940s/id-f_31780172/

https://yorkblog.com/universal/york-native-artist-stephen-m-etnier-painter-of-maine-and-the-tropics/

https://www.aaa.si.edu/collections/interviews/oral-history-interview-stephen-etnier-12692

https://www.islandinstitute.org/working-waterfront/stephen-and-david-etnier-a-legacy-of-place

https://artfacts.net/artist/stephen-etnier-1903-us

https://www.si.edu/es/object/archives/sova-aaa-etnier73

https://www.tfaoi.org/newsmu/nmus12f.htm

WALK THE MOON - Shut Up and Dance

Music Appreciation

​"Shut Up and Dance," released on September 10, 2014, is a standout track by American pop rock band Walk the Moon from their third studio album, Talking Is Hard. The song draws inspiration from a real-life experience of lead singer Nicholas Petricca at a Los Angeles nightclub, where his girlfriend's spontaneous invitation to dance sparked the song's theme of embracing the moment and letting go of inhibitions. Petricca envisioned it as an anthem encouraging listeners to release frustration and enjoy themselves. ​

Musically, "Shut Up and Dance" is characterized by its upbeat tempo and fusion of pop rock, new wave, and synth-rock elements, reminiscent of 1980s influences. The track features energetic guitar riffs, vibrant synthesizers, and a driving rhythm section. Lyrically, it narrates the story of a young man being pulled onto the dance floor by a woman, capturing themes of spontaneity and youthful exuberance. 

The music video, directed by Josh Forbes, complements the song's lively spirit with a retro, 1980s-inspired aesthetic. It depicts lead singer Petricca engaging in dance sequences alongside actress Lauren Taft, embodying the song's narrative of carefree dancing and romantic spontaneity. 

Sources:

Wikipedia

https://www.videostatic.com/watch-it/2014/10/23/walk-moon-shut-and-dance-josh-forbes-dir

https://americansongwriter.com/inside-shut-up-and-dance-walk-the-moons-number-one-hit/

https://imvdb.com/video/walk-the-moon/shut-up-and-dance

https://lbbonline.com/news/the-work-that-made-me-josh-forbes

RANDOM WEDNESDAY: Wolverine Vol. 1 (1982) Written by Chris Claremont, Cover by Frank Miller

 

Frank Miller/Cover Artist

Source:

https://marvel.fandom.com/wiki/Wolverine_Vol_1_1

Pieter Bruegel the Elder

Art Appreciation

Pieter Bruegel the Elder was born around 1525 in or near Breda (now in the Netherlands) and died on September 9, 1569, in Brussels. He came of age during the early Reformation, a time of religious upheaval in the Low Countries, and trained under Pieter Coecke van Aelst, whose humanist circle likely influenced him. Seeking broader perspectives, Bruegel traveled to Italy in the early 1550s before settling in Antwerp by 1555, where he became a master in the painters’ guild and began working as a designer for print publisher Hieronymus Cock.

During his career, Bruegel rose to prominence by focusing on everyday life and landscapes rather than traditional religious or portrait subjects. He dropped the ‘h’ from his name in 1559 and signed as “Bruegel,” marking a shift in self‑branding. His style often features panoramic “world landscapes” with high viewpoints populating vast, realistic scenes with common folk engaged in farming, festivals, and work. 

He brought wit and social commentary into his genre paintings—depicting Proverbs, winter scenes, and communal celebrations—grounding them in tangible cultural detail. Among his most celebrated works are The Hunters in the Snow (1565), a poignant winter landscape symbolizing the harsh conditions of the Little Ice Age, and The Peasant Wedding (1568), a vivid portrayal of rural festivity. He also painted the Tower of Babel which is recognizable for its portrayal of the biblical story of human's goal to build a tower to reach the heavens.

