Your home can have a new, rich and full life. It can be impressive and beautiful, provide an accurate answer to the daily needs of the household and adapt to your personal style. With the professional guidance of an architect, such as Scenario Architecture, it is no longer a complex and impossible challenge but a great opportunity to dream big and give your home all the good it deserves. By walking together along the route, you have all the control over what is done, but also all the professional knowledge and personal guidance you will need to do it as best you can.
Luxury home design living room
We once thought that a luxury home is a home that is characterized by heavy and expensive elements. You may have imagined gold ornaments and glittering wallpaper, as well as chunky sofas and glossy marble flooring. But today, in the process of designing luxury homes, which include upgrading the living room of the house, every corner gets the exact design that really suits it.
Planning luxury home design living room
When planning and designing luxury homes, the living room of the house receives a warm treatment, as do the bedrooms and work area, kitchen and bathrooms. To get to the truly spectacular results you will need to plan the path better and more efficiently:
Start by coordinating expectations and setting goals – to understand exactly what you want to achieve.
Understand what your personal style is – and how it can also be combined in your luxury home.
Carefully select the highest quality raw materials.
Carefully design the right colors and shades for you.
A budget and schedules have been set for the completion of the entire project.
These are all critical steps in the planning of your home, and for the purpose of designing luxury living spaces. This is exactly your opportunity to lay out on paper all your dreams, choose the right colors and quality raw materials, and enjoy a design that provides not only impression and luxury – but uncompromising comfort.
In the process of designing luxury homes, the living room of the house gets a lot of attention – and so does every corner of the space and every room that is available to you but living areas tend to be the most important. In this process, you will choose the functional kitchen and the spacious living room, the perfect shades for the children’s rooms and even the tiles and cladding for the bathrooms. Will it have the same theme throughout or will it be different room to room? Remember that you want both functionality and maximum comfort. Before you make any decisions however, you should consider that the company you choose have:
High level of professionalism – Take an interest in current recommendations and opinions and you will get the latest perspective on the quality of work you can expect.
Specializing in luxury apartment design – the interior design style requires attention to all the small details and the way in which they manage to create the interesting and prestigious combination that you want to create in your ideal home.
Willemijn May is no pushover, “no bullshit, just the truth and nothing less” she states. Netherlands-born artist is still in her early twenties but has already accomplished more than some artists over their long life careers, having gained millions of plays and collaborated with respected artists such as Mike Perry. At Our Culture, we are proud to premiere May’s latest project ‘Just Me.’
“There’s a part of me, a version of the person that is also me” sings May in her newest song, talking about the part of her she doesn’t want to fully reveal to others. ‘Just Me’ is a personal piece that explores the universal theme of hiding details about one to others, it’s something everyone goes through. The song itself is a ballad that thrives through May’s potent vocal energy especially throughout the chorus when the most empowering lyrics hit.
Adding about the song May said: “With this song I want to share that feeling with you. The feeling of being afraid to show your whole you, because showing all might cause you to get hurt more easily, yet having the greatest urge inside you to just let go and be you, just you with all your perfect imperfections.”
‘Just Me’ will be released tomorrow via all major platforms, but for now, you can watch the official music video for the piece below.
On her debut EP, released just yesterday via Seven Four Seven Six Records, Glasgow-based singer-songwriter Lizzie Reid confronts the kind of heartache that seems to impede on your ability to remember how it all even transpired, let alone articulate it. “I don’t really mind now/ That our time is done and dusted/ But I remember fearing this feeling/ That I’m feeling,” she sings on the raw opener ‘Tribute’, delicately drawing out the final word as if to compensate for a lack of words. Throughout the poignant yet dynamic 22-minute collection, Reid channels the full intensity of those difficult and often confusing emotions, discovering more about herself and learning to open up in the process. She’s described the stunning, Laura Marling-esque ‘Always Lovely’ as being about “obsessing with the idea of perfection and worth,” but vulnerability seeps through every corner of the record, which sways from the stirring, string-backed chorus of ‘Seamless’ to the guitar-powered, liberating climax of ‘Been Thinking About You’. Recorded with producer Oli Barton Wood and completed just days before the first UK-wide lockdown, Cubicle is a promising introduction to the 23-year-old’s emotional and melodic strengths.
