Princess Nokia has shared a new single called ‘No Effort’. The track arrives with an accompanying video directed by Travis Libin and featuring the StuntGuyz BMX crew. Check it out below.
Since releasing her albums Everything Sucks and Everything Is Beautiful in 2020, Princess Nokia has signed to Arista Records and dropped the singles ‘It’s Not My Fault’ and the Yung Baby Tate-assisted ‘Boys Are From Mars’ last year.
There’s no denying that brands in the fashion world conjure up all kinds of exciting new clothing lines and trends each year. It’s one of the most creative industries to get involved with, and one where many new names make waves and ultimately help shape future trends.
If you’ve got a creative eye and enjoy fashion, you could become one of those new brands and potentially end up with a world-famous fashion business.
That might seem like a far-fetched idea to you. But, it’s not impossible, and it’s something many fashion designers and lovers have done before. If you’re still not convinced, check out the following reasons why it could make sense to start a new clothing line:
The first thing to keep in mind about starting a clothing line is that it’ll be a new experience for you.
Sure, some new experiences are great, and others are not-so-great. But, your passion for fashion will surely mean you have the highest chance of success with your new business idea.
Also, you can surround yourself with business professionals to help you on your journey.
For example, mentors and advisors can ensure you make sound business decisions relating to manufacturing and marketing. Plus, online notarization partners will help you protect your innovative clothing designs.
The ugly truth about fashion is there are some subjects that people don’t really like talking about – and one of them is manufacturing. Fast fashion, for instance, usually means consumers end up with cheap clothing made by people in terrible and unfair conditions.
Be a fashion pioneer and help effect change in the industry by working with companies providing ethical clothing manufacturing and using eco-friendly materials.
Those positives don’t just help you to shape the industry – they are also excellent selling points for people to buy your clothing.
While it’s true that fashion brands add interesting new clothing lines and ranges for consumer consumption, one fact to keep in mind is how they can sometimes be rehashes of previous trends.
For instance, jeans manufacturers are offering flares (bell-bottoms) to revive the 1970s trend but not coming up with an equally eye-catching trend idea from scratch.
By creating a new clothing line, you have the opportunity to add something different to the industry and potentially be a new fashion trend-setter.
Have you ever looked at a fashion brand and thought to yourself that they really inspire you? Perhaps you’ve seen how they have made great strides at turning the industry around by making it more responsible and ethical in various sectors?
You might not know it right now, but you likely have the same qualities as such fashion brands. When you start a new fashion business, you could potentially build something amazing and be that same inspirational brand for other people!
The fashion world always conjures up all kinds of weird and wonderful clothing lines. Yes, it’s always exciting to experiment and come up with concepts that have previously been beyond people’s comprehension.
However, most people generally have similar fashion tastes and needs. If you see competing brands coming up with clothing designs that consumers seldom buy, now is your chance to plug that gap in the market.
As a creative individual, you’ve already got a good idea of the types of garments and accessories you want to create. Complete your idea by researching the things that people actually want, and you’ll have a winning formula for a new clothing line.
There is a common misconception among people new to the fashion industry that new clothing designs must get sketched and prototyped on paper. Yes, that might have been the case many years ago, but technology has its place in the fashion industry.
For example, today’s creative designers use computer modeling software to create new clothing designs and visualize them on 3D or 4D models. They also use those computer designs to cut the fabric according to each measurement and specification for the perfect fit.
Last but not least, when you start a new clothing line, it could mean that you have the potential to become a fashion icon.
As you know, some brands are very iconic – even new ones that haven’t been established in the market for very long. Your new brand could be a future iconic fashion brand!
supernowhere are a Seattle-based trio comprised of bassist and vocalist Meredith Davey, guitarist and vocalist Kurt Pacing, and drummer Matthew Anderson. Ever since the band came together in 2016, something about their collaboration felt incredibly natural, which was echoed in the fluid, expansive indie rock of their 2018 debut Gestalt. Originally written and recorded in Vermont, the album was reissued last year on Topshelf Records; Great Grandpa guitarist Dylan Hanwright, who the band met not long after relocating to Seattle, remixed and remastered that version, and he also helped bring out their unique chemistry as the producer on their recently released sophomore full-length, Skinless Takes a Flight. As the group notes, all of the creatures referenced on the record are plucked out from a dream; yet as much as the songs feel dreamlike and airy, driven by delicate, languid vocals, melodically intricate drumming, and slithery guitars, they can also feel muscular and vivid, each element moving at the same pace yet never staying in one place for too long. It’s a strange, liminal space to occupy, but it’s mesmerizing to hear them crawl around it together.