The Tower of Babel, 1565

Hunters in the Snow, 1565

The Peasant Wedding, 1568

The Harvesters, 1565

Sources:

Wikipedia

https://www.britannica.com/biography/Pieter-Bruegel-the-Elder

https://totallyhistory.com/pieter-bruegel-the-elder-paintings

https://www.teravarna.com/post/the-intricate-compositions-of-pieter-bruegel-the-elder

https://www.metmuseum.org/essays/pieter-bruegel-the-elder-ca-1525-1569

https://www.masterworksfineart.com/artists/pieter-brueghel-the-elder/biography

https://www.nga.gov/artists/1031-pieter-bruegel-elder

https://www.boijmans.nl/en/collection/in-depth/bruegel-s-tower-of-babel

Kylie Minogue - Can't Get You Out Of My Head

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. Her bubbly energy and captivating performances were hard to resist. Fast forward to 2001, when she released "Can't Get You Out of My Head," and my admiration for her skyrocketed. The song's hypnotic beat and that unforgettable "la la la" hook had me—and countless others—entranced.

"Can't Get You Out of My Head" was written and produced by the talented duo Cathy Dennis and Rob Davis. Released on September 8, 2001, as the lead single from Kylie's eighth studio album, Fever, the track became an instant global sensation. Its dance-pop and techno-pop elements, combined with Kylie's sultry vocals, created a timeless hit that still gets people moving on the dance floor. 

The lyrics includes theme of obsessive love, with Kylie repeatedly confessing that she just can't get someone out of her head. The song's minimalist yet catchy composition emphasizes this fixation, drawing listeners into its rhythmic allure. Interestingly, the track was initially offered to other artists, including S Club 7 and Sophie Ellis-Bextor, before finding its perfect match in Kylie's distinctive style. 

The music video, directed by Dawn Shadforth, features Kylie in a futuristic setting, donning a now-iconic white hooded jumpsuit with a plunging neckline. Her mesmerizing dance moves and the video's sleek aesthetic perfectly complement the song's entrancing vibe. Filmed in various locations, the video showcases Kylie's effortless charisma and has become a defining visual of her career. 

Source:

Wikipedia

https://www.imdb.com/title/tt6880674/?utm_source=chatgpt.com

Dance: BLACKPINK - Jump

Choreographer: Nika Kljun

via Nika Kljun 

Spinners: Naro - Afro / Baile Funk / Gqom / UK Funky / Groovy

via NARO 

Cosplay is an Art: Florida Supercon 2025

via Justin Cosplay 

Fashion is DEFINITELY Art: ETRO Fall / Winter 2025-26

Creative Director: Marco De Vincenzo

via ETRO

Raquel Van Haver

Art Appreciation

Born in Bogotá in 1989, Raquel Van Haver spent her formative years between Colombia and the Netherlands, where she later completed her fine arts degree at HKU in Utrecht, in 2012. This bicultural upbringing fostered her sense of being an "outsider," a theme she carries into her creative practice. 

Since her breakthrough, she has actively deepened her ties to her roots by returning to work and research in Colombia, while also forging connections in places like Ghana, Nigeria, and South Africa.

Van Haver's work is known for its tactile complexity -- layered oils on burlap enriched with plaster, tar, coal, resin, chalk, ash, charcoal, hair, party beads, and found objects. She frequently incorporates text, collage, drawings, and sculptural elements like cigarette butts, paper beads, event posters, and even Nollywood (Nigerian film industry) posters to highlight themes of migration, identity, and social justice. 

In New York's "Rising Phoenix" series, she added monotypes and paintings created in collaboration with Johannesburg's David Krut Workshop, investigating protection, security, and the symbolism of bared wire halos around figures. 

Several of Van Haver's major work stand out, including Mid-Present-50 (diptych), a vast jute-sack painting embedding spray paint, tar, hair, balloons, chalk, candles, and party streamers. Her 2018 Spirits of the Soil exhibition at the Stedelijk Museum Amsterdam featured monumental, multilayered canvases such as Dem Smoke and Blaze under Royal Regime and the immersive 13 x 30 feet mural We Do Not Sleep As We Parade All Through the Night -- a celebratory yet critical tableau reflecting communal life and diaspora connections. 

She was also awarded the Dutch Royal Prize for Painting in 2018, further cementing her standing in the contemporary global art scene.

