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RANDOM WEDNESDAY: Life Expectancy Ledger

 

 

@greg_clarke

Published in the print edition of the October 20, 2025, issue, with the headline “Life-Expectancy Ledger.”

Louis-Jean-François Lagrenée

Art Appreciation

Louis-Jean-François Lagrenée was born December 30, 1724 in Paris into a family that recognized his early artistic ability. He entered the Académie Royale de Peinture et de Sculpture and studied under Carle Van Loo, one of the leading painters of the period. 

Lagrenée excelled quickly, winning the Prix de Rome in 1749, which allowed him to study at the French Academy in Rome. His time in Italy shaped his understanding of classical composition and the refined elegance that later defined much of his work. 

Lagrenée returned to France in the 1750s and built a career that blended academic prestige with court patronage. He became a professor at the Académie Royale and later served as director of the Imperial Academy of Arts in St. Petersburg at the invitation of Empress Elizabeth of Russia. 

After returning to Paris, he continued exhibiting at the Salon and received royal commissions. His reputation as a master of graceful mythological scenes kept him in favor during the mid-18th century, even as tastes slowly shifted from Rococo toward early Neoclassicism.

His technique emphasized polished surfaces, delicate color transitions, and idealized figures—hallmarks of the Rococo tradition. Lagrenée favored mythological and allegorical subjects, using soft lighting and fluid poses to create a sense of refinement and ease. As the Neoclassical movement grew, some saw his work as stylistically conservative, yet he maintained a loyal audience throughout his life.

Lagrenée’s best-known works include The Abduction of Deianira, Jupiter and Antiope, Mars and Venus, and The Allegory of Poetry. His paintings remain in major institutions such as the Louvre and the Hermitage. 

The Abduction of Deianeira by the Centaur Nessus, 1755

Mars and Venus surprised by Vulcan, 1768

Diana and Endymoin, 1776

Mars and Venus, An Allegory of Peace, 1770

Sources:

Wikipedia

https://www.louvre.fr

https://www.hermitagemuseum.org

https://www.oxfordartonline.com 

https://artgallery.yale.edu/collections/objects/300

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Ragnhild Kaarbø

Art Appreciation

Ragnhild Kaarbø, born on December 26, 1889, in Harstad, Norway, grew up surrounded by the rugged beauty of northern Norway. This dramatic natural environment would later influence her artistic vision. 

As a young woman, she showed an early talent for drawing and painting, prompting her to pursue formal studies at the prestigious Norwegian National Academy of Craft and Art Industry in Oslo. She continued her education abroad, studying in Paris at the Académie Colarossi, where she was exposed to the avant-garde movements shaping European art at the time.

Kaarbø held her first solo exhibition at the Artists' Association in Kristiania in Oslo in the 1920s, marking the start of her professional career. Her work was met with positive attention for its vibrant colors and dynamic compositions. 

Over time, she became a recognized figure in Norwegian art circles, participating in national and international exhibitions. Her pieces often depicted the northern landscapes of her childhood, as well as intimate interiors and still lifes, each infused with her unique perspective. 

Despite the challenges of being a female artist in a male-dominated field, Kaarbø’s talent and determination earned her a respected place among Norway's early modernists.

Known for her bold use of color and expressive brushwork, Kaarbø’s technique blended elements of Impressionism and Post-Impressionism with her own distinctive style. Critics praised her ability to capture both the grandeur of nature and the subtle emotions of everyday scenes. Her paintings often evoked a sense of movement, as if the landscapes were alive and the interiors brimming with quiet energy.

Though Kaarbø’s career was relatively short, her contributions to Norwegian art were significant. She paved the way for future generations of women artists and left behind a body of work that continues to be celebrated for its vitality and heartfelt connection to the natural world. 