We caught up with supernowhere for this edition of our Artist Spotlight interview series to talk about how the band got together, their move to Seattle, their sophomore album, and more.
The majority of the songs on Skinless Takes a Flight are tracks that didn’t make it onto your debut. How do you feel they changed shape as they made their way into this album?
Meredith Davey: I feel like the lyrics changed a lot, at least some of the ones that I was singing. You know how you have things that happen a bunch of times but in slightly different variations? Like, you need a thing to happen a bunch of times before you learn the lesson. I feel like a lot of the first album was really like, “I’m 21 and this is my life and I’m so immersed in it.” And after we moved out here and after we’ve been playing those songs, more life had passed, and I feel like the lyrics became more generally about ways that a story can go rather than about how a certain story went. I try to write lyrics that will help me learn something; because I have to sing it so many times, I might as well be getting something out of it that isn’t just the joy of singing it. It feels like it became more aware of the patterns that were happening in my life.
What do you mean by learn? What kind of things did you get out of repeatedly singing them?
MD: I feel like writing is kind of this liminal space where you’re moving into the future sometimes. It’s like you’re discovering the newest way to describe everything that’s happened to that point. The present becomes really real in that moment, this new emerging perspective. I’m wiser about my life when I’m in the writing zone than like, not in writing zone. Writing something is like putting my foot in the door of some different kind of self-awareness that I’m trying to draw around my regular life. So repeatedly singing it, it’s kind of like doing a mantra.
Kurt Pacing: I mean, that’s the beauty of making music, too. Rarely does anyone have any time for some real, constructive self-reflection, and I think making music is one of the few opportunities, at least in my life. Going back to your previous question too, about how a lot of these songs changed, I think it’s mostly we as people that changed a lot. Especially since we lived in Vermont and since we moved to Seattle, we had kind of a crazy voyage across the country to get to Seattle. It was a very impulsive move. We basically packed everything we own on our cars and we drove caravan style across the country and played shows a lot in all these new places we’d never been before, all these rural nooks and crannies in the Midwest. A lot of the artwork for the record is us driving to the Badlands during that trip, which was the summer of 2018. By the time we got to Seattle, I feel like songs had already changed a lot.
MD: I feel like what were you saying about the trip, the reason why that’s the album art and that’s one of the things that comes back to mind whenever we talk about this album is: half the songs were made in Vermont, just like everything we brought, everything that we were bringing as people in our development at that time and all of our material possessions and everything that we subsisted on in Seattle for the first few months – it was still Vermont stuff. But for the first six months of being in Seattle, I was definitely freaked out and trying to chill out and process the fact that I was in a new place. We didn’t start writing songs when we got to Seattle, because we were still processing that we weren’t in Vermont anymore. Or at least I was, because I haven’t made a move that big before. So the record reflects that. The first album that we put out in Seattle is this process of being like, “I’m in Seattle? I thought I was in Vermont. But I guess we’re in Seattle now, and that’s cool.”
Matt, did you want to add anything to that?
Matthew Anderson: I mean, from my perspective, too, I’ve gotten a lot better at drums since we started playing together. I feel like a lot of my drum parts are something that initially, when I first wrote it, I couldn’t play it reliably. It was very hard and kind of required me to practice, and maybe that’s an intentional thing on my part, to force myself to practice while I’m also having fun in the band. But I think that’s a lot of the driving aspect to the change that our songs undergo, is that we’re just growing.
MD: Adverse to comfort, really.
MA: [laughs] Yeah. That’s what I love about our music, is that it makes me feel kinda gross. [all laugh] But in a kind of together away, with everybody. I had an experience sitting in a sauna last night – I feel like it’s kind of comparable to that, where you’re just feeling super gross, but you’re like with people you care about and telling good stories in there.
I love that. Do you mind sharing how the three of you first met and also your first impressions of each other?
MD: Kurt and I lived in a dorm together, and Kurt was having some difficult times. All the time would come at me with grumpy remarks, but you could just tell you he was a bub underneath the grumpy remarks. Jamie, his partner, and I would just bother the shit out of him all the time.
KP: [laughs] Yeah.