We caught up with Lizzie Reid for the latest edition of our Artist Spotlight interview series, where we showcase up-and-coming artists and talk to them about their music.
How did you discover music was a passion of yours?
I think I always loved music since I was very wee. I remember being five or six and being really emotionally impacted by music in films and just music that my parents were playing around the house. I remember just closing my eyes and pretending it was me performing the songs, and then realized that I could do it myself and started getting piano lessons. And it wasn’t until I was maybe 16 or 17 that I realized I could potentially do it as a career. It was always a dream – in a way, it wasn’t even a dream because I just didn’t think it was at all achievable. But it wasn’t until I started actually playing live and getting some support from people in the industry, when I was about 16, that I realized, “Oh, maybe I could actually do this.” And then the passion just kind of got more intense and it becomes a bit of an all-consuming obsession.
You mentioned music in films, do you have any particular memories of film moments you were drawn to?
You know that the film Jack Frost? I think there was a couple of versions of it, but it was the one where Stevie Nicks was singing ‘Landslide’. That iconic scene when he’s building the snowman and that was the song in the background – I just remember being, I think, about six or something, and just being like, “I’ve never heard anything like that.” I just thought her voice was so unusual and the song was beautiful.
That’s quite a young age to start getting into Stevie Nicks and Fleetwood Mac!
[laughter] I remember as well at the time, because I was wee and the only kind of pop music I’d heard was kind of chart stuff, and I remember thinking, That woman singing ‘Landslide’ has such an unusual voice, I wonder what it would sound like, you know, if Katy Perry sang it. And then I was like, looking back on it I thought that’s awful, like the reason it’s so good was because of her voice. I just find it really funny that I even thought that.
But Stevie Nicks is like my ultimate queen. It wasn’t until I was a bit older that I even looked into who she was, though. I think I was 12, 13, and I really learned to appreciate that kind of gravelly and almost imperfect kind of vocal style that I hadn’t really heard before that point. And she had a massive influence particularly in my early teens with my vocal delivery, which was surprisingly easy to get for a 13, 14-year-old. People used to say that it sounded like I smoked 50 a day, which I did not. I don’t really know how that happened, I just had a very unhealthy singing technique.
Are there any other artists who got you really excited about music at an early age, and then others who really changed or shaped the way you approached songwriting later on?
Yeah, so it was Stevie Nicks first, and I remember around that time I was listening to a lot of old music, like the Beatles, Pink Floyd, Led Zeppelin, all of these were my favorite bands that I listened to. And One Direction, but we’ll just like forget about that. [laughs] So I had quite a similar taste to my parents, I suppose. And it was that kind of way that there’s a lot of that chat about how, “Oh, music isn’t the same anymore. Music is has changed so much and it’s just this chart music now that is just trash.” And I just remember discovering that there’s actually so much good music happening right now and that attitude actually totally isn’t a thing. I think it was when I discovered Laura Marling that I just realized there was a whole bunch of really young musicians doing amazing stuff. It was Laura Marling that changed the way I thought about songwriting and it took me down a different road.
I know you were playing music for quite a while before recording your debut EP. What made you feel like this was the right time to do that?
I feel like it almost wasn’t a choice. At that point, it was just such a natural thing that happened and we’re like, “Okay, this is it now.” I’d been gigging as a solo artist for maybe three or four years at that point, and I had recorded a few times with the intention of releasing music but it never felt quite right. And just all of a sudden we were like, “Right, this year is the year,” and I was so grateful that we had taken that time. I’m just very thankful that we didn’t release anything a few years prior to that because I don’t think I was ready, you know. I’m 23 now and I think being given that time to kind of figure out myself and my sound.
What was the process of making and recording the EP like?
It was so much fun. We just turned my house basically into a studio, and the drum kit was in the TV room, and then our control room was down the other end of the hall. So we had wires all down the hall. It was just really really nice because everyone that recorded on the record I’m really close to; Katrina is my cousin, she plays the cello on it, and Oli who produced it, I had met a couple of times and we’d written together and I just knew that I wanted to work with him. So everything just felt very comfortable, which is unusual for me because I just find recording quite stressful.
Lyrically as well, there are a lot of personal and intimate moments on the record. Were there any points during the writing or recording process where you felt it was especially challenging to channel those emotions?