We do Not sleep as we Parade all through the Night, 2018

Mid-Present-50 (Diptych), 2019

Untitled (Purple), 2023

Sources:

https://amlatina.contemporaryand.com/editorial/raquel-van-haver-spirits/

https://www.juxtapoz.com/news/magazine/features/raquel-van-haver-the-outsider-weaves-herself-in/

https://www.artco-gallery.com/akaa-raquel-van-haver/

https://davidkrutprojects.com/69040/rising-phoenix-raquel-van-havers-exploration-of-materialism-security-and-identity

https://davidkrutprojects.com/69040/rising-phoenix-raquel-van-havers-exploration-of-materialism-security-and-identity 

https://www.larkindurey.com/artworks/7842-raquel-van-haver-mid-present-50-diptych-2019/

https://amlatina.contemporaryand.com/events/raquel-van-haver-spirits-of-the-soil/

RANDOM WEDNESDAY: How to Make Cotton Candy

via BytesizeScience 

RANDOM WEDNESDAY: Reysuka (The Cosplaying Paleontologist) Explains Dinosaurs That Inspired Godzilla

via Reysuka 

Hilla Becher

Photography Appreciation

Hilla Wobeser was born on September 2, 1934, in Potsdam, Germany, into a family of photographers; her mother and uncle introduced her to the darkroom early on. She began photography at thirteen using a plate camera and even sold small portrait prints of her high-school teachers. 

After being expelled from school, she apprenticed under Walter Eichgrün in Potsdam starting in 1951, studying at a vocational photography school while completing her high-school degree. In 1954, she relocated to West Germany and worked freelance in Hamburg before moving to Düsseldorf in 1958, enrolling in the Kunstakademie Düsseldorf to study graphic design and printing, she later led darkroom instruction there.

At Düsseldorf, Hilla met Bernd Becher in 1957. They began collaborating by 1959, photographing industrial sites across Europe and later North America. The couple married in 1961 and worked as a team for nearly 15 years, documenting industrial structures -- water towers, blast furnaces, coal tipples, framework houses -- referencing them as "anonymous sculptures." They established the Düsseldorf School of Photography and influenced many students, like Andreas Gursky, Candida Höfer, Thomas Ruff.

Hilla and Bernd Becher's hallmark method was serial typologies -- grids or series of black and white images shot in neutral light, with precise framing and large-format cameras. Key works include Framework Houses (1959-1973), featuring timber-framed miner dwellings, and Water Towers (1968-1980), a series of nine-image grids. 

Framework Houses, 1959-1973

Water Towers, 1968-1980

Blast Furnaces, Völklingen, Saar District, 1986

Sources:

Wikipedia

https://www.metmuseum.org/art/collection/search/849258

https://www.guggenheim.org/artwork/500

https://fraenkelgallery.com/artists/bernd-and-hilla-becher

https://www.getty.edu/art/collection/group/103KGG

https://www.paulacoopergallery.com/news/james-welling-bernd-hilla-becher

https://www.newyorker.com/culture/photo-booth/what-bernd-and-hilla-becher-saw-in-the-remnants-of-industry

https://metropolismag.com/viewpoints/bernd-and-hilla-becher-architectural-photographs/

The White Stripes - I Just Don't Know What to Do With Myself

Music Appreciation

On September 1, 2003, American alternative rock band The White Stripes released "I Just Don't Know What to Do with Myself," originally written by songwriters Burt Bacharach and Hal David. It was the second single released from The White Stripes' album, Elephant.

The White Stripes’ rendition of "I Just Don't Know What to Do With Myself" takes the classic composition and injects it with raw, garage-rock intensity. Jack White strips away the smooth orchestration of earlier versions, replacing it with his signature distorted guitar work and a dynamic, unhinged vocal performance that teeters between desperation and explosive frustration. This version reinterprets the heartbreak of the lyrics through the lens of raw blues-rock, making it one of the most striking covers in The White Stripes' catalog.

The music video, which was directed by Sofia Coppola, features supermodel Kate Moss pole dancing in black underwear. The black and white cinematography transforms the song's restless melancholy into a hypnotic, intimate visual experience. The music video strips away narrative in favor of pure physical expression.  

Source: 

Wikipedia