Composition with a Head (1925)

From Sjusjøen near Lillehammer (1941)

Village

House in Landscape

Sources:

Wikipedia

https://nbl.snl.no/Ragnhild_Kaarb%C3%B8

https://digitaltmuseum.no/011085441174/ragnhild-kaarbo

https://www.artnet.com/artists/ragnhild-kaarb%C3%B8/

https://artvee.com/artist/ragnhild-kaarbo/

https://isitaholidaytoday.com/birthday/RagnhildKaarb

https://www.mutualart.com/Artwork/Fra-Sjusjoen-ved-Lillehammer/8390724B61B37174C9D00774576D6358

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RANDOM WEDNESDAY: Marin Kitagawa

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Manuel Rivera-Ortiz

Photography Appreciation

Manuel Rivera-Ortiz was born on December 23, 1968, in the town of Guayama, Puerto Rico. He grew up in a working-class family and spent part of his youth in Rochester, New York, after his parents moved to the mainland United States. 

His upbringing—marked by rural poverty, migration, and cultural adjustment—became central to his worldview and later to his photography. Rivera-Ortiz eventually studied journalism and communications, grounding his visual practice in documentary ethics and narrative structure.

His career developed through a commitment to social documentary work focused on underserved and marginalized communities around the world. Rivera-Ortiz photographed daily life in places often ignored by mainstream media, including regions of Africa, Asia, Latin America, and the Caribbean. 

His images attracted international attention and led to exhibitions in Europe and the U.S., as well as the creation of the Manuel Rivera-Ortiz Foundation for Documentary Photography & Film, which supports emerging visual storytellers.

Rivera-Ortiz’s technique emphasizes intimate, human-centered storytelling. He works primarily in film and digital photography, using natural light and close framing to highlight dignity and resilience rather than imposing a sensational narrative. 

His style has been praised for its empathy, though at times critics argue that social documentary work runs the risk of reinforcing traditional power dynamics between photographer and subject. Rivera-Ortiz has responded by emphasizing collaboration, long-term engagement, and transparency with the communities he photographs.

Some of his best-known projects include Cuba: Campo Adentro, India: A Celebration of Life, and his series documenting tuberculosis patients in rural India. His work on poverty in Latin America and his global documentary essays have been exhibited at major festivals, including Les Rencontres d’Arles. 

Widow of the Mines,  Potosi, Bolivia, 2004

Tobacco Harvesting, Valle de Viñales, Cuba, 2002

Sources:

Wikipedia

https://www.manuelriveraortiz.com

https://mrofoundation.org

https://www.rencontres-arles.com

https://www.democratandchronicle.com/story/lifestyle/columnist/garner/2016/02/18/manuel-rivera-ortiz-brings-beauty-poor-india/80540958/

Jean-Michel Basquiat

Art Appreciation 

Jean-Michel Basquiat was born on December 22, 1960, in Brooklyn, New York, to a Haitian father and Puerto Rican mother. Growing up in a multilingual home—he spoke English, French, and Spanish—Basquiat absorbed cultural influences that later shaped his artistic voice. 

His mother encouraged his interest in art and took him to Manhattan museums from a young age. After a childhood accident, she gave him a copy of Gray’s Anatomy, which became a recurring reference in his visual language. Basquiat attended several schools but left formal education behind as a teenager, drifting toward downtown Manhattan’s creative scene.

His career began on the streets of Lower Manhattan under the name SAMO, a graffiti collaboration with Al Diaz that blended cryptic phrases with social critique. By the early 1980s, Basquiat transitioned from graffiti to canvas and quickly became central to the emerging Neo-Expressionist movement. 

His meteoric rise drew attention from influential figures, including Andy Warhol, with whom he developed a close friendship and later a collaborative body of work. Despite his youth, Basquiat exhibited internationally and became one of the most talked-about artists of his generation.

Basquiat’s style fused bold color, frenetic line work, text fragments, and references to history, anatomy, jazz, and Black identity. His technique often involved layering and erasure, using acrylic, oil stick, collage, and repeated symbols such as crowns, saints, and skeletal figures. 

His work challenged racial stereotypes and the exclusion of Black artists from the art establishment. Yet his success brought criticism—some accused galleries of exploiting his image, while others questioned whether the art world’s fascination with him was rooted in genuine respect or tokenism. Basquiat himself resisted labels and stayed focused on expanding the language of contemporary painting.