MD: And then my suspicion was proven true that he actually loves us when we asked him to live with us. And then weeks into living together, he and Jamie decided they’re gonna start dating and I was just like, “I guess that’s happening.” And then we started playing in a band, and it was really silly and goofy. And Matt, I just thought you were hilarious. I feel like the awkward social behaviours that I do are just kind of to sit in the corner and not say anything, but the awkward social behaviours you do are just like, make weird noises around people. And I was like, “Who’s this guy that’s making these noises?”
KP: We all mutually bond weirding each other out, which is what I love about the band. But we all met at University of Vermont, we all went to school there. I think it was senior year that Meredith and I were living together and we decided we want to try to be a band or make some music. And Meredith knew Matt before I knew Matt, and she was like, “Yo, Matt’s a great drummer, we should have him play with us.” And then I was like, “Oh shit, Matt is a great drummer.” And a silly guy. [Matthew laughs] And I love him. So we’ve been a band since 2016, which feels like crazy long ago at this point.
MA: I’m trying to remember the first time I met Meredith. I feel like when I lived on campus, it’s like the first time I saw you, but I never –
MD: Yeah, he remembers seeing me and I don’t remember this, and I would think that it would be me who remembers seeing him because he has like carrot-orange hair and I’m just regular-looking.
MA: [laughs] Yeah. Meredith was in a relationship with one of my roommates at the time, and that’s how we started interacting. That house environment was kind of very relaxing, we did the things that most college kids do. I had my electric drum set in there because I wanted to be respectful of my neighbours. [laughs]
MD: Remember the setting where it was like the voice? Where it was like [imitates drum sample sound]?
MA: Yeah, the voices. That was classic. But yeah, just silly things like that. I spent a lot of time with Meredith in that apartment, just kind of making weird art together. And then Kurt, I remember, I think this was like a party, and I just remember we walked down Colchester street and we were chatting, and you just seemed so cool, you seemed so laid back. And months later y’all asked me to join the band.
Was there a specific moment where you felt like the band was something special?
MA: I think part of what made this so special was that we all had equal say in whatever we would do as a group, what each individual person brings to it. Not necessarily telling other people what to do, but just suggestions being floated and then those suggestions being taken into their thought process of writing the music and incorporating everybody’s wills and desires in this. And that’s what made it feel so special to me, is that we were able to collaborate so effectively. I think a lot of what made us feel interested in the music, or at least me personally, is that as the drummer in this project, I’m trying to fill as much empty space as possible. Because being a three-piece band, there sometimes tends to have that sort of room to fill, and that’s where I see myself come in. It’s like a puzzle piece, right? You’re trying to find the right puzzle piece to go in a certain spot, and I think we all kind of feed off of that.
KP: I think the moment, at least for me, where I felt like I wanted to be this band forever was after our first show we ever played. That was so much fun.
MD: Fun for you, that was terrifying!
KP: Yeah, probably in retrospect I have fonder memories of it. We started making music, we only had like three or four songs from the first record and we didn’t even have a band name yet, and our good friend asked us to open for this show that was happening in Burlington, Vermont, where we went to school. And the bands we opened for was a band called Options from Chicago, which are a pretty renowned math-rock band from Chicago, and the artist NNAMDÏ was on drums, and NNAMDÏ’s killing it making great music too. I was absolutely infatuated with them and I couldn’t believe that we were playing music with them. They were really nice and saying really encouraging things, and I was like, “Being in a band is so fun.” Like, “I can’t wait to be more in a band.”
MD: “More in a band.” [laughs]
KP: What about you, Mer? When did you feel the magic?
MD: When I showed you the first song I made on bass and you were like, “What about this?” I was like, “Jesus Christ! We should be in a band.”
KP: Yeah, Mer and I wrote the song ‘Hairspine’ on our first record – that was probably the first time we sat down to write music, for real.
MD: It was the first time we sat down to play music at all.
KP: Yeah, we didn’t even really mean to write a song, we were just messing around. We were just like, “Damn, this is a song.”
When you look back, how do you feel like you’ve changed as people since leaving Vermont?
MD: The difference for me is the difference between the super intentional control of my voice on the first record, where the note is the most important thing about what I’m singing a lot of the time. Just very anxious, kind of heady, overly focused on control, grinding off any rough edges or sharpness. I had kind of an ordeal during my first year in Seattle. Actually, all of the songs that were written here that I sing are about this experience, where basically I just had to learn about wisely trusting people and having boundaries that are strong and sort of non-negotiable – just having a healthy relationship with my own intuition and my own voice and my own character and my own anger. I think that I was very afraid of acknowledging being angry before I got to Seattle. And it just became very clear to me that anger serves a really important purpose in maintaining safety and acknowledging the truth of your needs. So yeah, I screamed a little bit. I don’t really know if I screamed a little bit on this record – to me, it feels like I screamed. I can say that this is the loudest volume that I am capable of, and that’s a good thing for me to do right now. It’s emblematic of the shift, I think.
