Shaboozey was the musical guest on last night’s Paul Mescal-hosted episode of Saturday Night Live. The country and hip-hop singer-songwriter performed his chart-topping single ‘A Bar Song (Tipsy)’ as well as its recent follow-up, ‘Good News’. Watch it happen below.
Shaboozey’s album Where I’ve Been, Isn’t Where I’m Going came out in May. ‘A Bar Song (Tipsy) is up for Song of the Year, Best Country Song, and Best Country Solo Performance at the 2025 Grammys, while Shaboozey is nominated for Best New Artist.
A Woman’s Life is a poignant and thought-provoking stage production that follows the life journey of its protagonist, Xiaoxiao, while examining the delicate balance between identity, societal expectations, and self-realisation faced by women. However, while the play tackles its ambitious themes with sincerity and artistic intent, certain aspects could benefit from further refinement.
The narrative begins in Xiaoxiao’s adolescence, where Wen Hsin Lee portrays a young woman attempting to conform to societal norms. A vivid depiction of Xiaoxiao struggling to squeeze into an ill-fitting pair of skinny jeans and navigating an overcrowded bus, where she instinctively recoils from unwanted male contact, offers an honest portrayal of the everyday vulnerabilities faced by women. A subtle but striking moment involving menstrual blood encapsulates the fragility and stigma surrounding female bodily experiences. As the narrative progresses into Xiaoxiao’s middle years, the exploration of motherhood proves both tender and unflinching. Her experiences with intimacy, pregnancy, and childbirth are rendered in visceral detail, exposing the physical and emotional costs of these milestones. In the later stage of life, the play delves into menopause and Xiaoxiao’s decision whether to undergo a hysterectomy, presenting a deeply reflective meditation on identity and selfhood. Yet, while these life stages are portrayed with clarity, the segmented structure of the play occasionally feels overly formulaic, leaving some transitions between chapters emotionally abrupt.
Wen Hsin Lee’s performance is undoubtedly a standout element of the production. Her portrayal of Xiaoxiao is both humorous and powerful, infused with an acute sense of physicality and emotional depth. From the awkwardness of adolescence to the complexities of adult relationships and the introspection of later years, Lee’s layered performance is captivating and relatable. Through small gestures and fleeting expressions, she brings Xiaoxiao to life as a multidimensional character, drawing the audience into her triumphs and struggles. However, the limited development of supporting characters somewhat restricts the overall dramatic tension, leaving Lee to shoulder the emotional weight of the story largely alone.
Musically, Anqi Deng’s guitar-centric score enriches the production with its inventive fusion of traditional and contemporary soundscapes. Her use of the instrument to evoke a range of textures adds emotional nuance and complements the narrative beautifully. Nevertheless, technical limitations in the sound system prevent the full realisation of this innovative design. For instance, the exploration of multi-channel soundscapes could significantly enhance the audience’s sense of immersion. Despite these challenges, Deng’s composition remains a vital emotional conduit, bridging the audience with Xiaoxiao’s internal world.
On the playwriting front, Qi Wang demonstrates a bold and sensitive approach, presenting a nuanced exploration of the female experience in a world often ill-equipped to accommodate it. By structuring the narrative into three distinct chapters, she charts Xiaoxiao’s critical life moments with humour and authenticity, from the awkwardness of adolescence to the dual complexities of motherhood and later life. Wang’s writing excels in its universality, capturing experiences that resonate broadly while maintaining the specificity of Xiaoxiao’s individual journey. However, some scenes lean heavily on emotional resonance rather than pushing the thematic depth further. A more daring interrogation of entrenched societal norms and taboos could elevate the script’s impact, challenging the audience to engage more critically with its subject matter.
Director Xiao Wen Xu brings a striking visual language to the production, particularly through the use of a “three-box” stage design, symbolising Xiaoxiao’s life stages. This conceptual staging adds a compelling layer of meaning, visually underscoring the turning points and contradictions in her journey. However, the overt symbolism occasionally feels didactic, limiting the space for audience interpretation. The open-ended conclusion is a thoughtful touch, imbuing the play with a sense of fluidity and poetic ambiguity, but it risks feeling inconclusive for viewers seeking greater emotional closure. Xu’s incorporation of innovative artistic elements, such as a womb-like installation and the use of olfactory triggers to evoke memory, is commendable. These experimental choices create a deeply immersive sensory experience, enhancing the audience’s emotional engagement with Xiaoxiao’s story.
As producer, Sijia Li plays an indispensable role in the play’s success, demonstrating exceptional organisational acumen and artistic vision. From team coordination to publicity efforts, Li’s contributions are evident throughout. Her dedication to unearthing the complexities of female experiences adds depth to the production, while her thoughtful selection of cast and crew ensures a strong foundation for its realisation. Nevertheless, as an entirely new and largely unknown work, A Woman’s Life faces challenges in marketability. While Li’s social media campaigns and promotional strategies have succeeded in reaching a niche audience, there is room to expand the play’s appeal and highlight its distinctiveness further. A more strategic focus on outreach and audience diversification could bolster its visibility and impact.