Among his most recognized works are Untitled (1982), Hollywood Africans, Horn Players, and Dustheads. His collaborations with Warhol, including Olympics and Ten Punching Bags, remain central to understanding the dialogue between pop culture and street-born expression.

Basquiat’s final years were marked by growing pressure, fame, and personal struggle. The death of Andy Warhol in 1987 deeply affected him, and he increasingly turned to heroin. Though he continued producing work at a rapid pace, his health declined. On August 12, 1988, Basquiat died of a heroin overdose at the age of 27, leaving behind an extraordinary body of work that reshaped American art. 

Untitled, 1982

Hollywood Africans, 1983

Horn Players, 1983

Dustheads, 1982

Sources:

Wikipedia

https://www.thebroad.org

https://www.moma.org

https://www.brooklynmuseum.org

https://basquiat.com

https://whitney.org/collection/works/453

https://smarthistory.org/jean-michel-basquiat-horn-players/

https://www.mfa.org/membership/video/writing-the-future

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Jillian Grace Harper

Model Appreciation

Jillian Grace Harper, born on December 20, 1985, in Berryville, Arkansas, grew up in Washington, Missouri, where small-town charm shaped her early life. Her path to fame began when her mother sent photos to Howard Stern, catching the attention of the shock jock, who invited Jillian onto his show. This lucky break led to a Playboy test shoot, landing her the title of Playmate of the Month in March 2005. With a natural charm and enthusiasm, she quickly became a fan favorite and appeared in both Playboy and films like Epic Movie and The House Bunny.

Standing at 5'6" and weighing 117 lbs, Jillian has a slim, balanced figure with measurements of 36-24-36, making her a standout in modeling. Her natural blonde hair, striking blue eyes, and radiant smile enhance her wholesome, Midwest appeal. Known for her natural look, Jillian has proudly remained authentic throughout her career, favoring her natural features, including her 36C cup size. She has a love for fitness and works as a certified personal trainer, sharing her knowledge on staying active and healthy.

In 2008, Jillian embraced a new chapter, welcoming her daughter, Harper, whose father is comedian David Spade. The brief relationship between Jillian and Spade made headlines, adding another layer to her public life. Since then, she has balanced motherhood and personal passions with ease, continuing to inspire her followers and remaining a beloved figure in pop culture.

Sources:

https://www.imdb.com/name/nm1756642/

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

https://en.girlstop.info/models.php?name=Jillian-Grace

https://tour.playboyplus.com/

 https://www.thenude.com/Jillian_Grace_24584.htm

https://www.simplenu.com/playboy-plus/11061-blonde-caresses-shaved-pussy-in-a-shower/

https://to-hollywood-and-beyond.fandom.com/wiki/Jillian_Grace_(1985)

https://www.imdb.com/name/nm1756642/bio/?ref_=nm_ov_bio_sm

https://youtu.be/5bhWXPQcatU?si=5VIZRXYDpaksWGdv&t=2511

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Jonathan Yeo

Art Appreciation

Jonathan Yeo was born on December 18, 1970, in London. He grew up in a politically active household—his father, Tim Yeo, served as a Conservative MP—which exposed him early to public life and the personalities who occupy it. 

Yeo did not follow a traditional art-school path. Instead, he largely taught himself to paint after an extended illness in his teens left him with time to practice and study on his own. This unconventional route shaped his confidence in observing people closely and developing a portrait practice grounded in direct engagement.

His career gained momentum in the 1990s and early 2000s as he became known for portraits of politicians, actors, and cultural figures. Yeo’s sitters have included Tony Blair, David Cameron, Malala Yousafzai, Kevin Spacey, and Nicole Kidman. 

While he has painted many establishment figures, he has also produced portraits of individuals outside that sphere, which strengthened his reputation as a leading contemporary portraitist. Over time, he expanded beyond commissioned work, exploring themes of identity and representation through personal projects and major exhibitions in the UK and abroad.

Yeo often works in oil but is known for blending classical portraiture with a contemporary sensibility. His technique emphasizes expressive brushwork, layered texture, and a psychological presence in each sitter. 

