RANDOM WEDNESDAY: The Green Hornet: Reign of The Demon #1 Written by David Liss and Art by Kewber Baal

Cover art by Ken Lashley

RANDOM WEDNESDAY: Kim Java - CES 2026

via Kim Java 

Audrey Hepburn - Moon River

Music Appreciation

Few songs have captured romance and quiet longing as beautifully as "Moon River," composed by Henry Mancini with lyrics by Johnny Mercer for the 1961 film Breakfast at Tiffany's. The song is introduced in one of cinema's most memorable scenes, with Audrey Hepburn, portraying Holly Golightly, singing it softly while accompanying herself on guitar outside her apartment window. 

Written specifically to suit Hepburn's modest vocal range, the simple performance became the emotional centerpiece of the film. "Moon River" went on to win the Academy Award for Best Original Song and has since been recorded by hundreds of artists, becoming one of the most enduring standards of the twentieth century. 

For me, however, its greatest significance is personal. It was the song my wife and I danced to at our wedding, making every listen a reminder not only of a Hollywood classic but of one of the happiest moments of our lives.

Johnny Mercer's lyrics are rich with imagery yet intentionally open to interpretation. The "moon river" represents both an actual place—Mercer drew inspiration from the waterways near his childhood home in Savannah, Georgia—and a metaphorical journey toward hopes, dreams, and shared adventures. Lines such as "two drifters, off to see the world" speak to companionship and the excitement of facing life's unknowns together. 

Mancini's melody complements those themes with graceful, flowing phrases that evoke the gentle movement of a river. Structurally, the song follows the classic American popular song tradition, built around a lyrical AABA-style form with memorable melodic repetition and subtle harmonic shifts. Its restrained orchestration and elegant simplicity allow the melody and words to remain at the forefront, creating an intimacy that has resonated with audiences for more than six decades.

Part of "Moon River's" lasting appeal is that it means something different to every listener. To some, it is a nostalgic film song; to others, it is a timeless jazz standard. For countless couples, it has become a favorite wedding song because it speaks not of perfect love, but of a shared journey filled with hope and possibility. 

Sources:

Wikipedia 

https://www.songhall.org/profiles/moon-river

https://exhibits.library.gsu.edu/johnny-mercer/collaborations/henry-mancini/

https://americanhistory.si.edu/collections/object/nmah_669085

https://www.tcm.com/articles/87664/breakfast-at-tiffanys

Alice in Chains - Them Bones

Music Appreciation

Released on September 14, 1992, as the second single from Dirt, "Them Bones" immediately established Alice in Chains as one of the defining bands of the grunge era. Written by guitarist Jerry Cantrell and produced by Dave Jerden with the band, the song opens the Dirt album with one of the most recognizable guitar riffs of the 1990s. 

Cantrell wrote the lyrics as a reflection on mortality, inspired by his lifelong fear of death and the realization that every person eventually becomes "a pile of bones." Rather than dwelling in despair, the song encourages listeners to confront the inevitability of death and make the most of the time they have. 

Layne Staley's soaring opening scream and emotionally charged vocal delivery amplify the song's unsettling yet thought-provoking message, making it one of the band's signature recordings. Upon its release, "Them Bones" reached No. 24 on the Billboard Mainstream Rock chart and No. 30 on the Modern Rock Tracks chart, helping drive the commercial success of Dirt, which later became one of Alice in Chains' best-selling albums.

Musically, "Them Bones" stands apart from many rock songs of its era because of its unconventional structure. Most of the song is performed in an unusual 7/8 time signature before shifting into a more familiar 4/4 during the chorus, creating a sense of tension and unpredictability that mirrors the song's themes. Cantrell has said that odd time signatures came naturally to him and added excitement by catching listeners off guard. 

Combined with its chromatic guitar riff, thick layers of distortion, Mike Starr's driving bass, and Sean Kinney's forceful drumming, the song delivers a compact but explosive two-and-a-half minutes of grunge and alternative metal. 

The music video for "Them Bones," directed by Rocky Schenck, complements the song's themes with striking, surreal imagery. It features Alice in Chains performing inside a large crater-like pit resembling an open grave, while a rapid montage of extreme close-ups, projected images, flashes of animals, birth, decay, and other symbolic visuals unfolds around them. 

Schenck, who also photographed the iconic Dirt album cover, designed the set to evoke a bleak, post-apocalyptic landscape complete with broken pipes, muddy pools, and dramatic red lighting. The video's fast-paced editing and layered projections reinforce the song's meditation on life, death, and the cycle of existence. 