A Woman’s Life is not a mere recounting of female hardship but rather a thoughtful, often humorous narrative about Xiaoxiao’s journey through life. It invites the audience to laugh, cry, and reflect alongside its protagonist, weaving a powerful tapestry of emotions. While there is scope for refinement in areas such as narrative fluidity, character dynamics, and thematic depth, the play succeeds in offering a unique theatrical experience. It is not only a story about women but also a poignant reflection on selfhood, relationships, and the meaning of life itself. Through the collaborative efforts of its skilled creative team, A Woman’s Life stands as a heartfelt and ambitious contribution to the stage.
Many of the best vape pens on the market have push buttons. Simple puff-activated vape pens are nice – but if you want to enjoy advanced features like automatic preheating, adjustable voltage and the ability to turn your device on and off on demand, you need a vape pen with a fire button.
In addition to potentially offering advanced features, a vape pen with a push button typically produces bigger and more satisfying clouds than a device that relies on puff-based activation only. That’s because a puff-activated vape pen has a short delay before it starts producing vapor. When you use a push-button vape pen, you can hold the button to preheat the coil before you start inhaling.
What’s even better is that many vape pens with fire buttons offer both button-activated and puff-activated firing, allowing you to enjoy the best of both worlds.
If you want to step up to a more advanced vape, it’s helpful to have an idea of what you’re doing – and that’s what we’re going to give you in this article. Here’s how to use a push-button vape pen.
Turning the Vape Pen On and Off
Before we get too far into this guide, it’s important to note that not every vape pen with a fire button has all of the features described here. So, if you’re shopping for a new vape pen, you should read the product information before choosing your device because you’ll want to make sure that whatever vape pen you end up buying has all of the features you want.
The one feature that every push-button vape pen has, though, is the ability to turn on and off. To do that, you’ll push the fire button five times. The vape pen’s light should flash a few times in response to signify that the device is now enabled or disabled.
Now you know a very important troubleshooting tip that you can use if your vape pen isn’t hitting. If nothing happens when you press your device’s button, it’s probably turned off. Press the button five times to turn it back on.
Why would you want to turn your vape pen off? Here are the two most likely reasons.
You’re putting your device into storage or walking away from it for a few minutes, and you want to protect it from curious hands.
You’re traveling with your vape pen, and you want to make sure that it can’t activate in your pocket. This helps to eliminate the possibility of the device overheating.
Vaping
To vape with a push-button vape pen, hold the button and then inhale through the cartridge’s mouthpiece. You’ll know that the device is working because the light will illuminate when you hold the button.
As we explained above, some push-button vape pens support both button-activated and puff-activated firing. If your vape pen has this feature, you can vape however you like. You might use the button at the beginning of a session to warm up the cartridge and switch to puff-based firing for the remainder of the session – it’s up to you.
A fire button can also allow you to preheat your cartridge manually if your vape pen doesn’t have an automatic preheating function. Simply push and hold the button a few times, holding the button for a second or two each time you press it. After you’ve done that, the cartridge will be warm and ready for use.
Why would you want to preheat a vape cartridge before using it? We’ll explain that in the next section.
Preheating the Cartridge
If your vape pen has an automatic preheating function, you can usually push the button twice to enable it. With some devices, you might need to press the button three times; you can confirm this by reading your device’s manual.
Your vape pen’s light will turn on during the preheating cycle and turn off when it’s over.
You may want to preheat your cartridge at the beginning of a vaping session because vape oil is extremely thick and may have difficulty absorbing into a cartridge’s ceramic wick when it’s cold. Preheating the cartridge loosens the oil and helps it to flow more easily.
As we explained above, you can always use your vape pen’s fire button to preheat your cartridge manually if your device doesn’t have an automatic preheating function. Automatic preheating is useful, though, because the preheating cycle happens at a lower power level than the vape pen’s normal voltage. This ensures that none of the oil will be inadvertently vaporized and wasted.
Changing the Voltage
If you have a vape pen with variable-voltage technology, you can usually push the button three times to change voltages. In some cases, you may need to press the button twice; you can check your device’s instruction manual to confirm.
When you adjust the voltage of your vape pen, the light should flash to confirm. The color of the light indicates which voltage you’ve selected, and the colors and voltages may vary depending on the device you’re using.
For example, the Mini Tank 2.0 by Rokin has four available voltages. They are:
2 volts (green light)
7 volts (blue light)
2 volts (yellow light)
6 volts (red light)
Your vape pen’s instruction manual will explain what voltages are available and what the colors mean.