He has also engaged in provocative experimentation. One of his most debated pieces is his portrait of former president George W. Bush created entirely from collaged pornographic magazine cutouts, initially commissioned and then rejected by the White House. The work sparked global conversation about political imagery, artistic freedom, and the boundaries of satire.

Among his most recognized pieces are official portraits of King Charles III (unveiled in 2024), the celebrated portrait of Malala Yousafzai, and his series capturing aging and cosmetic surgery. His portraits of David Cameron and Kevin Spacey also attracted attention for their candor and tonal restraint.

HM King Charles III, 2024

George Bush, 2007

Girl Reading (Malala Yousafzai), 2013

Kevin Spacey as Richard III, 2013

Sources:

Wikipedia

https://www.jonathanyeo.com/

https://www.bbc.com/culture

https://www.artsy.net/artwork/jonathan-yeo-george-bush

https://www.npg.org.uk

Nicola Cavanis

Model Appreciation

Nicola Cavanis was born on December 17, 1998, in Munich, Bavaria, Germany. Growing up in Bavaria, she had an early introduction to the modeling world through her mother’s connections. At age seven she modeled for the children’s line of the luxury brand Escada — an important early step even though she did not pursue full-time modeling immediately. 

Standing 5′9″ with green eyes and brown hair, Nicola began her professional modeling career around 2019. Prior to that she finished her schooling and completed an apprenticeship in insurance and finance, then shifted focus to modeling around age seventeen. 

Her body type is described as slim, with measurements often given (34D-24-36) in modeling databases. The combination of height, distinctive green eyes and brown hair helped her stand out in both lingerie and influencer work. In her modeling and influencer career, she has worked with high-profile brands like Victoria’s Secret, Zalando and others. 

Sources:

Wikipedia

https://www.instagram.com/nicola

https://x.com/nicola_cavanis

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

https://www.munich-models.de/find-models/2781-nicola-cavanis/

https://camgirlvixen.com/nicola-cavanis-the-hot-german-model-kicks-of-april-2025-as-babepedias-top-model-at-the-1-spot/

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

https://omgbabes.net/nicola-cavanis-stunning-slim-and-sexy-german-babe/

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

https://hotnessrater.com/infinite-scroll/111070/nicola-cavanis

https://nextmanagement.com/paris/women/profile/nicola-cavanis

https://www.wilhelmina.com/london/women/main/24522-nicola-cavanis

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Remedios Varo

Art Appreciation 

Remedios Varo was born on December 16, 1908, in Anglés, Girona, Spain, into a family split between her father’s rational, engineering mindset and her mother’s strict Catholic devotion. Her father trained her eye with technical drawings and frequent museum visits, while convent schooling gave her a sense of confinement she later critiqued in her art. She entered the Real Academia de Bellas Artes de San Fernando in Madrid in 1924, receiving rigorous academic training in drawing, anatomy, and traditional oil painting. 

In Madrid she encountered Surrealism as it spread through Spain’s avant-garde circles. Time spent in the Prado brought her into close contact with the fantastical worlds of Hieronymus Bosch and the psychological darkness of Francisco Goya, as well as the elongated, spiritual figures of El Greco—sources she later cited as crucial to her visual imagination. 

These older masters, filtered through Surrealism’s interest in dreams and the unconscious, shaped Varo’s mature style: meticulous, narrative paintings where alchemical laboratories, strange machines, and cloistered interiors become stages for inner transformation. 

After graduating in 1930, Varo moved between Spain and France, working in commercial illustration and joining Barcelona’s logicofobista group, a local variant of Surrealism. The Spanish Civil War and later World War II forced her first to Paris—where she linked with André Breton’s circle—and then into exile in Mexico in 1941 with the poet Benjamin Péret. 

In Mexico City she found stability and a vibrant community of artists and intellectuals, including Leonora Carrington and Kati Horna, and produced the majority of her now-celebrated paintings before her death in 1963. 

Varo’s Mexican period fused European Surrealism with occultism, alchemy, science, and esoteric philosophies. Her paintings often feature androgynous or female protagonists engaged in experimentation, travel, or quiet rebellion—figures read as reflections of her own experience of exile and intellectual questing. 