KP: To add to that, I think the big difference between the first and second records is self-confidence. We’re just way more comfortable with our instruments and we’re just better at our instruments. At this point, we’re so used to playing with each other that it did not have the same amount of self-consciousness that the first record did, the self-consciousness you get once you start trying to record and you feel the pressure to try to get it right the first take. But this new record, the recording process was such a breeze and so much fun. A lot of that, too, was because our good friend Dylan from the band Great Grandpa helped record and produce the record, and Dylan is an amazing, kind person to work with and has great ideas and is really encouraging in the right ways. I thought making records sucks, honestly. After the first one, I was like, “Man, I hate making records.” But this record was so much fun to make that I’ve changed my mind. I love making records.
MA: Yeah. Wow, where to begin? I mean, the move itself is maybe the driver to just my growing up, really. I had always lived on the East Coast, and when I was looking for colleges, I’d stayed on the East Coast so I could be closer to my family. But we just kind of went for it. And I didn’t have a job lined up when I moved out, so that was kind of scary. But, I think we just accepted the risks of moving, packing up and jumping ship and finding a new ship. And that’s what we did. Obviously we’ve grown up and gotten older, but I feel like we still learn something new about each other every time we play, or we feel something new about each other every time we play together. It’s so funny, I feel like we write new songs without even trying. [laughs] That kind of thing, it’s just magic. I don’t know how else to put it.
MD: One time we decided that the metaphorical image of how our band works is: Matt is a tightrope, Kurt is a tightrope walker walking across it, and I’m a gust of wind.
This interview has been edited and condensed for clarity and length.
supernowhere’s Skinless Takes a Flight is out now via Topshelf.
Arooj Aftab has announced a deluxe edition of her third album, Vulture Prince, which will be out on June 24 via Verve. It includes the previously unreleased track ‘Udhero Na’, which features sitar-playing from Anoushka Shankar and harp from Maeve Gilchrist. Listen to it below.
“‘Udhero Na’ has been one of my dearest songs, written in 2005 and never released, played live on and off over the years,” Aftab explained in a statement. “I’ve always held it close to my heart and am so happy to release it finally! It describes a very unique and fleeting emotional moment, a super underrated feeling. When the thought of someone from a very old and ‘passed’ relationship just pops into your head as you go about your present day to day.”
Aftab is up for Best New Artist and Best Global Music Performance (for ‘Mohabbat’) at the 2022 Grammy Awards. Check out our Artist Spotlight interview with Arooj Aftab.
Vulture Prince (Deluxe Edition) Tracklist:
1. Baghon Main [feat. Darian Donovan Thomas]
2. Diya Hai [feat. Badi Assad]
3. Inayaat
4. Last Night
5. Mohabbat
6. Saans Lo
7. Suroor
8. Udhero Na [feat. Anoushka Shankar]
Hey, ily! – the Billings, Montana band that started out as the solo project of Caleb Haynes and now includes Skyy Haman (synth), Conner Haman (drums), Stephen Redmond (bass), and Trevin Baker (guitar) – have announced their debut LP. Psychokinetic Love Songs is slated for release on April 29 via Lonely Ghost Records. It’s led by the single ‘Intrusive Thoughts Always’, which you can hear below.
“We wanted this song, as the first full band song on the album, to perfectly encapsulate the personality of the rest of the album,” the band told Brooklyn Vegan. “Catchy choruses, pummeling drums, and bizarre left turns. We’ve always wanted to write a thrash metal song, so with this song we thought: why not just put a thrash metal song in the middle of this seemingly regular emo song? That thought perfectly wraps up our process when writing this album. What would it sound like if we took out the traditional emo songwriting rules?”
Hey, ily!’s 2021 EP Internet Breath landed on our best EPs of the year list. Check out our Artist Spotlight interview with Hey, ily!.