Sources:

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

https://en.wikipedia.org/wiki/Dirt_(Alice_in_Chains_album)

https://loudwire.com/alice-in-chains-behind-the-scenes-footage-them-bones-video-shoot/

https://youtu.be/zTuD8k3JvxQ

SPINNERS: vaniBorn - Brazilian Mega Funk House Mix

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Album Cover: They Might Be Giants – John Henry

Album Cover

Album: They Might Be Giants – John Henry

Released Date: September 13, 1994

Photographer: Michael Halsband

Art Direction, Design: Mike Mills Diversified

Design: Rachel Switzky

Model: [Unknown]

Sources:

Wikipedia

https://www.discogs.com/release/1937412-They-Might-Be-Giants-John-Henry 

https://tmbw.net/wiki/Talk:John_Henry

SPINNERS: DJ Fannie Mae - Early 2000s Old School R&B/Hip Hop

via Loyd Studios 

Alexandra Stan - Mr. Saxobeat

Music Appreciation

Released on September 12, 2010, "Mr. Saxobeat" became the breakthrough hit for Romanian singer Alexandra Stan and the song that launched her onto the international stage. It served as the second single from her debut studio album, Saxobeats (2011). 

The song was written and produced by Romanian songwriting and production team Marcel Prodan and Andrei Nemirschi of Maan Studio, who crafted an infectious blend of dance-pop, Eurodance, and house music built around a memorable saxophone hook. 

Lyrically, "Mr. Saxobeat" is a playful invitation to an irresistible saxophone-playing dancer, using flirtatious imagery and club-ready energy rather than telling a traditional narrative. Stan's bright, energetic vocals complement the song's carefree atmosphere, making it an anthem for dance floors across Europe and beyond. 

Musically, "Mr. Saxobeat" is driven by a four-on-the-floor dance rhythm, pulsing synthesizers, and its signature saxophone melody, which gives the song its distinctive identity. The composition follows a conventional pop structure with verses, a pre-chorus, and an explosive chorus designed for maximum dance-floor appeal. 

In the United States, the song reached No. 21 on the Billboard Hot 100 and topped the Billboard Dance Club Songs chart, marking Stan's biggest American success. Internationally, it reached No. 1 in more than 20 countries, including Germany, Italy, Denmark, and Romania, and earned multiple platinum certifications, cementing Alexandra Stan's reputation as one of Romania's most successful global pop exports.

Directed by Iulian Moga and filmed in Buftea, Romania, the music video embraces the song's playful, glamorous style with a humorous storyline. It opens with Alexandra Stan arriving at a police station in handcuffs after being arrested for speeding. Rather than focusing on the arrest, the officers become captivated by her presence, and the station quickly transforms into an energetic dance party filled with choreography and colorful characters. 

Throughout the video, Stan performs in stylish outfits while the action alternates between the police station and outdoor scenes featuring dancers and luxury cars. Moga's fast-paced editing, vibrant colors, and lighthearted storytelling mirror the song's upbeat energy, helping make the video a viral success on YouTube and an important factor in introducing Alexandra Stan to a worldwide audience during the height of the dance-pop boom.

Sources: 

https://en.wikipedia.org/wiki/Mr._Saxobeat

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

https://www.billboard.com/artist/alexandra-stan/

https://youtu.be/nwsewSMWIas

Leilani Bishop

Model Appreciation

American model Leilani Bishop was born on September 11, 1976, in Hawaii and spent much of her youth on Kauai, where her connection to surf culture and island life later influenced her image as a relaxed, beach-inspired beauty. 

Leilani was discovered at age 15 by modeling agent Cindy Kauanui of Jet Set Models while in Hawaii, launching a career. Standing about 5'8", with blonde hair and light-colored eyes, Leilani embodied the sun-bleached aesthetic favored by 1990s fashion campaigns.

Leilani's early modeling career accelerated quickly. She appeared on magazine covers including Flare and Allure, and worked with major fashion brands such as Victoria’s Secret, Tommy Hilfiger, and Balenciaga. Yet many people outside fashion circles know her best as the distraught beauty queen on the cover of Live Through This by the band Hole. Photographed by famed photographer Ellen von Unwerth, Leilani appeared wearing a tiara and sash with mascara streaking down her face—an image that became one of alternative rock’s most recognizable album covers and a lasting symbol of 1990s pop culture. 

Her later career extended beyond runway work. Bishop appeared in the 2000 film The Intern, developed a fragrance line under her own name, and founded Women for the World, a nonprofit organization based in California. 

Sources:

Wikipedia

https://www.imdb.com/name/nm0084119/bio/

https://www.vogue.com/article/beauty-staple-leilani-bishops-year-round-beach-hair

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

Cruise Perk: Afternoon Delights

Soon after our Christmas family cruise, my wife booked two more cruises—this time without the kids—an idea I fully supported. It’s not that I don’t enjoy spending time with my daughter or my wife’s family, but cruises are at their best when they’re stress-free, unhurried, and give two people a chance to reconnect. Sometimes the best itinerary is simply each other.

The first of our cruises departed Galveston on the Fourth of July aboard Royal Caribbean’s beautiful Symphony of the Seas. While it’s smaller than the massive Icon of the Seas, which we sailed with our family, it offered many of the same amenities, plenty of dining options, and outstanding entertainment. In many ways, it was the perfect setting for slowing down and enjoying each other’s company.