Having a push-button vape pen with variable-voltage functionality allows you to get the best possible performance with whatever cartridge you’re using.
If you’re using a vape cart that can handle a little extra power, increasing the voltage will allow you to enjoy bigger clouds and bolder flavors.
If you’re using a vape cart that’s a little more temperamental at higher power levels, lowering the voltage will help you avoid harsh burnt hits.
A Push-Button Vape Pen Helps You Unlock New Vaping Experiences
Reading this guide, you’ve learned everything you need to know about how to use a push-button vape pen and how to get the most out of your experience. A vape pen with a manual fire button will often have features that a puff-activated vape pen lacks, and those features can allow you to enjoy bigger clouds and a more satisfying experience overall. Even if your vape pen doesn’t have automatic preheating or variable voltage, though, a push button still provides improved cloud production along with the ability to preheat your cartridge manually if you’re vaping in a cooler environment.
Sabine is a confident and devoted conceptual artist preparing to launch her new exhibition, Fuck You, Pay Me, when she’s visited by two spirits: the ghost of Carolee Schneeman, a feminist performance artist, and a stalker she deems the ‘Rembrandt Man.’ As she immerses herself in her city’s art scene, where exorbitance, ego, and absurdity abound, her own ideas take on a transcendent, weighty role in her life, helmed by legions of TikTok followers. Sabine is driven to paranoia through her continued stalking, and she takes it out on her chef husband, gallerists, and the seams of her own projects start to burst before she loses control of it all.
At once a ridiculously funny satire on the art world and feminist rebuttal to bodies commodified in the name of creativity, Ella Baxter’s Woo Woo is a bizarre and astute reckoning with art itself.
Our Culture chatted with Ella Baxter to discuss her own stalking experience, delusion and over-confidence, and the violent nature of art.
Congratulations on your second book! How do you feel now that it’s out?
I feel fine now; I had a bit of a conniption at first. But I’ve adjusted and it’s all good. I thought it would be similar to my debut, but it’s been really different — I think I know too much now. It’s been good though!
How has it been different?
I went into interviews with New Animal having no idea what I’d be asked or how long it would take. Just actual facts of the things you do for PR. Now I feel like I have more ease, which actually does help a lot. It’s weird; I had to send some photos from around the time I was writing it, and I realized it was three years ago. It’s a long time between when you make it and when you talk about it. It’s a real trip.
Speaking of, from what I remember of New Animal, it was a little more somber and subtle, and Woo Woo is satirical and often very very funny. Was this a conscious change?
I guess so. I feel like I wrote Woo Woo really consciously — I designed the novel I really wanted and wrote to that. And New Animal was way more intuitive, I just didn’t know what I was doing. First book stuff, you burn off all your ideas, and for the second, you can be a bit more intentional. It was a bit more somber; I think I was sad when I wrote it. With Woo Woo, I was really furious. And with fury comes humor sometimes.
Yeah, you skewer the arts world very well, in the esotericism everyone desperately tries to have and the absurdity that comes from it. Is the Melbourne arts scene this way or was it mostly fiction?
No, that’s the Melbourne arts scene. [Laughs] A lot of that was written quite straight. I mean, I love it so much, I have a deep affection for it, the art industry here, but it’s also so profoundly silly. It’s so easy to write about, there’s so much to write about. I went to a gallery the other day and the curator was wearing a leather beret. It’s just so… there. It’s all the information you need to write about.
You can love something and still make fun of it. I feel the same way of DC, the over-analyzing.
100%. And the dead-seriousness, but everyone is actually quite broke, or is upheld by their family, but they’re engaging in this medium that’s quasi-abusive because it keeps them in a holding pattern. I fucking love art so much, though.
Let’s talk about Sabine, this very sharp and interesting conceptual artist, saying things like “pure, uncompromising rigour is needed to make transcendent, supernatural art.” When did the idea of her first start to form?
She is an aspect of who I am, and also people I’m close to. There’s elements of her that are completely real. What I wanted to do was create a character that people could read and understand why she was spiraling so hard before her exhibition. I wanted to lay out the risks and stakes for her, and to do that I had to explain just how meaningful her own art was to her. That is why she’s so fluorid in how she describes the art and the muse and the process of art-making. I feel like that was integral to understanding why she just spiraled so hard later in the book.
As a writer, I often have to convince myself that what I’m doing is beyond me, and there’s a bit of delusion in that. Likewise, Sabine is drowned in the importance of her own art. Do you have a similar experience with that and did it help with crafting Sabine?
I feel like to release any art into the world, whether it’s books or paintings or sculpture or whatever, you have to have equal parts of rampant ego and hyper-neuroses. The two are needed to make good art. You need the ego to withstand the horror of your work being viewed and responded to by the general public, but you need the neuroses to make sure it’s the best work you can possibly make at the time. The state of being you’re put in as an artist and creative person, it’s just an intense atmosphere. But you have to be to make art. I just don’t think you can be normal and do good work. I haven’t seen it done.