Psychokinetic Love Songs Cover Artwork:
Psychokinetic Love Songs Tracklist:
1. Rebooting
2. Intrusive Thoughts Always
3. Stress Headache
4. Glass House
5. Dreaming
6. Psychokinetic Love Song
7. Machine?
8. The Tempest
9. Human!
10. Shutting Down
Gambling as a pastime activity has been around for centuries, as even more primitive civilizations had their own version of gambling. Thanks to the playing cards the rules and gambling content became more standardized. Mechanical inventions like slots and roulette were added later on, but the first gambling establishments mainly offered card games entertainment. Furthermore, western culture and innovations like the internet led to the rise of online casino sites that continue to grow to this day. These cultural forces continue to influence gambling, and how we perceive it as a society. It might not be that apparent at the first glance, but countries that align with western philosophy gamble more.
Currently, whenever someone thinks about casinos the first thing that comes to mind is Las Vegas. Nevada clearly played a crucial role in popularizing this form of entertainment and in redefining it. Most of the online real money casinos are actually trying to capture that experience, and design their games around gambling establishments from Las Vegas. So, let’s examine in detail how western culture changed the casino industry and gambling overall.
One thing that western culture perfected is marketing or advertising. A perfect example is Apple which really focused on building a community around its product. In other words, it’s more than just a financial transaction and getting the item you wanted, it’s about this sense of belonging and an entirely new lifestyle. We see this in other commercials all the time. Coca-Cola is more than a sugary drink, the commercials are about happiness, family, adventure, and party that never stops.
The casino industry was also affected. These establishments are so much more than simple gambling joints. They are massive resorts with 5-star accommodation. In other words, it’s about a luxurious lifestyle, the embodiment of success, and sending a message that you can afford heavy losses. Casinos focus on providing exceptional ambience, they host different bands for live music, hire skilled chefs and offer exquisite delicacies. Their goal is for the guests to have a good time, and that desire is reflected in their exterior and interior design.
This is important for the casinos, as gambling is very profitable, and it generates profit through losses of customers. As a result, most of the guests will lose, which doesn’t feel good. Having a place that makes them feel amazing and that allows them to have a time of their life is definitely softening that blow.
Western culture is typically associated with capitalism and wealth, and the amount of influence and power one has is proportional to the amount of money one has. Although the rate of poverty in the world has been significantly reduced thanks to a capitalist economy, the massive wage gap still exists. In other words, the world is filled with those who are struggling to make ends meet, and can’t afford unforeseen massive expenses. So, the only way to turn this situation around is either to win lots of money on gambling or to sue someone and win.
This really has an effect on people and they do everything they can to improve their odds while gambling. Some prefer sports betting, others prefer games like poker and blackjack, but most gamblers love to play the lottery and slots. It’s important to note that just because a game has a potential high reward that doesn’t make it the most profitable choice. So, everyone thinks carefully about this, especially since real money is at stake.
Thanks to international trade, and online marketing there are lots of new career options. Since western culture put an emphasis on these things, the world slowly adopted the middle-men approach to trade and money transactions and this has helped people with securing better financial status. The reason why casinos managed to stay relevant is that they became more affordable to more people. This was only made possible through an increase in disposable income. In places like Canada, Australia, Singapore, and Ireland the gambling activity is really high. These are also the places with amazing living standards which indicates their citizens have high salaries.
Additionally, the development of the internet and smartphones have also led to an increase in online activity. These were all thanks to western innovations, and they led to a higher connection between people all over the world. They have also expanded the market and demand for digital content, and online casinos managed to capitalize on that situation.
Casinos were initially linked to criminal activity and mobsters, and some still use casinos to help them launder money. However, western policy and the fight against organized crime made casinos safer, both online and offline. There was a lot of dispute and controversy regarding the whole information-sharing requirements and due diligence that is necessary for clearing payments, but those measures worked. Casinos now have to comply with all sorts of regulations, and they need multiple licenses in order to offer games and sports betting entertainment.
This means that these institutions are held accountable by the government, and in the event of a dispute, people can count on regulators to step in. The same goes for payments technology. In their need to streamline trading and financial transactions, they created more efficient payment systems. Lots of non-bank institutions offer banking as a service or software that allows users to send and receive the money within hours. This has obviously improved user experience in online casinos.
Western values also aim to give freedom to people and allow them to express their dissatisfaction or protest against things they don’t like. Gambling has always been a controversial topic, and in the past, many people have suffered from gambling addiction. Thanks to concerned groups of people who are strongly against this activity, casinos have made changes to make gambling safer.