One of the things we love most about cruising is that you unpack once and your hotel magically follows you from port to port. My personal favorite perk? Being able to sneak back to our cabin for a little afternoon delight whenever the mood struck. By the end of the eight-day cruise, my wife pointed out that we had set a personal record: having sex ten times in eight days. Not exactly an Olympic event, but we were pretty proud of our accomplishment.

It’s a fun vacation record to look back on—especially considering it’s now been about a month since our last rendezvous. I’m sure we’ll remedy that long before our New Year’s cruise in December, but I have a feeling that the eight-day record may stand for quite a while. Then again, every cruise deserves a goal.

RANDOM WEDNESDAY: Alan Parsons - Sirius / Eye in the Sky

via Frontiers Music srl 

RANDOM WEDNESDAY: Neurobit - 10 Female Humaniod Robots 2026

via Neurobit 

Anna of the North - Lovers (from To All the Boys I've Loved Before)

Music Appreciation

“Lovers” was released on September 8, 2017, as part of Lovers, the debut studio album from Norwegian singer-songwriter Anna Lotterud, known professionally as Anna of the North. Born in Gjøvik, Norway, and later splitting time between Oslo and Melbourne, she developed a sound rooted in dreamy synth-pop and emotional minimalism. 

Prior to the album, she built momentum with singles like “Sway” and collaborations that circulated widely on streaming platforms. Lovers marked her formal arrival, pairing glossy electronic production with restrained vocals that became her signature.

Lyrically, “Lovers” explores the fragile space between intimacy and uncertainty. The narrator longs for clarity in a relationship that feels undefined—hovering between friendship and romance. Lines that question commitment and emotional reciprocity reflect a modern dating landscape where labels are blurred. 

Musically, the track leans on soft, pulsing synths, a steady electronic beat, and airy vocal layering. The production is sparse yet textured, allowing her voice to carry both vulnerability and quiet resolve. The melody is restrained, almost hypnotic, reinforcing the emotional tension at the core of the song.

The music video, directed by Alexander Darby, complements the song’s introspective tone. As noted by Indie Music Filter, the visual unfolds in intimate, subdued settings, focusing on Anna in contemplative moments rather than a linear narrative. The camera lingers in close-ups and muted lighting, emphasizing solitude and emotional distance. Rather than dramatizing conflict, the video mirrors the song’s restraint—suggesting that uncertainty in love often plays out internally, in quiet rooms and private thoughts.

Sources:

https://indiemusicfilter.com/anna-of-the-north-lovers-video

https://www.allmusic.com/artist/anna-of-the-north-mn0003565886

https://www.billboard.com/artist/anna-of-the-north/

https://www.discogs.com/master/1269340-Anna-Of-The-North-Lovers

https://genius.com/Anna-of-the-north-lovers-lyrics 

SPINNERS: kitsch & SASH - Deep & Groovy Pool Party

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Julius LeBlanc Stewart

Art Appreciation

Julius LeBlanc Stewart was born on September 6, 1855, in Philadelphia into a wealthy family that supported his artistic ambitions. His father, a successful sugar magnate, ensured Stewart had access to elite education and travel. 

Stewart studied at the Pennsylvania Academy of the Fine Arts before relocating to Paris, where he trained under Jean-Léon Gérôme at the École des Beaux-Arts. This academic grounding shaped his technical precision and compositional discipline, while his exposure to European high society informed the subject matter that would define much of his career.

Stewart built his reputation in Paris during the late 19th century, becoming closely associated with the Paris Salon, where he exhibited regularly and gained recognition. His work often captured the elegance and excess of Belle Époque society—lavish interiors, fashionable gatherings, and aristocratic leisure. 

One of his most recognized paintings, The Hunt Ball (1885), reflects his ability to choreograph complex social scenes with clarity and rhythm. Stylistically, his work blends academic realism with elements of Impressionism, particularly in his handling of light and color, though he maintained a more polished finish than many of his contemporaries.

Technically, Stewart excelled in rendering fabrics, textures, and the subtleties of social interaction. His compositions often feature carefully arranged figures that guide the viewer’s eye across the canvas, creating a narrative without overt drama.

Self-portrait, 1886

A Hunt Ball, 1885

Gypsy Girl, 1875

Portrait of Mrs. Francis Stanton Blake, 1908

Nymphs Hunting, 1898

Sources:

Wikipedia

https://www.artnet.com/artists/julius-leblanc-stewart/

https://artvee.com/dl/the-first-spring/

SPINNERS: Miss Monique - Progressive House & Melodic Mix

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Cosplay is an Art: Otakon 2026 Washington DC Anime Convention

via Justin Cosplay 

Rebecca Black - Hot Wet Delirious

Music Appreciation

Like many others from my generation, I remember Rebecca Black from her viral 2011 song “Friday,” which became an internet phenomenon—though not necessarily for reasons any 13-year-old singer would have wanted. The song was widely criticized for its simplistic lyrics and Black’s heavily processed vocals, and she endured an extraordinary amount of online ridicule. 