Once, you write, “it had been impossible for her to believe she was anything less than a young god.” Could this kind of thinking turn dangerous?
Yeah! It’s so egotistical. It’s completely alien to a lot of people, which is why I think her normie relationship with her chef husband — there’s so much friction. She kind of has to see herself as a young god to push work out and to be okay with that happening. I feel like it’s a necessary state for her to be in, but it’s totally dangerous to any other soulful, deep connection in her life. I think what ends up happening for a lot of creative people is that their biggest relationship becomes them and their art, so other relationships fall away, or are not as valued, perhaps. That’s what I’ve seen.
Yeah, I’ve definitely mined life experiences in the name of art, or maybe thought about it in a way that hardship could benefit it, and it gets you through it.
Exactly. I feel like that’s just how the muse calls through the rigor of life. I have made work when I’ve been in a stable, healthy place with myself and my life, and it’s still good, but when it feels like I am in conversation with the muse and I am just holding on and riding this beast of creativity, it often comes directly after a horrible life event. It’s like equal parts processing and creativity that are smacking against each other, and I really enjoy it, honestly.
Two visitors haunt and teach Sabine — the ghost of Carolee Schneemann, and a stalker called the Rembrandt Man. Though they obviously have different goals, what did you want to explore by having these two people with her?
I think what I wanted to explore was this sense of voyeurism and how Sabine consents to being online, in all these ways, and those are on her terms, but when she’s viewed outside of that, how awful it is, and what the psychological warfare of having a stalker can do to a creative brain. I wrote Woo Woo while I was being stalked, and I was trying to turn all that horror and that sense of being watched and pursued into art, and having a response that is artistic rather than being threatened. That was my whole goal — writing something that was almost like a fantasy for myself, rather than the reality of the situation.
Yeah, I read that the inspiration for the book came from a real-life experience you had — your stalker’s even thanked in the acknowledgements. How was that experience and how did it shape the story?
I think once I let myself fantasize about all the ways I could confront this person — and they were anonymous, but they clearly knew me quite well, so it was someone close to me — I felt very sick of these internal thoughts, because I was worried it’d happen in real life. If I thought about it too much, I’d bring it into existence. Putting it in a novel seemed like a really interesting way to explore it.
I realized that inviting your stalker into your home is not a realistic response that will end well for you. But at the time, that’s exactly what I wanted to do, in this fantasy world. I really wanted to say, ‘Come in, the door’s open. Who the fuck are you?’ That energy was so addictive. I felt like anytime I lost my place in the book or didn’t feel like writing, all I had to do was think about this person sitting at my kitchen table, and I could write another five days worth of work. I found it really… [laughs] inspiring, the horror of that situation.
That’s so interesting. Has the situation become better now?
I’m not stalked now. I’m not sure if that’s because they’ve decided to stop or I’ve just moved houses so many times and I’ve reduced my social circle a lot. I don’t really know, it was years ago when it happened. I still have a camera, a lot of locks. Anytime I move I do a whole security thing. It changed how I live in the world forever.
I was really interested when Sabine inadvertently livestreams her own stalking one night, which the viewers take as performance art and not an actual crisis. Do you think that a life could ever tip too much into the online sphere, such that it’s not mostly yours anymore?
For sure. I love Gen Z so much, I actually adore them as a generation. They’re such an unserious online presence. That juxtaposition of [Sabine] being completely scared for her life, and they’re like, ‘Wow, she’s not self-conscious about her stomach at all!’ I just love that. I’ve seen similar things on TikTok where someone’s having a real come to Jesus moment in front of the camera and everyone’s not taking it at all, they’re just spewing it back at them. That’s an online dialogue we’re familiar with and it’s brilliant, I love it, there’s so much humor in it. The voyeurism is fascinating.
Once, Sabine imagines both Constantine and her stalker as her “loyal, obedient, needy dogs.” It even calms her. Why do you think she groups them together in the same category?
I think it was an element of control. Her husband was floating away emotionally from her, she couldn’t quite grasp him, and the stalker wasn’t in reach either. I think, for her, having the stalker and her husband within sight was a comfort, because if she could see them both, she’d know where they were. They weren’t distant things she was pre-empting or worrying about. Placing her as the owner of these two Dobermans, on leashes, in a fenced yard — there’s so many parts where they can’t get away from her. I felt like that chapter was the turning point of getting her power, a little bit, and finding her sinisterness in the scope of the narrative.
Sabine and her friends make sculptures, whale cakes, puppets, videos, piles of food, performances, as art. What did you want to explore in the idea of conceptual art, or art that possibly won’t make sense to a viewer but would mean everything to the artist?