Today almost every operator will issue warnings and notifications on the importance of responsible gambling. They also have means of contacting individuals and following up with them if they are constantly active on gambling websites. People can also request to be excluded from casinos, in which case operators have to deny them access to their content. The advertisement of gambling was strongly reduced, and marketing to problem gamblers can end up in a lawsuit.
In other words, those who were against gambling made it better for everyone who enjoys it. The activity is safer, many users are no longer ashamed of admitting they have a problem, and the operators are more accountable.
One of the main capitalist philosophies is that competition breeds excellence. Thanks to the advent of online casinos, the market became highly competitive. As a result, everyone tries their best to provide superior content. We have some truly innovative slot games, we have incredibly generous user bonuses and incentives, and we can access all of it through our mobile phones. The same philosophy is still active and casinos continue to improve and innovate.
We have more games that resemble old-school arcades which younger audiences really enjoy. We also have poker tournaments and a whole set of new sports betting options. Finally, we are all eagerly waiting to see what kind of changes VR tech will bring into this world, or how online gambling sites will leverage NFTs. So, the future is filled with innovations and new entertaining content.
People thought that online games would make casino games obsolete for a long time. In reality, that couldn’t be further from the truth. Instead of dying out, casino games like slots have only become more popular ever since people started playing games online.
How did that happen? It’s pretty simple – new slots are much better than their traditional counterparts. Let’s see how these slot games have improved over time and explore what makes them irresistibly enjoyable.
There’s an ongoing debate about traditional and online slots, but it’s undeniably not a contest. Here’s why digital versions are objectively better.
The first crucial event in the evolution of slots is the introduction of online versions. Before that happened, most people thought that slots would never enter the online world and that they would die out in land-based casinos.
Online casinos first appeared during the mid-90s, and they offered classic games like blackjack and roulette. However, it only took a couple of years for digital slots to appear. There’s no information on when they appeared online for the first time, but it’s undoubtedly sometime in the 2000s.
Traditionally, slots were games that you could find at land-based casinos only, but this new concept changed things. It changed how players experienced slots, how casinos thought about their business, and how developers approached making these games.
Since the casino industry first introduced them, online slots haven’t stopped growing. Today, hundreds of thousands of different slot games are available for people to play online. All of them are different in terms of design, gameplay, bonuses, special features, visuals, and other capabilities.
Brand new slot sites launch constantly, and they all have something different to offer. Never before have players had such luxury to switch between games and find something new to play to keep things fun. You could play two to three different slots in traditional casinos, but a typical online casino has at least 100 games.
Everyone can find games that they like and enjoy them. There are also free online slots that don’t require putting down real money to play.
Almost every online casino today offers bonuses. That’s how they compete to keep players on their platforms. First of all, most casinos have deposit bonuses that double the amount you deposited. Many different in-game bonuses give players more opportunities to win.
Some games have free spins, others offer double wins, and many have small bonus rounds. If you’re looking for a platform with free spins, you should play new online slots on Prime Slots UK.
Everyone likes bonuses as they let them play for a longer time and increase their chances of winning. In the past, slots were more rigorous and didn’t let players actually enjoy the games without being punished. If you want to learn more about bonuses and free offers, go here to read more about what UK Gambling Commission has to say.
Playing slots from your home was unimaginable only three decades ago. Players had to go out and visit the nearest casino, but finding one they liked wasn’t easy, mainly because casinos didn’t have variety in their game offer.
You can play modern slots at home, during a lunch break, while traveling, or anywhere else. You only need a stable internet connection to start playing right away. There is no need to waste time going to a casino and socializing with other people if you don’t want to.
You can play online slots on a desktop computer, laptop, tablet, or smartphone. If you don’t like a specific slot game or online casino, finding a better one is a matter of minutes. It’s completely hassle-free and doesn’t require you to change your plans or organize your “fun time.”
We hope this article has shed some light on the advantages of online slots. If you haven’t had a chance to try them yet, now’s the time. Luckily, there are thousands of online slots you can try for free to explore their features before committing, even if you decide to play without real money.
Take the time to compare different casinos and see what they offer. Whichever you choose, we’re confident you’ll have fun!
There is nothing quite like the experience of attending a live performance show. From the crowd’s energy to the excitement of the artists on stage, there are countless reasons why it is important to participate in these events. This blog post will discuss the top reasons you should make it a priority to see a live performance show in person.