Fast-forward 15 years, and Black, now 29, gives us something considerably more grown-up with “Hot Wet Delirious,” released July 10, 2026 ahead of her forthcoming album, Age of the Exhibitionist. 

Written by Rebecca Black, Jesse Saint John and Oscar Scheller, the song finds Black embracing desire with little interest in subtlety. Inspired in part by her relationship with her girlfriend, Black has described the song as capturing that intoxicating moment when someone gets so thoroughly under your skin that self-control begins flying out the window. It is quite a journey from worrying about which seat to take on Friday morning.

Musically, “Hot Wet Delirious” is sleek, sensual electronic pop produced by Oscar Scheller and Nightfeelings, pairing a pulsing club-oriented rhythm with Black’s breathy, restrained vocal delivery. Rather than the bright adolescent pop of “Friday,” this is music intended for somewhere considerably darker and later in the evening. 

The lyrics revolve around physical attraction, infatuation and the almost irrational intensity of wanting someone, fitting neatly into Age of the Exhibitionist’s broader exploration of visibility, vulnerability and the desire to be seen. 

Black has said the album reflects her experience of spending much of her life on public display, but “Hot Wet Delirious” turns that idea inward, showing how being completely seen by another person can be both exhilarating and unsettling. It also demonstrates how dramatically Black has rebuilt herself as an artist: instead of running away from the notoriety of “Friday,” she has spent the intervening years developing an increasingly experimental pop identity on her own terms.

Then there is the music video, directed by Hannah De Vries and Rebecca Black, which makes the song seem almost modest by comparison. Black presides over an extravagant dinner party populated by scantily clad guests whose increasingly uninhibited behavior gives the gathering the atmosphere of a surreal, orgy-like banquet—something resembling Eyes Wide Shut after someone replaced the ominous soundtrack with sweaty club music. 

The sensual imagery isn't there merely to shock: Black places herself at the center of a world built around desire, spectatorship and performance, directly reflecting the “exhibitionist” concept behind the album. Her girlfriend is represented by a queer dancer, making the visual fantasy personal rather than purely theatrical.

Sources: 

Wikipedia

https://linktr.ee/rebecca.black

https://people.com/rebecca-black-age-of-the-exhibitionist-album-tour-interview-exclusive-12022714

https://music.apple.com/us/album/hot-wet-delirious-single/6780569676

https://www.imdb.com/title/tt43664241/fullcredits

Album Cover: The Flamin' Groovies - Supersnazz

Album Cover

Album: The Flamin' Groovies - Supersnazz

Released: September 1969

Cover Artwork: Bob Zoell

Sources:

Wikipedia

https://www.discogs.com/release/1032335-Flamin-Groovies-Supersnazz

 

Saint DX - Can't Get You (Featuring Ménage à Trois)

Music Appreciation

Released on September 2, 2021, "Can't Get You" is a standout track from Unmixtape, the debut album by Canadian singer-songwriter and producer Saint DX. Featuring the French trio Ménage à Trois, the song blends smooth synth-pop, disco, and contemporary indie dance influences into a dreamy late-night groove. 

Built around shimmering keyboards, a relaxed rhythm section, and soulful vocals, "Can't Get You" explores the lingering feelings that remain after a powerful romantic connection. The lyrics reflect a sense of longing and emotional obsession, with the narrator unable to move on from someone who continues to occupy their thoughts. The track's polished production and nostalgic atmosphere helped establish Saint DX as one of the more intriguing voices in modern French-pop-inspired electronic music.

The accompanying music video, directed by Hannah Rosselin, complements the song's themes of intimacy and desire. Rather than following a traditional narrative, the video presents a montage of couples sharing affectionate and sensual moments, capturing the tenderness, passion, and vulnerability that often accompany romantic relationships. 

Through its warm cinematography and candid portrayals of human connection, the video reinforces the song's emotional core while celebrating physical and emotional closeness. The result is a visually elegant companion piece that enhances the reflective mood of "Can't Get You" and underscores the universal experience of being unable to forget someone who has left a lasting impression.

Sources:

https://www.discogs.com/release/20101462-Saint-DX-Unmixtape

https://saintdxmusic.com

https://becausemusic.com/artist/saint-dx

https://youtu.be/NnBVA1p_7dU?list=PLKuOvlIUzs6FE2M5aJUIYK7nqXgWuKgAl

RANDOM WEDNESDAY: Immortal Hulk: The Best Defense #1 Written by Al Ewing and Art by Simone Di Meo

Cover Art by Ron Garney and Richard Isanove

Jia Lissa

Acting Appreciation

Jia Lissa, born Julia Chirkova on September 1, 1996, in Izhevsk, Udmurtia, Russia, is a Russian adult model, influencer, and former camgirl who has gained international recognition through her work in the adult entertainment industry. 