I think it is really mystifying, a lot of conceptual and performance art. But what I love about it is it’s kind of anti-capitalist — I mean, I say that, but it’s not. The banana [from the art piece Comedian] just sold for $6.2 million. But in the beginning, it was anti-capitalist, you couldn’t buy the performances, they just existed in a time and space, as they were, often, with the body being abstracted by the work. I really like the place that feminism and performance art intersect, in the 60s or 70s. I think it does lend itself to the ridiculous, but at its core, it is a political form of art.
I love when Carolee tells Sabine one night, “Just let in the idea that artists, through their very nature, are violent.” Do you agree?
100%.
Really! How so?
I feel like the act of art-making is a constant process of destruction and creation, and you always have to be killing off good and bad ideas, ruining work, throwing things in the trash, literally binning a whole manuscript, maybe getting 10,000 words from 70,000. It’s a decimation of ideas and content. I feel like it is a violent process. Not necessarily physical, but the way creative people think, the depths they allow themselves to go to in their darker psyche — you have to plum those parts of yourself for good art. It’s a violent space at times. I believe it, do you believe it?
When I first read that line, I knew I wanted to ask you about it. I do think that was a good argument.
And the way you have this collection of avatars you create havoc within. You’re like this benevolent god — or malevolent, at times. It’s this universe you ruin and destroy. And there’s lots of beauty in it, too.
The chapter titles are all quotes from poems, paintings, exhibitions, and books — tell me a little about selecting these and what inspired you to put them in the book. Were they matched to particular chapters?
Yeah, they were — each chapter heading is the tone, if you look at the art or listen to the piece of music. I had a document on my computer just filled with all the artwork, triple what was mentioned in the book. It was just a way to settle into the novel — each time when I went to write it, I’d look through all the art, I’d listen to the songs, it’d transform me into the atmosphere. It created this mausoleum of Woo Woo to write in, and I really needed it, since I wrote a lot of it in the pandemic when I was quite separate from art. I couldn’t get to shows, and I would have loved to be going to see performance art pieces while I was writing this; that would have been the ideal, but it just wasn’t available. The amount of content I’ve absorbed of Carolee Schneeman is wild — I was fully obsessed with her for a decent four-month period. I felt like the novel needed it, too. It’s following [Sabine’s] mental state, and the art pushed it in directions I wanted it to go, it was like a series of arrows.
Finally, what’s next? Are you working on anything else right now?
I’m getting into screenplay writing, and doing stuff for film and TV. That’s where I’m aiming my bow now. And I’ve got a third book, ticking along, but I haven’t had time to fill up with ideas and energy for it yet. At the end of Woo Woo I was so depleted, I was a sack of skin. So I just have to reform so I can write another one.
Pamela Anderson has returned to the silver screen in what has been called “an emotional and powerful performance” for her starring role in The Last Showgirl. The Vegas-set drama is due for limited release in December, where it’s hoped that the 57-year-old actress can generate Oscar buzz for her performance.
Vegas’ Long Cinematic Tradition
One of the central themes in The Last Showgirl is a veteran performer’s adapting to a changing Las Vegas. Over the past thirty years, the city has provided the backdrop for countless popular films, whether it be the Ocean’s franchise, Terry Gilliam’s surreal Fear and Loathing in Las Vegas, or Oscar-winning turn in Leaving Las Vegas.
With the city’s gambling culture always at the forefront, The Last Showgirl’s casino setting is no different. Newcomers to the world could try free slots in anticipation of the film, with thousands of demos offering varying themes and game types without the need for a cash investment. Several of these include adaptations of Vegas casino classics and titles with Vegas themes.
The Last Showgirl Marks a Career Turning Point
After its premiere at the Toronto International Film Festival in September, Anderson’s performance in The Last Showgirl was labelled both “remarkable” and a “revelation” by one critic. The film, directed by Gia Coppola, follows Shelly, a Las Vegas showgirl who is forced to find a new job after her long-running stage show is cancelled.
As the character navigates reinvention, she comes up against the harsh realities of a changing entertainment industry. Anderson has said that she was drawn to the role due to parallels within her own career, claiming that she had almost given up on serious acting roles until the script landed in her lap.
Coppola claims that Anderson was the first choice for Shelly, and gave the script to her son to ensure it reached the former Baywatch star. The film has been compared to Mickey Rourke’s Oscar-nominated comeback performance in The Wrestler, a film that catapulted the actor into new heights after decades of being overlooked by the industry.
Critical Acclaim for Performances
Early reviews for the film almost exclusively focused on Anderson’s performance. Indie Wire’s Kate Erbland wrote that the film provides the “role of a lifetime for Anderson, one that can fully capture her incredible emotional intensity and vulnerability.” She continued by saying the actress was a major awards contender.