One of the best things about live performance shows is the energy palpable in the air. When surrounded by other people who are all excited to see the same thing as you, it creates an electric atmosphere that is hard to replicate anywhere else. So even if you are not the biggest fan of the artist performing, you can still feed off the energy of those around you and have a great time.
Another great reason to attend live performance shows is to see your favorite artists in person. There is nothing quite like seeing your heroes perform live on stage right before you. Even if you have seen them perform on television or online before, there is something special about being in the same room as them while they are playing. You will likely never have another opportunity to see them this close, so it is worth making an effort to attend a live performance show.
When you listen to music at home, it can be easy to get lost in your thoughts and miss out on the nuances of the songs. However, when you are at a live performance show, you are forced to pay attention to the music since it happens right in front of you. This can be a great way to appreciate the music differently and understand all of the hard work to create it.
One of the best things about live performance shows is that they provide an excellent opportunity to meet new people. Whether you are meeting other fans of the same artist or just people looking to have a good time, you will likely leave the show with some new friends. This is one of the best ways to expand your social circle and have some new experiences.
Another reason to attend live performance shows is the emotion and connection you can feel with the artist. When you are watching a live performance, you can feel the artist’s passion for their music. This can create a strong emotional connection that is hard to find anywhere else. If you are looking to connect with an artist on a deeper level, attending a live performance show is the best way to do it. Shen Yun Performing Arts is an incredible live performance show that will leave you feeling inspired and emotionally connected.
When you attend a live performance show, you are witnessing the skill of the artist or artists performing. These shows take months or even years of practice and are perfect to put on. When you see a live performance, you see the culmination of all of that hard work. It is truly an amazing thing to behold and something that you will remember for the rest of your life.
One of the best things about live performance shows is that they can provide a great sense of culture and community. When you attend these events, you are surrounded by people who share the same interests. This can create a strong sense of community and make you feel like you belong somewhere. So if you are looking for a way to connect with others, attending a live performance show is a great way to do it.
Finally, the last reason to attend live performance shows is for the inspiration that you can find there. It can be incredibly inspiring when you see someone performing at their absolute best. It can remind you of your passion and drive you to achieve your goals. So if you are looking for a little bit of inspiration in your life, attending a live performance show is a great way to find it.
Live performance shows offer many great benefits that you can’t find anywhere else. There is something for everyone, from the emotion and connection to the inspiration and culture at these events. If you have never been to a live performance show before, I highly recommend checking one out. You won’t be disappointed!
Social media posts inform large parts of our daily life. They can provide humour, information or memories. People can make them physical with a Facebook photobook or printing tweets onto t-shirts. The renaissance left art with a lesson that hasn’t really been shaken since: innovation means breaking all the rules. But the problem with that is that it becomes a lot harder then, without rules, to decide what is considered art. The connotations of art is that there is technique behind some awe-inspiring piece of work, but is that the case? And if that is the case, what’s to stop your everyday user’s post from being considered art?
How is art measured? Is it measured in likes? In fans? In gold stars? In sentimental value? Technique and effort? We explore in this guide that asks if users’ posts are art.
First, it’s worth remembering that a lot of famous artists of every genre, be it painting, photography, poetry, music, literature, etc. were told that their work was awful. Sometimes that was a lecturer laying out strict rules for what made good poetry, as in the case of the Beat Movement poet, Allen Ginsberg, or society at large not appreciating their work until they were long gone, like the tragic case of Vincent van Gogh.
Jackson Pollock would beg to differ. Or perhaps his seemingly random drips of paint were a tremendous effort? We can easily say “Well, I could do that”, but you haven’t. And you probably wouldn’t do it the same way. Millions of choices led us to where we are now. We are only who we are. And you can’t be someone else, not even Jackson Pollock.
That is an argument that takes some thought. Fans, as a collective, like some stupid stuff, they change their mind over time, and they are usually at odds with critics, who are apparently looking for the same things.
The term cult classics comes from a universally recognized objectively bad piece of art becoming something that fans love. Tommy Wiseau’s The Room comes to mind, which packs cinemas regularly with fans who love the term “So bad it’s good”, who cheer and scream whenever anything happens in this “romantic drama” movie.
As mentioned, critics often are at odds with what the fans like. And sometimes it’s not just down to the fact that the fans are in the process of enjoying a cult classic or a “so bad it’s good”, but they’re simply looking for other things than what the audience wants.
Or, in the case of the Beat Movement, they simply cannot get past what was considered correct in the past, to enjoy the innovation of now, where fans can recognize it.