Works such as The Creation of the Birds (1957) and Embroidery of the Earth's Mantle (1961) show quasi-scientific women literally generating worlds from music, light, or thread, recasting the “mad scientist” as a thoughtful, self-directed female creator.

Technically, Varo relied heavily on graphite-on-paper drawings, often at exact scale, to plan her paintings; many drawings stand alone as finished works that reveal her precise draftsmanship. In oil she used thin glazes, fine brushes, and architectural perspective to achieve a crystalline, almost miniaturist clarity. 

Feminist scholars argue that by centering women as active agents—rather than objects—within these intricate worlds, Varo quietly subverted the male-dominated Surrealist canon. Paintings like Papilla Estelar (Celestial Pablum, 1958), Towards the Tower (1961), and The Escape (1962) are now key texts in feminist art history as well as landmarks of 20th-century Surrealism. 

The Creation of the Birds (1957)

Embroidery of the Earth's Mantle (1961)

Papilla Estelar, 1958

Towards the Tower, 1961

The Escape, 1961

Sources:

Wikipedia

https://www.theartstory.org/artist/varo-remedios

https://cadenaser.com/nacional/2025/02/27/remedios-varo-la-pintora-surrealista-consentida-de-mexico-cadena-ser

https://www.thecollector.com/remedios-varo-female-surrealist-painter/

https://www.artic.edu/articles/1052/the-dueling-dualities-of-remedios-varo

https://www.academia.edu/9180280/The_Lonely_Machine_a_Feminist_Analysis_of_the_Work_of_Remedios_Varo

https://www.britannica.com/biography/Remedios-Varo

https://nmwa.org/art/artists/remedios-varo/

https://www.dailyartmagazine.com/remedios-varo-painter-of-magic

https://student-journals.ucl.ac.uk/opticon/article/1004/galley/958/view/

https://www.christies.com/en/stories/ten-things-to-know-about-remedios-varo-1bd7c9dd53c74b0a88f1c820a74fbfaf

https://artherstory.net/material-re-enchantments-review-of-remedios-varo-science-fictions

https://maria-cristina.medium.com/great-paintings-the-creation-of-the-birds-by-remedios-varo-f53ce87f24df

https://www.wikiart.org/en/remedios-varo/embroidering-the-earth-s-mantle-1961

https://pwdgkr.medium.com/surrealism-and-the-art-of-remedios-varo-4758d0065fe0

https://www.artchive.com/artwork/towards-the-tower-remedios-varo/

https://www.reddit.com/r/museum/comments/1548tz3/remedios_varo_the_escape_1961/

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George Ezra - Budapest

Music Appreciation

English singer-songwriter George Ezra has described Budapest as his first attempt at writing a love song. Featured on his debut studio album Wanted on Voyage, the track was released on December 13, 2013. Co-written with Joel Pott and produced by Cam Blackwood, it quickly became a breakout international hit, earning widespread acclaim for its warm, folk-rock charm.

Built on the first three guitar chords Ezra ever learned, the song’s narrative name-drops Budapest—though Ezra himself had never been there. The title, he has shared, was inspired by a missed flight to the city after a night out in Malmö, Sweden. Musically, Budapest is composed in F major with a tempo of 128 bpm, pairing its upbeat rhythm with Ezra’s rich baritone to create a distinctive and inviting sound.

The official music video, directed by Rob Brandon, premiered on YouTube on April 21, 2014. It depicts a motionless crowd dressed in varied styles and accessories, interwoven with shots of Ezra performing and occasionally crowd surfing. Gradually, the crowd springs to life—sharing moments of playfulness and movement—before freezing again as Ezra stands still. The closing scene, a quiet celebration on the ground, serves as a visual metaphor for human connection awakening from stillness.

Sources:

Wikipedia

https://sonichits.com/video/George_Ezra/Blame_It_on_Me

https://www.catchy.ro/budapest/113547

https://kids.kiddle.co/Budapest_%28song%29

https://www.thissideofsanity.com/music/songs/bu/budapest.php 

https://www.thissideofsanity.com/music/songs/bu/budapest.php

https://www.imdb.com/title/tt6705890/

https://musicbrainz.org/release-group/08915df2-9f09-4285-82c7-8febd383acf9

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"...Are You Infused, With the Spirit of Good Will Towards Men?"