Standing 5 feet 5 inches tall, with distinctive red hair and green eyes, she developed a strong online following thanks to her approachable personality, social media presence, and professional modeling work. 

Lissa has spoken in interviews about growing up in Russia before pursuing opportunities in online content creation and modeling. She began her professional career around 2017 and quickly established herself as one of the most recognizable European performers of her generation. 

Prior to entering mainstream adult entertainment, she worked as a cam model, building a loyal audience through interactive online platforms. Her success in web based content creation helped her transition into professional modeling and film work, where she earned attention for her natural appearance and engaging on-screen presence. In addition to appearing in numerous productions, she has cultivated a substantial social media following, allowing her to expand her brand beyond traditional entertainment channels.

As an influencer and digital entrepreneur, Jia Lissa represents a new generation of performers who have leveraged social media and direct-to-fan platforms to build global audiences. Her career has included hundreds of magazine covers, photo shoots, and video appearances, making her one of the most visible Russian-born figures in contemporary adult entertainment.

Sources

https://para.co/Jia_Lissa

https://onlyfans.com/jia_lissa

https://www.instagram.com/jialissaonly

https://www.imdb.com/name/nm9912070/

https://www.iafd.com/person.rme/perfid=jialissa/gender=f/jia-lissa.htm

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

https://hotnessrater.com/infinite-scroll/64455/jia-lissa

https://www.themoviedb.org/person/2308564-jia-lissa

https://www.adultfilmdatabase.com/actor/jia-lissa-60083/

Debbie Gibson

Music Appreciation

American singer, songwriter, producer, and actress Debbie Gibson was born Deborah Ann Gibson on August 31, 1970, in Brooklyn, New York City. Raised on Long Island, she displayed exceptional musical talent from an early age, studying piano with renowned teacher Morton Estrin while also writing original songs as a child. 

Debbie attended local schools but devoted much of her adolescence to developing her music career, recording demos and performing whenever possible. Her determination and songwriting ability attracted industry attention while she was still a teenager, laying the foundation for one of the most successful teen pop careers of the late 1980s.

Debbi broke through in 1987 with her debut album, Out of the Blue, which produced a string of hit singles including Only in My Dreams, Shake Your Love, and Foolish Beat. At just 17 years old, she became the youngest artist to write, produce, and perform a Billboard Hot 100 No. 1 single with "Foolish Beat." 

She followed that success with the multiplatinum album Electric Youth and the chart-topping hit Lost in Your Eyes, cementing her place as one of pop music's biggest young stars. As mainstream musical tastes shifted during the grunge era, Debbie's commercial profile declined, but she continued recording and performing. In March 2005, she appeared in a nude pictorial for Playboy, a decision she said was intended to coincide with the release of her single Naked and present a more mature public image.

Beyond pop music, Debbie built a successful career in theater, film, and television. She starred in Broadway and touring productions of Les Misérables, Grease, Beauty and the Beast, and Cabaret, demonstrating her versatility as a performer. She has also appeared in television films, reality programs, and independent films while continuing to record new music and tour. 

In a recent AARP interview, Debbie reflected on the lasting influence of her mother, Diane, whom she described as an early "momager" who taught her resilience in the male-dominated music industry. She also spoke about treasuring a piano once owned by Liberace, coping with the loss of cherished memorabilia during a difficult period in her life, and finding renewed creative freedom by traveling and recording in an RV that doubles as a mobile studio. She credits her loyal fan base with sustaining her career and shared that these experiences will be explored further in her forthcoming memoir, Eternally Electric: The Message in My Music.

In her personal life, Debbie has been open about living with Lyme disease and the Epstein–Barr virus infection, using both conventional medicine and holistic approaches to manage her health. She has become an advocate for greater awareness of chronic illness while supporting organizations focused on children's health, music education, and charitable causes. 

Sources:

Wikipedia

https://www.debbiegibsonofficial.com

https://www.aarp.org/entertainment/celebrities/info-2025/debbie-gibson-interview.html

https://www.britannica.com/biography/Debbie-Gibson

https://www.biography.com/musicians/debbie-gibson

SPINNERS: Val Baker DJ - Groovy Nu-Disco/Deep House/Banger

via Val Baker I DJ 

Amy Sherald

Art Appreciation

American painter Amy Sherald was born on August 30, 1973, in Columbus, Georgia, and was raised in the nearby town of St. Marys. From an early age, she displayed an interest in art, though she initially planned to pursue a career outside the field. After seeing the power of painting firsthand during a museum visit, she changed direction and devoted herself to becoming an artist. 

Sherald earned a Bachelor of Arts degree in painting from Clark Atlanta University before completing an M.F.A. in painting at the Maryland Institute College of Art. Her path was not without obstacles, including serious health challenges that culminated in a heart transplant in 2012, an experience that strengthened her commitment to her work.

Sherald has built an acclaimed career as a portraitist whose paintings center African Americans in quiet, everyday moments that have historically been underrepresented in Western art. Working primarily with oil paint, she is known for depicting her subjects with grayscale skin tones set against vibrant clothing and simplified backgrounds. 