Yes, actually. When I wrote ‘Seamless’, in particular, when I – well, I wrote them all when I wasn’t feeling so great, to be honest, but ‘Seamless’ in particular, when I wrote it I was really not feeling good, wasn’t in a good place, and by the time I came to actually record it, I was in just a completely different mindset. So it was kind of a strange challenge. When I perform live in front of an audience I feel like it’s so much easier to tap into that emotion that you felt when you wrote it, but for me recording is still quite a strange environment. So it did take quite a lot to try and get back into that headspace and create that emotion.
Do you remember what it was like writing that song?
Yeah, that was one of the first times I wrote with someone else, I was writing with Jessica Sharman down in London. And I remember it was the most direct I’d ever been in my life, writing, and I think that started a bit of a chain naturally. Because I feel like a lot of the other songs in the EP that I wrote after ‘Seamless’ are all quite direct and quite personal, which I didn’t always write like that, to be honest. I think I tried to separate myself from the song a little bit before that, and I think ‘Seamless’ was one of the first experiences where I was very, very present and very upfront with writing, and I felt quite uncomfortable, to be honest. But I think it was worth it, going through that process.
My favorite track on the EP is probably ‘Been Thinking About You’, just because of how ambitious and almost playful it is. What went into the making of that song?
Yes, so I just recorded the original demo at home on my own GarageBand. The screams that are on the final track are from the original GarageBand demo, because I just loved the exact scream that I had done that day. And it wasn’t originally considered for the first EP, but I felt like I wanted to have a switch of dynamic a little bit and take it somewhere else. I’m glad I made that decision because I think it’s a bit of a relief from the other tracks to have that change of pace.
Do you feel like it’s more of an indication of where you might want to take your sound in the future?
Definitely, I think that’s why I wanted something like that in there. Maybe this is just my own insecurity and me projecting a little bit, but I didn’t want to be considered as just a sad singer-songwriter musician. That’s something I had a bit of a complex about. And I love sad singer-songwriter music, you know, that is a massive part of me and what I do, I just wanted to kind of hint that we can be going somewhere else here, at some point.
I wanted to ask you about the title of the EP, Cubicle. What does that represent for you?
‘Cubicle’ was written just about a night that I had, just on a night out. And I was just having a bit of a panic attack, to be honest, and that’s something that I have struggled with in the past and still do. And I tend to find myself locked in cubicles very often because I just need to get away, I need to shut myself in. And that’s what that song was about, it was a particular night where I was just totally overwhelmed by the evening, and I was just like, “I need to calm myself down and just hide away for a bit so I can come back out and just face the night and get through it” kind of thing. And I wanted to name the EP after it because I think that song was a real moment for me at the beginning of my healing process, I suppose. It felt like I was letting go of something, finally, so it was nice to end the EP with that song. I also have ridiculous stage fright so I do spend a lot of my time in cubicles before going on stage and stuff as well, just locking myself in there for a bit.
You said it was like letting go of something, is that what it kind of feels like releasing the EP as well?
Yeah, it’s like a bit of closure. It’s been very intense, because like I said this is happening in 2019, and to be revisiting these emotions so much with, you know, the press stuff, and having to speak about it a lot. It’s been almost like going over all those feelings again. And so it’s almost like I’m letting go of it all again by releasing it and now I can move on to the next chapter. I’ve done a lot of reflecting, I’ve had so much time because of lockdown as well to think about everything. So it will be nice to get it out and just finally feel like that chapter has closed.
This interview has been edited and condensed for clarity and length.
CBD Oil is a controversial subject that gave birth to several misinformation and confusion. It is surrounded by a heady amount of stigma and scrutiny. It’s been so misunderstood that there are actual myths about it passed around by word of mouth or social media posts. And since CBD is gaining popularity over the past years, it’s just about time to bust those myths and set things straight.
Everything You Need To Know About CBD Oil
CBD is short for Cannabidiol, a prevalent active ingredient of cannabis (marijuana). CBD oil is a natural chemical compound that is extracted from a hemp plant. It is diluted with another type of oil, like hemp seed oil or coconut oil.
CBD mainly affects the Endocannabinoid System (ECS) of the body. The ECS maintains the body’s homeostasis and contributes to helping the body adapt to outside stressors. CBD serves as a phytocannabinoid, a type of cannabinoid produced by plants, which mimics the endocannabinoid. They provide the needed boost that your body needs.