Years ago, during a Las Vegas trip, I experienced one of those rare, memorable moments: being approached by a woman at a bar. While my buddy schmoozed at a business convention, I sat at the bar, minding my own business, reading a book on my phone like the party animal I am.

“Mind if I join you?” asked a woman who couldn’t have been older than 24 -- I was in my early 30s. She was a striking brunette with a warm smile, wearing a sleek dress and open-toed heels.

Looking around the bar, I noticed plenty of empty seats, which made her choice of company—me—a bit curious. Then it hit me: she was an escort. A call-girl. A lady-of-the-night. My inner journalist couldn’t help but lean in.

We ended up chatting for what felt like an hour. She was surprisingly open, sharing about her life as an escort. She had a daughter, was taking classes at a community college, and was doing what she could to provide for her family. She was candid about the risks of her job and how her family had no idea. Honestly, she was fascinating—just a regular person with an unconventional job.

Eventually, she asked if I was interested in her services. Out of curiosity (purely journalistic, of course), I asked about her rates. When she explained her "menu," I admitted I was married with and a kid, and therefore, a no-go. Still, she lingered a bit longer, indulging my nosy questions about her weirdest client requests, since I myself am kinky. One tidbit stood out: Steven Seagal had apparently been one of her clients. That threw me for a loop. Teenage-me, Blockbuster-renting-Seagal-movies-me, thought, No way.

As she got up to leave, I handed her a twenty—not for her services, but because I wanted her to have a little less pressure to find her next client. She gave me a quick kiss on the cheek, adjusted her dress, and disappeared into the casino, leaving me with one heck of a story.

When my buddy returned, I shared the whole thing. He didn’t believe a word of it. But hey, I know it happened, and that’s all that matters.

Marty Murphy (c.1950-60)

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RANDOM WEDNESDAY: Star Wars 1977 - 20 Weird Facts You Never Knew!

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A Statue Without A Belly

In our home, anniversaries aren’t just dates on a calendar — they’re milestones worth celebrating. We mark January 26th, the day of our first date, and the eighth of every month, our wedding anniversary. Most recently, we celebrated the anniversary of the day I proposed. It was our second, and we decided — why not make an evening of it?

My wife cooked us dinner; I brought home a dozen roses. We spent the night talking, sipping wine, and dancing between kisses. The mood was playful, the kind of night where teasing becomes its own love language.

As we flirted, I told her how stunning she looked. “Your new breasts look amazing,” I said, admiring her figure. She smiled mischievously and replied, “You’ve got amazing legs. If I were a sculptor, I’d carve everything below your waist.”

I gave her a puzzled look.

“I mean,” she clarified, “you have a belly.”

She wasn’t wrong. I laughed. “Wow. You only like me from the waist down?”

“Not true,” she said quickly, defending herself with a grin. “I love your penis, balls, legs, and feet. Just not the belly.”

“And my face?” I asked, half curious, half amused.

“And your face,” she said, smiling. “I’d sculpt your face, chest, and everything below your waist.”

Apparently, in her imagined marble masterpiece of me, I’d be a statue without a stomach — leaving the rest to the viewer’s imagination. 

AI generated

Where's the Chase?

Early in any relationship, there’s a natural rush — that moment when two people realize the chemistry is real and everything feels new and full of possibility. That was true for my wife and me when we started dating, and in many ways, that spark still remains.

Our beginning, though, unfolded differently from what most people imagine, yet probably familiar to couples who started dating right before the COVID lockdown. Instead of going out, our dates shifted to my place. 

There wasn’t much of a chase because we chose to ride out the uncertainty together. The usual “little black book” mindset disappeared for both of us. And honestly, without the lockdown forcing me to slow down, I might have sabotaged things — commitment wasn’t on my radar, and I’ve never been skilled at the chase.