This distinctive approach shifts attention away from race as a biological marker and instead emphasizes individuality, dignity, and shared humanity. In 2016, Sherald gained national recognition when she became the first woman to win the prestigious Outwin Boochever Portrait Competition at the Smithsonian National Portrait Gallery, a milestone that helped establish her as one of the leading contemporary portrait painters in the United States.

Sherald's best-known work is her official portrait of Michelle Obama, unveiled in 2018 for the Smithsonian National Portrait Gallery. The portrait was celebrated for its modern interpretation of the former First Lady, presenting her in a striking geometric gown with Sherald's signature grayscale treatment. 

She also painted the widely acclaimed portrait of Breonna Taylor in 2020, honoring Taylor's life with grace and humanity following her tragic death. 

Other notable works include Miss Everything (Unsuppressed Deliverance), The Bathers, and For Love, and for Country, all of which reflect Sherald's ongoing exploration of identity, memory, and representation. 

Miss Everything (Unsuppressed Deliverance), 2016

Portrait of Michelle Obama, 2018

The Bathers, 2015

For love, and for country, 2022

Sources:

Wikipedia

https://www.artbook.com/blog-amy-sherald-love-and-country.html

https://npg.si.edu/portrait-search/artist/amy-sherald

https://www.phillips.com/detail/amy-sherald/NY010720/1

https://www.britannica.com/biography/Amy-Sherald

https://www.hauserwirth.com/artists/28064-amy-sherald

https://www.newyorker.com/culture/annals-of-appearances/the-mystery-of-amy-sheralds-portrait-of-michelle-obama

https://youtu.be/KcKNiEIVx1A

Depeche Mode - Personal Jesus

Music Appreciation

Listening to Depeche Mode’s Violator album through my headset one afternoon, I blurted out to my office mate, “This is the best album ever made.” He raised an eyebrow. “Ever? Better than Abbey Road?” I paused, laughed, and walked it back slightly—“Okay, one of the best.” But I meant it. That album still hits like nothing else.

I first heard Depeche Mode at my grade school best friend’s house. He had a boombox that could load two cassette tapes—one to play, one to record. We’d dub albums for each other, and one day I left with a copy of Violator. It was like taking home a secret code to cool. That tape wore out from overuse, but the music never got old.

Depeche Mode, the English electronic band formed in 1980 in Basildon, Essex, originally featured Dave Gahan, Martin Gore, Andy Fletcher, and Vince Clarke. After Clarke left, Alan Wilder joined and helped shape their darker, more layered sound. With over 100 million records sold and a 2020 induction into the Rock and Roll Hall of Fame, their influence on modern music is undeniable. The band’s name, borrowed from a French fashion magazine, means “fashion dispatch.”

“Personal Jesus,” released in August 1989 as the lead single from Violator, was a creative pivot for the band. Martin Gore penned the lyrics after reading Elvis and Me by Priscilla Presley, exploring the concept of someone being your personal savior. The song blends bluesy guitar with synth textures and brooding vocals. 

Its video—Depeche Mode’s first in color—was directed by Anton Corbijn and shot in the Tabernas Desert of Spain. Since then, the song’s legacy has only grown, covered by artists from Johnny Cash to Marilyn Manson, and earning a place on Rolling Stone’s list of the 500 Greatest Songs of All Time.

Sources:

Wikipedia

https://www.imdb.com/title/tt6683764/

https://cadenaser.com/baleares/2024/11/01/es-solo-musica-pero-nos-gusta-con-julio-molina-depeche-mode-radio-mallorca

https://blurredculture.com/exploring-depeche-modes-legacy-in-la-reflections-from-the-memento-mori-world-tour

https://realvj.com/2013/01/31/depeche-mode-personal-jesus-1989

https://www.radiox.co.uk/artists/depeche-mode/meaning-personal-jesus-depeche-mode/

https://www.reddit.com/r/depechemode/comments/1goerz1/personal_jesus_meaning/

https://www.gigwise.com/the-enduring-legacy-of-depeche-mode-style-in-music-history/

MODELING: Anastasiia Mitina

Model: Anastasiia Mitina (@an_stasiia__)

via Truly00

Man Ray

Art Appreciation

Man Ray, born Emmanuel Radnitzky on August 27, 1890, in Philadelphia, Pennsylvania, was one of the most inventive figures in 20th-century modern art. The son of Russian-Jewish immigrants, he grew up primarily in Brooklyn, where his artistic interests emerged at an early age.

After graduating from high school, he declined an architecture scholarship and instead pursued art while working as a commercial artist. He studied drawing and painting at several New York institutions, including the Art Students League from 1910 to 1912, while absorbing the influence of European modernism.

His exposure to Cubism and the avant-garde, along with his friendship with Marcel Duchamp, helped steer him toward the experimental approach that would define his career. Man Ray began primarily as a painter but took up photography around 1915, initially because he wanted high-quality photographs of his own paintings. Photography soon became an artistic medium in its own right.