There are quite a variety of CBD oil products in the market. One such fun and trendy way to use it is in vaping. Before using one, make sure that it is an organic pure CBD vape oilthat has ingredients safe for inhalation. There are also CBD oil tablets, supplements, and capsules for intake if vape is not for you.
CBD oil also has several skincare and beauty products. CBD oil drops are also an option. No matter which CBD oil product you use, take caution and keep track of your safety dosage.
It has multiple benefits but do take note that CBD oil has side effects. Some known side effects are a dry mouth, vomiting, nausea, bloating, and diarrhea. These are usually mild and dose-dependent. It will resolve in 2-4 hours.
What Are The Uses Of CBD Oil?
CBD oil has multiple health benefits. In fact, it was even recently approved as a prescribed medication for controlling seizures in patients who have childhood-onset epilepsy. Other studies are looking into using it to relieve multiple schizophrenia and sclerosis symptoms. Many CBD oil users also claim it to help with inflammation, anxiety, insomnia, and pain.
CBD stimulates the ECS receptors. The receptors for cannabinoids can be found in the reproductive, digestive, immune, and nervous systems. As it goes around and covers almost every system, CBD may be deemed as a cure-all. That may not be the case, but it does regulate neurotransmitter function, mitochondrial function, inflammation, and metabolism.
While the CBD moves into your ECS, it creates a tranquil feeling of calm and peace. You can go through your favorite movies or perhaps binge-watch top anime shows after ingesting CBD oil tablets or while puffing CBD oil vape. This would surely entail a relaxing and laid back night for you.
Myths About CBD Oil And The Real Truth Behind Them
With CBD’s association with Marijuana, it’s no wonder that the general public heavily scrutinizes it. There are several myths about CBD oil, but is there any kind of truth to them?
It Gets You High
CBD oil came from hemp, a plant that came from the Cannabis Sativa family, alongside marijuana. Do note that while that is the case, CBD doesn’t have the psychoactive effect known as ‘getting high.’
Medical experts around the globe have proved that CBD, to date, hasn’t caused any health-related problems. Studies also show that it has no effects that indicate dependence or abuse potential. This is possible due to Hemp containing only a low percentage (about 0.3%) of Tetrahydrocannabinol (THC), the psychoactive constituent of cannabis. This is what sets it apart from Marijuana, which has a high THC percentage.
It’s Illegal
This depends on where you live. In 2015, FDA eased their regulatory requirements to give researchers a chance to conduct studies about CBD. Only in 2018 was CBD oil made legal and obtainable in most parts of the US after former President Donald Trump signed the Farm Bill.
Under the new law, CBD gummies, oils, and other CBD products are officially legal in 50 states of America.
It Produces Fast Results
People tend to assume that because Marijuana has a fast-acting psychoactive effect, CBD would be the same. That is not the case, unfortunately. There are cases where results appear after a few days. Some take weeks of consistently using it.
Don’t be disheartened when it doesn’t take effect immediately. Like other health-related products, it takes time.
It’s Dangerous
Since it’s only been recently legal, there are minimal studies that support the effectiveness of CBD. There’s still barely compiled evidence and data about the compound’s effects. This is the main argument and concern of critics against CBD.
There are side effects to using CBD. That is unavoidable. But do take note that there has yet no major side effect discovered. The worst it could give a person is a dry mouth, diarrhea, mood changes, and exhaustion.
The bottom line is that CBD is not dangerous. There are side effects to look out for, yes, but all prescriptions have that!
You Can’t Travel With CBD Oil.
With its previous illegal status, it is understandable to be a bit wary regarding traveling with CBD oil. The last thing anyone wants is to be detained on their way to a long-awaited vacation or an important out-of-town business conference. The answer to that is yes. You can travel with CBD but do take note of a few things before doing so.
The CBD product you are bringing with you must be derived from the hemp plant. You will be taken in if it’s derived from marijuana, as that is illegal in most states. You don’t need to be worried as long as your CBD is hemp-derived and all federal regulations concerned with legality are met.
Be prepared to answer some questions. Sometimes, TSA agents find it difficult to differentiate marijuana-derived and hemp-derived CBD.
These are just amongst the most common myths surrounding CBD oil. There are a lot more floating around. Before jumping to the scrutiny bandwagon, double-check the facts first. See if these myths are the truth.