The supporting cast, which includes Jamie Lee Curtis, Dave Bautista, Brenda Song, Kiernan Shipka, and Billie Lourd, also received considerable praise. Variety’s Peter Debruge Jamie Lee Curtis’s performance as a “force-of-nature” in her role as confidante to Anderson’s Shelly, with Bautista’s turn “uncharacteristically gentle.”
Anderson has described the experience as being transformative and “the catalyst for the rest of my life”. As she embarks on a new chapter, the actress is set to star in a 2025 reboot of The Naked Gun alongside Liam Neeson and ensemble drama Rosebush Pruning from director Karim Aïnouz.
After its limited release in Los Angeles on December 13, the film will be released in Canada and the US on January 10 and the UK in February 2025. If the buzz is anything to go by, this one is not to be missed.
thanks for coming, the moniker of Water From Your Eyes’ Rachel Brown, has shared a rendition of Interpol’s ‘Untitled’. Their Water From Your Eyes bandmate plays drums on the cover, which you can hear below.
Last year, Water From Your Eyes reimagined Interpol’s ‘Something Changed’. More recently, they released a covers EP, taking on songs by Chumbawamba, Third Eye Blind, Al Green, and Adele.
DJ Sabrina the Teenage DJ is back with her second album of 2024. Sorcery, the follow-up to August’s Hex, is currently available on Bandcamp. Stream it below.
Discussing the release, DJ Sabrina wrote (via Stereogum):
Some of these tracks were made around Hex (but not intended for it), some around Destiny, some tracks like Progress were started during Makin’ Magick II, and some were started a few weeks ago, so it’s genuinely a brand-new album with only a few familiar faces!
Everything We Do was originally a high-concept piece for the Barbie Movie, originally mixed with harsh vocal effects and a clipped master to emulate what Warner Bros would have demanded if I’d turned it in, now stripped back and more in-line with the album. Taking Me Back was built from a seed of Destextrinum and Say What You Mean has finally found a home.
It’ll be on Spotify/Apple, etc as soon as it’s approved by my DSP! Very soon hopefully!
Two songs from the soundtrack to A Complete Unknown, the upcoming biopic starring Timothée Chalamet as a young Bob Dylan, have been released. Chalamet does his own singing in the film, and we now get to hear him and Monica Barbaro, who plays Joan Baez, singing ‘The Girl From The North Country’, as well as Chalamet’s rendition of ‘Like A Rolling Stone’. Take a listen below.
“To me, there was only one way to make this film – to cast actors that are profoundly talented, ambitious (and brave enough!) to inhabit the whole of the artists they would portray,” director James Mangold said in a press statement. “And in order to inhabit that world those artists had to be able to sing the songs. We were never out to replace the power, beauty and majesty of what exists, but rather, to celebrate it.”
Earlier this week, Dylan himself tweeted in support of Chalamet’s performance in the film, saying, “There’s a movie about me opening soon called A Complete Unknown (what a title!). Timothee Chalamet is starring in the lead role. Timmy’s a brilliant actor so I’m sure he’s going to be completely believable as me. Or a younger me. Or some other me. The film’s taken from Elijah Wald’s Dylan Goes Electric – a book that came out in 2015. It’s a fantastic retelling of events from the early ‘60s that led up to the fiasco at Newport. After you’ve seen the movie read the book.”
In response, Chalamet wrote, “Floored. I am so grateful. Thank you Bob.”
There’s a movie about me opening soon called A Complete Unknown (what a title!). Timothee Chalamet is starring in the lead role. Timmy’s a brilliant actor so I’m sure he’s going to be completely believable as me. Or a younger me. Or some other me. The film’s taken from Elijah…
Chvrches frontwoman Lauren Mayberry’s debut solo album, Vicious Creature, has arrived. It includes the previously shared tracks ‘Are You Awake?’, ‘Shame’, ‘Change Shapes’, ‘Something in the Air’, and ‘Crocodile Tears’. “So much of this process has been an exercise in empowering myself to listen to my own intuition – something I really trained myself out of,” explained Mayberry, who worked with producers including Greg Kurstin, Matthew Korma, Tobias Jesso Jr., Gruska, and Dan McDougall on the LP. “That’s ultimately why you start making things – because you felt a feeling, and you wanted to articulate that somehow. I think it was important for me to relearn that kind of independence, and recognize what I bring to any table I choose to sit at.”
Advance Base, the long-running project led by Owen Ashworth, has a new album out today called Horrible Occurrences. Following 2018’s Animal Companionship and Ashworth’s 2021 covers album Wall of Tears & Other Songs I Didn’t Write, the record was previewed by the singles ‘The Year I Lived in Richmond’, ‘Brian’s Golden Hour’, and ‘The Tooth Fairy’. Speaking about the songs, which were tracked in his home studio, and their preoccupation with memory, Ashworth told Paste Magazine: “I just cannot rely on my memory as I’ve gotten older. I really am trying to tap into the subconscious and draw out the stories that I do remember, and try to figure out what about these stories has continued to haunt me.”
