MODELING: Ariana Dugarte - Mirror Mini Dress

Model: Ariana Dugarte (@aridugarte)

via Ariana Dugarte 

Anto Rabzas - The Waste City 3.0: Public Spaces

Film Appreciation

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

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

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

via AntonioRabazas

Sources:

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

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

via Fusion Kidd 

RANDOM WEDNESDAY: Sabrina Carpenter by David LaChapelle

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

 

Reading “They” from a Bird's Eye View

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

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

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

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

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

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

Andy Landorf and John Colquhoun, 2019

Sara Bareilles - Love Song

Music Appreciation

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

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

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

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

Sources:

Wikipedia

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

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

Bailey Soogs

Modeling Appreciation

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

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

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

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

Sources:

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

https://x.com/soogz1

https://onlyfans.com/soogsx

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