Let’s dodge shady and fake information and settle for the truth. Give CBD the benefit of the doubt before jumping to conclusions. It’s best not to judge something without getting all the facts first.
MUBI, the must-have subscription service for film fanatics, published their schedule for the month February. The list includes some terrific films including The King of Comedy (1982) by Martin Scorsese, Heat (1995) by Michael Mann, and Legend (1985) by Ridley Scott — to name a few.
Films on MUBI in February, 2021.
1 February | Cenote | Direct from Rotterdam | Oda Kaori 2 February | Meeting the Man: James Baldwin in Paris | Rediscovered | Terence Dixon 3 February | The Passion of Joan of Arc | Double Bill: Carl Theodor Dreyer | Carl Theodor Dreyer 4 February | For The Time Being | Direct from Rotterdam | Salka Tiziana 5 February | Heat | Michael Mann 6 February | The Terrorizers | Edward Yang 7 February | The Color Wheel | Alex Ross Perry Focus | Alex Ross Perry 8 February | Birds (Or How To Be One) | Direct from Rotterdam | Babis Makridis 9 February | Song Without a Name | MUBI Spotlight | Melina León 10 February | Stump The Guesser | Luminaries | Galen Johnson, Evan Johnson, Guy Maddin 11 February | If It Were Love | Berlinale Focus | Patric Chiha 12 February | Dead Pigs | Debuts | Cathy Yan 13 February | L’Auberge Espagnole | The Spanish Apartment Trilogy | Cédric Klapisch 14 February | The African Queen | Valentine’s Day | John Huston 15 February | The Twentieth Century | Berlinale Focus | Matthew Rankin 16 February | Digger | Berlinale Focus | Georgis Grigorakis 17 February | Uppercase Print | Berlinale Focus | Radu Jude 18 February | Bad Tales | Berlinale Focus | Fabio & Damiano D’Innocenzo 19 February | Listen Up Philip | Alex Ross Perry Focus | Alex Ross Perry 20 February | Russian Dolls | The Spanish Apartment Trilogy | Cédric Klapisch 21 February | The King of Comedy | Martin Scorsese 22 February | Sacro Gra | Gianfranco Rosi 23 February | Fire at Sea | Gianfranco Rosi 24 February | The Sky is on Fire | Brief Encounters | Emmanuel Van der Auwera 25 February | Beyond Clueless | Charlie Shackleton 26 February | Chinese Puzzle | The Spanish Apartment Trilogy | Cédric Klapisch 27 February | Legend | Ridley Scott 28 February | Queen of Earth | Alex Ross Perry Focus | Alex Ross Perry
Ormiston, a Montreal-based singer-songwriter, unveiled his creation ‘Rebel,’ — just yesterday. The song is the debut for the Canadian artist who will look to branch out with further releases later in the year; especially his forthcoming album, which is supposedly scheduled to be released in the Spring of 2021.
The song itself embarks on a good-feel trip with vibrant MGMT-like energy. Ormiston doesn’t shy away from the Discoteque vibe that pops out from the get-go, solidifying himself as the artist to follow in the coming months.
‘Rebel’ can now be streamed via Spotify and all other major platforms.
How do respond to crises? This is the fundamental question behind Toronto-based songwriter Tamara Lindeman’s fifth studio album as the Weather Station. The title of the album, Ignorance, might give the impression that the 36-year-old has arrived at a less-than-heartening conclusion, but in the process of working through different types of conflict, she has also crafted a shimmering collection of songs that tap into feelings of both profound grief and existential wonder with equal fervor. The album elegantly oscillates between the personal and the universal, at times wringing beauty out of heartbreak but more often interested in simply being in tune with it, and by extension, the world around her – a world on the brink of unprecedented environmental catastrophe.
During the making of Ignorance, Lindeman spent large amounts of time studying the climate crisis, moving from what she’s described as “simmering dread” to fully grasping the grim reality of the situation through activism. Rather than merely translating those facts into a form of protest music, the album reflects that renewed awareness more in its spacious presentation than its actual content. A stylistic leap even compared to the artist’s 2017 self-titled LP, Ignorance strays further from the spare folk of her debut and expands her palette by incorporating an array of synths, strings, and percussion hinting at 80s sophistipop and modern folk-rock; these elements seem to coexist harmoniously in the same ecosystem, its rhythms warm and inviting, but every now and then a subtle, slightly off-kilter detail will reveal the tensions percolating underneath its fragile surface: the creeping electric guitar on ‘Robber’, the growing, mutating anxiety of ‘Loss’, a whirlwind of strings offering a glimpse of apocalyptic doom right before Lindeman steps in for the final chorus of ‘Separated’.