After moving to Paris in 1921, he became closely associated with both Dada and Surrealism, photographing artists, writers, models and other members of the Parisian avant-garde. He experimented with solarization and became famous for his camera-less photographs, which he called “Rayographs”—images made by placing objects directly onto photosensitive paper and exposing them to light.

His work blurred distinctions between painting, photography, sculpture, film and conceptual art. Among his notable works are The Gift (1921), Rayograph (1922), Object to Be Destroyed (1923), Noire et Blanche (1926) and the painting The Rope Dancer Accompanies Herself with Her Shadows (1916).

Perhaps his most recognizable photograph is Le Violon d’Ingres (1924), featuring model and performer Kiki de Montparnasse photographed from behind wearing a turban. Man Ray added the f-shaped sound holes of a violin to her back, visually transforming the human figure into a musical instrument while referencing the paintings of French Neoclassical artist Jean-Auguste-Dominique Ingres. The photograph embodies Man Ray’s fascination with transforming familiar objects and bodies through unexpected visual associations.

He returned to the United States during World War II, living in Los Angeles from 1940 to 1951, before returning permanently to Paris, where he died in 1976. Although Man Ray considered himself a painter as much as a photographer, his experimental photography helped establish photography as a medium capable of standing alongside painting and sculpture in modern art.'

Rayograph, 1922

Objects to Be Destroyed, 1923

Noire et Blanche, 1926

Le Violon d’Ingres, 1924

The Gift, 1921

The Rope Dancer Accompanies Herself with Her Shadows, 1916

Sources:

Wikipedia

https://www.moma.org/artists/3716-man-ray-emmanuel-radnitzky

https://www.metmuseum.org/art/collection/search/902421

https://www.metmuseum.org/art/collection/search/283276

https://blogs.getty.edu/iris/becoming-man-ray-art-life-and-paris/?utm_source=chatgpt.com

RANDOM WEDNESDAY: He-Man and the Masters of the Universe (1983) - 15 Weird Facts You Didn't Know

via Remember When 

George Stubbs

Art Appreciation

George Stubbs was born on August 25, 1724 in Liverpool, Lancashire, England. He was the son of a currier who prepared leather. His formal artist education appears to have been limited; as a young man he briefly studied with the Lancashire painter Hamlet Winstanley but developed largely through independent observation and study. 

Stubbs became fascinated by anatomy, an interest that would distinguish his work from that of other sporting painters. During the late 1740s, while living in York, he studied human anatomy and provided illustrations for physician John Burton's treatise on midwifery. After a brief trip to Italy, he conducted detailed dissections of horses in Lincolnshire, carefully recording their bones, muscles and physical structure.

Around 1758, Stubbs moved to London, where his anatomical knowledge quickly attracted wealthy patrons involved in horse racing and breeding, including members of the emerging Jockey Club. His painstaking studies culminated in the publication of The Anatomy of the Horse in 1766, a landmark series of engravings that demonstrated both scientific precision and artistic skill. 

Stubbs became particularly sought after for portraits of racehorses, hunters, mares and foals, often accompanied by their owners, jockeys or groomers. Yet his range extended beyond horses; he painted dogs, lions, monkeys, zebras and other exotic animals, as well as portraits, rural scenes and conversation pieces. Among his notable works are Zebra (1763), Mares and Foals in a River Landscape (c. 1763-68), A Lion Attacking a Horse (1762), Pumpkin with a Stable-lad (1774) and Reapers (1795).

Stubbs is now regarded as one of the great British painters of the 18th century and arguably its most important animal painter. During his lifetime, however, sporting painting occupied a lower position in the academic hierarchy of art, contributing to his exclusion from full membership in the Royal Academy. 

His masterpiece, Whistlejacket (1762), demonstrates why his reputation has grown. The monumental painting presents the Marquess of Rockingham's chestnut stallion rearing against a plain background, without rider, saddle or landscape to distract from the animal itself. 

Whistlejacket, 1762

Zebra, 1763

Mares and Foals in a River Landscape, c. 1763-68

A Lion Attacking a Horse, 1762

Pumpkin with a Stable-lad, 1774

 Reapers, 1795

Sources:

Wikipedia

https://www.nationalgallery.org.uk/artists/george-stubbs

https://www.nationalgallery.org.uk/paintings/george-stubbs-whistlejacket

https://britishart.yale.edu/paintings-and-sculpture

ART: Brooke Cormier - Deconstructed Canadian Bison Burger (2017)

via Brooke Cormier 

SPINNERS: Maria Ordoñez - Classic French House

via Groovix

Pole Dance: Exotic Revolution. X

Dancer: Natallia Kandratsenko

via POLEDANCE REVOLUTION 

SPINNERS: ETNA - Melodic Techno

via DJETNA 

Cosplay is an Art: Montreal Comic Con 2026

via MaximumDiver 

Modeling: Alisa Amore

Photographer: Petter Hegre

Sources: 

https://www.hegre.com/models/alisa?locale=en

Y2K + bbno$ - Lalala

Music Appreciation

“Lalala” is one of those songs that sounds almost too simple to become a massive hit—which, of course, is part of why it worked. American producer Y2K, the professional name of Ari Starace, teamed with Canadian rapper bbno$ (Alexander Gumuchian) to write the track, releasing it on June 7, 2019. 