Looking back now, I’m grateful I didn’t miss my chance. I found the person I want to build a life with. And yes, there’s still a bit of a chase between us — a playful one. She’s changed over time, and with her confidence growing after her breast enhancement, I admit a small sense of protectiveness kicks in, knowing others notice her too.

by Tom Toro for The New Yorker (Dec. 30, 2024)

Camila Cabello - Never Be the Same

Music Appreciation

I'll be honest, it was Camila Cabello that I was a fan of when she was in the girl group Fifth Harmony. Her looks, sensuality, and voice attracted me. So, naturally, I became a bigger fan when she went solo and debut her studio album, Camila, in 2018.

On December 7, 2017, Camila Cabello released “Never Be the Same” as a promotional single ahead of her debut solo album Camila. The song was written by Cabello alongside producers and writers including Noonie Bao and Sasha Sloan as well as Frank Dukes and the production duo Jarami. This creative team helped shape what became one of Cabello’s most successful solo tracks.

Lyrically and musically, the track presents a mid-tempo ballad grounded in pop and electro-R&B elements. The lyrics convey love as an addictive, almost drug-like experience, with lines such as “Just one hit of you, I knew I’ll never ever, ever be the same," underlining the sense of surrender and transformation that the protagonist experiences. 

The official music video, directed by Grant Singer and released March 8, 2018, marries polished fashion-forward scenes with raw, intimate hotel-room footage of Cabello. In contrast to the couture shots of Cabello standing on cliffs, submerged in water, or encased in oversized glass boxes, we also see her in a white robe in a hotel room telling the cameraman “Stop, turn it off,” suggesting a tension between public image and private self. 

Sources:

Wikipedia

https://www.iheart.com/content/2018-03-08-watch-camila-cabello-shine-in-her-dazzling-video-for-never-be-the-same

https://www.thefader.com/2017/12/07/camila-cabello-new-singles-never-be-the-same-real-friends

https://camilacabello.fandom.com/wiki/Never_Be_the_Same

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Gumiho Hannya

Model Appreciation

There’s something undeniably captivating about Gumiho Hannya—the kind of allure that stops your scroll mid-swipe. It starts with her striking green eyes, the kind that seem to see right through you, paired with her smooth ivory skin that glows even in the dim light of a convention floor. 

Whether she’s channeling a fierce demon queen or a playful anime heroine, she brings each character to life with a presence that’s both enchanting and just the right amount of mischievous.

Beyond the lens, Gumiho is a full-time creator with a dreamer’s heart and a gamer’s soul. Her feed is a treasure chest of meticulously crafted cosplays, nerdy nods to League of Legends and anime, and glimpses into her snake-filled sanctuary of pets with names straight out of Westeros. 

She’s the type who could slay a photoshoot in one moment and nerd out about folklore or psychology in the next—and yes, she might throw in a dance break or a cat cuddle session for good measure.

What makes Gumiho Hannya even more fun to follow is that she doesn’t just cosplay—she world-builds. Her fusion of Korean and Japanese mythology in her name is no accident: it’s a love letter to fantasy, storytelling, and transformation. 

Sources:

https://www.instagram.com/gumihohannya/

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

https://www.famousbirthdays.com/people/gumiho-hannya.html

https://www.twitch.tv/gumihohannya/about

Somewhere Between Baby Einstein and Baby Chaos

I think many of us, at some point in our new-parent lives, have shared a moment like the one beautifully captured by cartoonist and illustrator R. Kikuo Johnson on the cover of The New Yorker.

For me, it stirred memories of my ex-wife, our tiny Maltese, and me collapsed on our beaten-up couch, watching our toddler stretch out on a red-and-black checkered mat — the kind supposedly designed to boost focus and attention. Back then, we were convinced high-contrast toys would unlock hidden baby genius. For a while, our living room looked like a black-and-white art installation with splashes of red.

Of course, that didn’t last. Within months, the floor vanished beneath a sea of toys — stuffed animals, musical gadgets, and plastic contraptions that promised to make our kid smarter, stronger, and possibly bilingual by age two. Let me clarify something: I bought toys I would’ve enjoyed as a toddler. My wife, on the other hand, stuck to toys and books that actually nurtured brain development. Together, we struck a balance — somewhere between baby Einstein and baby chaos.

by R Kikuo Johnson (@r_kikuo_johnson)