Cosmic Waves Volume 1, a new compilation that marks the second release on somethingscosmic, Angel Olsen‘s own Jagjaguwar imprint, is split into two halves. The first features original songs personally curated by Olsen, while Side B sees Olsen covering other songs from those artists. “As someone that emerged into the music scene through a small tape label, I’ve wanted to continue the spirit of discovery and of my debut release, Strange Cacti, while supporting and collaborating with artists and friends whose music I have been moved by,” Olsen explained. “I feel there is something unique and special about covering another artist’s song. We all make it our own, or we try to, but I personally always learn something new about the process when I’m engaging someone else’s words and melodies in such a close way. It’s fun to write and make my own stuff, but listening to and putting myself into various different styles of songs can lead to new ways of thinking and creating.”
Cameron Winter, frontman of NYC-based band Geese, has released his debut solo album, Heavy Metal, via Partisan. He recorded it mostly in a series of Guitar Centers across New York, assembling what a press release calls “hastily performed improvisations” using in-store equipment. “A year ago, I was inspired to make an album outside of my band Geese; unfortunately for Geese fans, I thought it would take four months and it took a year and a half,” Winter explained. “I got a lot of advice that it was too early to ‘go solo’, probably because most people feel that ‘solo albums’ come once a band is basically over the hill and that they’re usually uninspired cash grabs, but rest assured, my solo album is unique, because barely anybody knows who my band is, I’m young and not afraid of living with my parents and I’m free to chase whatever ideas I want.”
Christian Fennesz has released a new solo album, Mosaic. It follows 2019’s Agora as well as his 2022 Ozmotic collaboration Senzatempo. The Australian ambient maestro recorded the LP by setting himself a 9 to 5 schedule, building tracks by improvising and honing them out. Mosaic was composed and recorded at the end of 2023 and completed in the summer of 2024, with Denis Blackham handling the mastering. The title, according to press materials, “mirrored this process of putting an element into place one at a time to build the full picture, an ancient technique of making an image, before pixels did it in a flash.”
St. Louis rapper Smino is back with a new record, Maybe in Nirvana. A tribute to his late grandmother and cousin, the project features production from Groove, Monte Booker, Kenny Beats, and Phoelix, as well as guest appearances by Ravyn Lenae, Thundercat, Bun B, and BJ The Chicago Kid, among others. “This project is me exploring my own nirvana – my peace, my chaos, and everything in between,” Smino explained in a press release. “Every song is a piece of me that ties into the bigger picture. I wanted to make something that feels limitless, like it could live outside of time.”
Other albums out today:
ROSÉ, rosie; Nettspend, Bad Ass F*cking Kid; Siete7x, Stucc in the Hole; Bubble Love, Bubble Love; Roddy Ricch, The Navy Album; felicita, Spælarkle; Suso Saiz, Distorted Clamor.
On long trips, sharing close quarters can challenge the dynamics of intimacy in any relationship. Whether staying in compact hotel rooms or spending extended periods in confined spaces, partners need to find ways to respect both personal boundaries and the need for connection. Establishing an effective balance between personal space and intimacy is essential to avoid emotional exhaustion and relationship strain.
Identifying Personal Space Needs
Personal space is a fundamental need. While partners may enjoy each other’s company, limits exist on how much closeness can happen without resulting in burnout. Physical and emotional comfort depends on respecting these boundaries, particularly in the extended environments typical of prolonged travel. The need for space differs between people, with some requiring more solitude than others. Identifying these differences ahead of time can prevent misunderstandings and promote emotional well-being.
It’s common for one partner to feel more comfortable with closeness while the other may need moments of isolation to recharge. The key to harmony is recognizing these preferences and communicating them effectively. For instance, opting for solo walks or finding a quiet corner to read can reinforce boundaries without leading to disconnection. These small practices help maintain individuality and prevent the relationship from feeling stifled by constant proximity.
Partners who openly express the need for personal space can avoid feelings of enmeshment. It’s also important to engage in conversations about physical boundaries without harboring resentment. Time apart can be framed as a way to enhance the connection upon reuniting. Rather than viewing personal space as a barrier, it can be seen as an opportunity for self-reflection, ultimately improving the relationship.
The Role of Communication and Boundaries
Communication is central to maintaining personal space during long trips. Open discussions about boundaries should happen early and regularly, helping both partners understand their needs. It’s important to use positive and affirming language, steering away from accusations and focusing on collaborative solutions. For example, saying “I feel better after some alone time” is more understanding than “You’re smothering me.” The former encourages a peaceful dialogue centered on mutual improvement.