The two reportedly built the song during a studio session, with Y2K creating its Latin-flavored guitar riff and minimalist beat while bbno$ developed the vocal melody. The wonderfully goofy opening—“Did I really just forget that melody?” grew out of the recording process itself and became the song’s instantly recognizable calling card. 

Released through Columbia Records, “Lalala” eventually exploded through TikTok and streaming platforms, turning what began as an independent-minded collaboration into an international viral hit.

Musically, “Lalala” blends hip-hop and pop around a sparse production dominated by its plucked, Spanish- or Latin-influenced guitar figure, programmed percussion and an absurdly catchy sing-song hook. That simplicity leaves plenty of room for bbno$’s laid-back, conversational delivery. 

Lyrically, he spends much of the song joking and bragging about money, women, jewelry, his Canadian identity and his sudden success. There is a knowing silliness behind the boasting: bbno$ even describes himself as “corny,” making it difficult to take the swagger entirely seriously. 

In that sense, “Lalala” is less a profound statement than a celebration of confidence, newfound success and not taking yourself too seriously. Even its nonsense syllables—“lalala,” “shashasha” and the opening “banana-na-na”—function almost like additional instruments, giving the record its rhythmic, meme-ready personality.

The fun became even more pronounced in the official music video, released on YouTube on August 20, 2019. Directed by Alex Bortz, the brightly colored video places Y2K and bbno$ on the set of the fictional “Y2K’s Big Fun Fun Show,” with Y2K playing the enthusiastic host and bbno$ appearing as his special guest. The exaggerated sets, puppets, primary colors, oversized props and deliberately low-budget television aesthetic resemble a wonderfully warped children’s educational program—somewhere between Pee-wee’s Playhouse and a show you vaguely remember watching at 7 a.m. while eating cereal. That contrast is the joke: bbno$ delivers decidedly adult rap lyrics while surrounded by the cheerful visual language of children’s television. 

Sources:

Wikipedia

https://www.sonymusic.ca/press_release/y2k-and-bbno-release-official-video-for-lalala

https://www.shazam.com/en-us/song/1470480678

https://www.youtube.com/watch?v=GGyEDIz9jek

RANDOM WEDNESDAY: Kennedymeow is Jay

via blackbookphotog 

Carl Rungius

Art Appreciation

Carl Rungius (1869–1959) is widely regarded as one of North America's greatest wildlife artists, despite being born in Rixdorf, Germany, on August 18, 1869. From an early age, he developed a fascination with animals, hunting, and the natural world, interests encouraged by his family's appreciation of art and taxidermy. 

After apprenticing as a decorative painter, he studied at the Berlin Academy of Art from 1888 to 1890. Although he found the academy's formal instruction limiting, he devoted countless hours to sketching animals at the Berlin Zoo and studying their anatomy through dissections. Inspired by hunting trips to Maine and Wyoming, Rungius emigrated to the United States in 1896, where the abundant wildlife of the American West became his lifelong artistic focus.

Rungius built his reputation by combining the precision of a naturalist with the vision of a landscape painter. Working primarily in oil on canvas, while also producing watercolors, etchings, and illustrations, he insisted on observing wildlife in its natural habitat rather than relying solely on museum specimens. 

An avid hunter and outdoorsman, he spent months each year in Wyoming, Alaska, the Yukon, and the Canadian Rockies, sketching directly from life before completing his paintings in the studio. His compositions often featured elk, moose, bighorn sheep, mountain goats, grizzly bears, and deer set within sweeping mountain landscapes. 

Rungius' mastery of anatomy, light, and atmosphere helped establish wildlife art as a respected fine art genre, and he became the first artist in North America to build a full-time career devoted almost exclusively to painting wild animals.

Among Rungius' best-known works are Wary Game, depicting Dall sheep in the Yukon; In His Prime, an iconic portrait of a mature bull elk; A Camp in the Rockies; and Lake O'Hara, which captures the grandeur of the Canadian Rockies. 

In 1921, he established his famed "Paintbox" studio in Banff, Alberta, where he created many of his most celebrated paintings. Today, his legacy lives on through major collections at the National Museum of Wildlife Art in Wyoming and the Glenbow Museum in Calgary. His work continues to be admired for i

Lake O'Hara

A Camp in the Rockies

In His Prime

Wary Game

Sources:

Wikipedia

https://www.aaa.si.edu/collections/carl-rungius-papers-15935/biographical-note

https://www.wildlifeart.org/exhibits/rungius-gallery

https://www.glenbow.org/blog/artist-profile-carl-rungius