DANCE: NYC Ballet's Lauren Lovette on Alexei Ratmansky's VOICES

Dancer: Lauren Lovette

via nycballet 

Cosplay is an Art: Dokomi Cosplay Showcase 2025

via Mortiz Kuhn 

Trump, Team Names, and the Art of the Deflection

Pardon the Interruption

A few days ago, I came across an article about President Trump calling for the Washington NFL team and Cleveland’s MLB team to revert to their former names. Classic Trump playbook: when the heat rises—this time with the Epstein files—toss a shiny distraction into the public arena.

Lately, I’ve been sorting through my old sports trading cards, which has naturally stirred up some nostalgia and a few internal debates. Is changing a team name just political correctness run amok—or is it long overdue acknowledgment of deeper issues? 

History shows teams have rebranded for all kinds of reasons. The Washington Bullets became the Wizards in 1997 to move away from a name tied to D.C.'s crime wave. The Tennessee Oilers became the Titans after moving from Houston. Tampa Bay dropped “Devil” to become simply the Rays in 2008. And more recently, under pressure from activists and sponsors, the Redskins became the Commanders in 2020, and the Indians became the Guardians in 2021.

As a kid raised by die-hard Cowboys fans, I was practically programmed to loathe the Redskins. I remember watching games on TV or hearing them on the radio, cheering (or yelling) alongside my parents. The Cleveland Indians? For me, they’ll always be tied to Major League and Charlie Sheen’s unforgettable Ricky “Wild Thing” Vaughn.

These teams are stitched into the fabric of my childhood. But I also understand that for others, those same names carry a very different meaning—one tied to a history of stereotypes and exclusion. 

While I doubt malice was the original intent, context changes with time. As for Trump, if he really cared, this would’ve been on his radar back in 2020. Right now? It feels more like a headline grab with a faint whiff of sincerity.

Joe Heller (@joehellercartoons)

Tegan and Sara - Back In Your Head

Music Appreciation

Tegan and Sara Quin, identical twin sisters from Calgary, Alberta, formed their indie pop duo in 1998. Initially performing under the name "Plunk," they gained early recognition after winning Calgary’s Garage Warz competition. 

Their 2007 album The Con 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. ​

"Back in Your Head," released on July 24, 2007, as the lead single from The Con, was written by Sara Quin. The song explores themes of emotional distance and the longing for deeper connection within a relationship. 

Its composition features a blend of indie pop and new wave elements, characterized by a repetitive piano riff and layered harmonies. The production, handled by Chris Walla of Death Cab for Cutie, complements the song's introspective lyrics. ​

The music video for "Back in Your Head," directed by Jamie Travis, presents a surreal and symbolic narrative. It features Tegan and Sara performing in front of an audience dressed in white, with intermittent appearances of figures in black, creating a stark visual contrast. This imagery symbolizes the internal conflict and emotional duality expressed in the song's lyrics. The video's minimalist aesthetic and use of color serve to underscore the themes of isolation and the desire for emotional reconnection. ​

 

Sources:

Wikipedia

teganandsara.fandom.com

https://pitchfork.com/reviews/albums/10476-the-con/?utm_source=chatgpt.com

bbno$ & Rich Brian - Edamame

Music Appreciation

A year into the pandemic, I found myself enjoying TikTok videos featuring animal run effects. One such video showed bbno$ catching his sleepy girlfriend as she ran to escape a computer-generated stampede (link). Out of curiosity, I clicked on his profile and stumbled upon "Edamame."

"Edamame," released on July 23, 2021, is a collaboration between Canadian rapper bbno$ (Alexander Leon Gumuchian) and Indonesian rapper Rich Brian (Brian Imanuel). The track serves as the second single from bbno$’s sixth studio album, Eat Ya Veggies.

The collaboration began when bbno$ and producer Diamond Pistols developed the initial version of the song. bbno$ then reached out to Rich Brian, who promptly contributed his verse. Together, they completed the track in the studio.

Lyrically, "Edamame" is defined by its playful and boastful tone, with both artists rapping about wealth, luxury, and rising fame. The song features an energetic beat by Diamond Pistols that matches the humorous, confident lyrics. Its catchy hook and lively rhythm helped the song go viral on TikTok, where it appeared in over 10 million videos and garnered more than two billion views.