Boundaries can take various forms, not all of which are purely emotional. Sometimes physical boundaries—such as choosing separate activities or allocating solo time—can help couples stay balanced. Solo exploration during traveling may involve seeing different attractions or spending time on personal hobbies. Building these individual moments into the travel itinerary can alleviate tension and promote a healthy dynamic.
Timing is also important. Conversations about emotional needs are more effective when they’re calm, avoiding moments of heightened stress or irritation. Regular check-ins ensure that both partners’ needs are being met as circumstances evolve. This balance requires constant adjustment depending on the length of the trip, current mood, and individual situations. Well-defined boundaries foster closeness, not inhibit it.
Cultivating Shared Moments and Individual Growth
Balancing individual growth with shared moments is essential on long trips with a partner. While personal space is vital, shared experiences can strengthen the relationship. Engaging in activities together, such as hiking, sightseeing, or cooking a meal, can create lasting memories. These moments of connection provide the right balance between intimacy and personal boundaries, ensuring both partners feel valued and connected. Through shared memories, partners can enhance their bond, while still respecting personal space.
Yet, finding time for individual pursuits is equally important. Each partner should have the opportunity to explore personal interests or hobbies that may not align with their partner’s preferences. Whether it’s reading, writing, or soaking up the local culture alone, these personal moments can enrich the relationship by introducing new experiences and conversations. Consider how modern relationships can respect this balance by ensuring both partners have room for self-expression, akin to partners who seek to find successful men in their circles to engage in stimulating discussions. Balancing shared and individual time this way allows each person to return to the relationship rejuvenated and full of novel insights, nurturing both personal and collective growth.
Practical Applications on Long Trips
Respecting personal space requires thoughtful planning. When embarking on long trips, agreeing on boundaries beforehand can be beneficial. For example, setting aside particular times for solo activities ensures that each partner gets the space they need. One person may choose to explore a nearby park while the other enjoys a different interest.
Incorporating hobbies into the travel schedule is another effective way to relieve relational tension. For instance, if one partner enjoys running early in the morning, this time can be used for solitude, allowing them to return feeling refreshed before reuniting for shared activities.
Respecting each partner’s different interests throughout the journey helps prevent feelings of intrusion. This careful consideration of individual preferences ensures that time apart feels harmonious, not a source of conflict.
Regular emotional check-ins can create a low-pressure system of communication. These ongoing discussions help ensure both partners align emotionally, preventing small problems from becoming larger ones.
Psychological Aspects of Personal Space
Personal space plays a psychological role in relationships. Different attachment styles affect how people perceive space and intimacy. Those with more anxious tendencies might view space as threatening, while others may find it comforting. Understanding these perspectives can help smooth out the travel experience.
Couples with more secure attachment styles typically navigate the balance between space and intimacy with greater ease, relying on trust and open communication. For couples with less secure dynamics, setting clear boundaries can foster emotional safety and stability.
Personal boundaries allow each individual to maintain privacy and autonomy, which is necessary for emotional well-being. These boundaries can also serve as buffers during conflicts, giving partners the chance to process their feelings privately without escalating tension.
Intimacy Strengthened by Rejuvenation
Long trips can place strain on relationships if space isn’t balanced effectively. Maintaining a healthy relationship during travel requires rejuvenation. Creating intentional distance allows partners to recharge and return with new focus and appreciation for each other.
Time apart shouldn’t be viewed as a negative. Instead, moments of separation create opportunities for personal growth, enriching the relationship when the partners come back together.
Chvrches frontwoman Lauren Mayberry’s debut solo album, 
Advance Base, the long-running project led by Owen Ashworth, has a new album out today called 
Cosmic Waves Volume 1, a new compilation that marks the second release on somethingscosmic, 
Cameron Winter, frontman of NYC-based band Geese, has released his debut solo album, 
Christian Fennesz has released a new solo album, Mosaic. It follows 2019’s Agora as well as his 2022 Ozmotic collaboration Senzatempo. The Australian ambient maestro recorded the LP by setting himself a 9 to 5 schedule, building tracks by improvising and honing them out. Mosaic was composed and recorded at the end of 2023 and completed in the summer of 2024, with Denis Blackham handling the mastering. The title, according to press materials, “mirrored this process of putting an element into place one at a time to build the full picture, an ancient technique of making an image, before pixels did it in a flash.”
St. Louis rapper Smino is back with a new record, Maybe in Nirvana. A tribute to his late grandmother and cousin, the project features production from Groove, Monte Booker, Kenny Beats, and Phoelix, as well as guest appearances by Ravyn Lenae, Thundercat, Bun B, and BJ The Chicago Kid, among others. “This project is me exploring my own nirvana – my peace, my chaos, and everything in between,” Smino explained in a press release. “Every song is a piece of me that ties into the bigger picture. I wanted to make something that feels limitless, like it could live outside of time.”