Art is subjective. It is the first rule of modern art and art analysis for a reason. One person might consider it art and likely it will be due to vastly different reasons than the next person, who doesn’t. Your mother loved those crayon drawings of the neighbour’s dog, but the New York Times might disagree.
So, print out your social media photos. They will mean something to someone, since they mean something to you, but they could also mean something down the line.
In 1995 a then-struggling Canadian singer-songwriter by the name of Alanis Morrisette released her third album, Jagged Little Pill. The album went on to enjoy seismic success, spawning multiple hit singles, global chart success, selling over 30 million copies and influencing the pop-rock genre for generations to come.
Jagged Little Pill saw Morrisette move away from the dance-pop that had dominated her first two albums to explore her angst and aggression at a wide range of topics ranging from failed relationships (You Oughta Know) and predatory men (Right Through You), to religion (Forgiven) and the population’s apathy towards the world we live in (Wake Up). One of the album’s most successful singles, Ironic, was the topic of a widespread linguistic debate on whether the lyrics to the song actually fit the definition of irony or was a malapropism on Morrisette’s part.
Since its release in the mid-90s, Jagged Little Pill has consistently made ‘definitive album’ lists including the Rolling Stone 500 Greatest Albums of All Time and the book 1001 Albums to Hear Before You Die. Artists including P!nk, Michelle Branch, Kelly Clarkson and Katy Perry have cited the album as a major inspiration. It was in 2013 that news first broke that the album was being turned into a musical with Tony Award and Pulitzer Prize-winning composer Tom Kitt working on orchestrating the album for the stage. Almost 10 years later; Jagged Little Pill: The Musical is launching in the UK in the autumn, but what can audiences expect?
Jukebox musicals are dime a dozen in the modern theatrical landscape, designed to ignite the interests of the mass markets and the hordes of tourists in major cities who want to tick off ‘see a show’ from their bucket lists – think ABBA’s Mamma Mia!, Queen’s We Will Rock You, Jersey Boys based on the music of Frankie Valli and the Four Seasons, and TINA: The Tina Turner Musical.
This kind of musical tends to be a whistle-stop autobiographical tour through an artists’ life, from fighting the naysayers to global success, all done to the soundtrack of their biggest hits. Here’s where Jagged Little Pill intended to break the mould. This musical is not at all autobiographical and playwright Diablo Cody – who also wrote the screenplay for the 2007 film Juno – has instead decided to write an entirely original plot.
The musical follows a suburban American family trying to paint a picture-perfect facade, whilst caught in the crossfire of a multitude of contemporary and social issues. A mother trying to hide her reliance on opioids; a father addicted to pornography; a queer, activist daughter trying to force change on everything from climate change to gun violence; an image-conscious son dealing with the rape of a close friend. Every character is given a complex subplot that feeds into the Jagged Little Pill’s overarching narrative.
Alongside the inclusion of the majority of Jagged Little Pill’s tracklist, the musical also uses songs from several of Morrisette’s other studio albums including “Thank U” from Supposed Former Infatuation Junkie, “Hands Clean” from Under Rug Swept, “Unprodigal Daughter” from Feast on Scraps and two new songs written for the musical – ”Smiling” (which also featured on the singer’s most recent studio album Such Pretty Forks in the Road) and “Predator”.
Jagged Little Pill opened on Broadway in 2019 to strong critic reviews, with many praising the performances, staging, choreography and score. “You Oughta Know” stopped the show at most performances, garnering rapturous applause and standing ovations from the audience – the performance by Lauren Patten earned a Tony Award for Best Supporting Actress. However, some critics did take issue with the shoehorning of so many different social issues into the show. Rolling Stone described the musical as ‘overly woke’ and Vox called the musical ‘overstuffed’ – it even inspired a New York Times think piece entitled “Has Alanis Morissette Made the Most Woke Musical Since ‘Hair’?”.
UK audiences will soon be able to make up their own minds as Jagged Little Pill is set to make its West End premiere in November 2022. It has been announced that most of the Broadway creative team, including director Diane Paulus, will be working on the show’s West End run. It begs the question – is the London theatre scene ready to be ‘woke’ up or is this musical simply “Uninvited”?
Quick Access
Our Culture
Helpful
© 2025 Our Culture Mag Limited. All rights reserved. Use of this site constitutes acceptance of our User Agreement (updated 2/1/2025) and Privacy Policy and Cookie Statement (updated 2/1/2025). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Our Culture Mag Limited.