The music video for "Edamame," directed by Reggie., adds a visual layer of humor and absurdity. In the video, bbno$ and Rich Brian wear medieval armor and perform over-the-top antics around a lavish Los Angeles mansion, blending historical cosplay with contemporary settings.

Sources:

Wikipedia

https://www.nme.com/news/music/rich-brian-joins-bbno-for-armour-clad-antics-in-edamame-music-video-3000783

https://blog.lyricallemonade.com/p/edamame-bbno-ft-rich-brian/

https://www.dailymotion.com/video/x83ugbq

https://www.discogs.com/release/22883822-bbno-Eat-Ya-Veggies?srsltid=AfmBOoprvJx0AmGmNhT8XMms51EgTNXQlJibSR67jB7gAEpeMFHfYf4e

https://www.rapreviews.com/2021/10/bbno-eat-ya-veggies

https://www.facebook.com/diplo/videos/bbno-edamame-feat-rich-brian-diplo-remix/307818197889758/

https://www.reddit.com/r/bbnomula/comments/1jfutpx/edamame_without_rich_brian_lyrics/

RANDOM WEDNESDAY: Annielights_ as Esdeath (Akame ga Kill!)

Model: Annie

Photographer: Adrian (@turbopotion)

Source: 

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

Edward Hopper

Art Appreciation

Edward Hopper was born on July 22, 1882 in Nyack, New York. His parents encouraged his early interest in art, providing him with materials and instruction books. By age ten, Hopper was signing and dating his drawings, which often explored light and shadow—elements that would become central to his mature work. His childhood home, now the Edward Hopper House Museum, preserves his early sketches and offers insight into the formative years of this influential American artist. 

After graduating from Nyack High School in 1899, Hopper pursued art studies at the Correspondence School of Illustrating in New York City. He later enrolled at the New York School of Art, studying under prominent artists like William Merritt Chase and Robert Henri. In 1905, Hopper began working part-time at an advertising agency, creating cover designs for trade magazines. Though he found illustration work unfulfilling, he continued in the field for nearly two decades due to financial necessity. 

Hopper's artistic breakthrough came in the 1920s when he gained recognition for his etchings and watercolors. His first major success was the sale of his painting "Sailing" at the 1913 Armory Show. Throughout his career, Hopper focused on depicting modern American life, often portraying urban and rural scenes imbued with themes of solitude and introspection. His work resonated with audiences, and he became one of America's most renowned realist painters. 

Hopper's technique was meticulous; he often created numerous preparatory sketches before executing a painting. His compositions are characterized by precise geometry, dramatic use of light and shadow, and a subdued color palette. He frequently depicted commonplace settings—gas stations, theaters, diners—imbued with a sense of stillness and isolation. Hopper's wife, Josephine Nivison Hopper, played a significant role in his work, often serving as his model and managing the business aspects of his career. 

Among Hopper's most famous paintings is "Nighthawks" (1942), which portrays individuals in a brightly lit diner at night, encapsulating themes of urban isolation. Another notable work, "Gas" (1940), depicts a solitary gas station attendant at dusk, highlighting the intersection of nature and modernity. These paintings exemplify Hopper's ability to capture the quiet, often melancholic aspects of American life. 

Nighthawks, 1942

Gas, 1940

Sailing, 1911

Automat, 1927

Haskell's House, 1925

New York Movie, 1939

A Woman in the Sun, 1961

Sources:

Wikipedia 

https://www.pbs.org/wnet/americanmasters/edward-hopper-biography-and-career-timeline/30443/

https://nyacknewsandviews.com/blog/2024/07/step-into-hoppers-world-walk-sketch-paint-on-july-13-14/

https://blog.artsper.com/en/a-closer-look/edward-hopper-paintings/

https://www.britannica.com/biography/Edward-Hopper

https://artisticjunkie.com/edward-hopper-paintings/

https://whitney.org/artists/621

https://www.architecturaldigest.com/story/edward-hopper-carnegie-museum-of-art

https://fountainhousegallery.org/post/6279-chasing-art---the-loneliness-of-edward-hopper

https://www.wikiart.org/en/edward-hopper/sailing-1911