The project’s new sonic direction is a fitting accompaniment to the richness and complexity of Lindeman’s writing, which continues to look inwards but is infused with a new kind of openness. Always anchoring in her own subjectivity, she spends much of the first half of the record presenting a series of observations: she wrestles with the effects of capitalism on ‘Robber’, admires a sunset on ‘Atlantic’, watches a bird fly around on ‘Parking Lot’, before finally arriving at a simple yet harsh realization: “loss is loss.” She sings the phrase over and over, and one hopes, the way her voice dances in the air, that the words might for once fold into “love,” but they never do. Lindeman leans fully into the melancholy of the moment, coming to terms with the weight of that truth and finally embracing her own emotional openness. “It does not matter to the world if I embody it,” she then sings on ‘Wear’, “it could not matter less that I wanted to be a part of it/ Still, I fumble with my hands and tongue, to open and to part it.” And later, on ‘Heart’: “I guess that I am soft, but I am also angry, but I will feel all my loss, I will hold my heart inside me/ My dumb eyes turn toward beauty; turn towards sky, renewing.”
On Ignorance, Lindeman is less concerned with how we should respond to crises, or even how we shouldn’t, and instead documents the journey of learning how to be more attuned with whatever response comes naturally. She calls attention to our inherent vulnerabilities as well as those of the Earth, drawing a line between humanity’s precarious nature and that of the planet we carelessly inhabit. The fact that Lindeman has always sung with her whole heart and an open-eyed curiosity only makes her refusal to succumb to indifference all the more powerful. On ‘Tried to Tell You’ – which happens to be the only song here that includes a direct reference to the state of the environment – she recalls trying to make a friend realize their true feelings about someone. “I will not help you not to feel/ To tell yourself it was not real/ And only fools believe,” she sings, almost breathless. “This is what the songs are for/ This is the dirt beneath the floor.”
The Academy of Motion Picture Arts and Sciences has unveiled its shortlists for the 2021 Oscars in nine categories: International Film, Documentary Feature, Music Score and Song, Makeup & Hairstyling, Visual Effects, Shorts, Documentary Short Subject, and Animated Short Film. This year marks the third year in a row the Academy has released its shortlists for nine categories on the same day. Check out the complete shortlists below.
The official phase one voting is set to take place on March 5-9, while the full Oscar nominations will be announced on March 15. After being pushed back from February due to the COVID-19 pandemic, the 93rd Academy Awards will be presented on Sunday, April 25.
Documentary Feature
All In: The Fight for Democracy
Boys State
Collective
Crip Camp
Dick Johnson Is Dead
Gunda
MLK/FBI
The Mole Agent
My Octopus Teacher
Notturno
The Painter and the Thief
76 Days
Time
The Truffle Hunters
Welcome to Chechnya
Documentary Short Subject
Abortion Helpline, This Is Lisa
Call Center Blues
Colette
A Concerto Is a Conversation
Do Not Split
Hunger Ward
Hysterical Girl
A Love Song for Latasha
The Speed Cubers
What Would Sophia Loren Do?
International Feature Film
Bosnia and Herzegovina, Quo Vadis, Aida?
Chile, The Mole Agent
Czech Republic, Charlatan
Denmark, Another Round
France, Two of Us
Guatemala, La Llorona
Hong Kong, Better Days
Iran, Sun Children
Ivory Coast, Night of the Kings
Mexico, I’m No Longer Here
Norway, Hope
Romania, Collective
Russia, Dear Comrades!
Taiwan, A Sun
Tunisia, The Man Who Sold His Skin
Makeup and Hairstyling
Birds of Prey
Emma
The Glorias
Hillbilly Elegy
Jingle Jangle: A Christmas Journey
The Little Things
Ma Rainey’s Black Bottom
Mank
One Night in Miami…
Pinocchio
Music (Original Score)
Ammonite
Blizzard of Souls
Da 5 Bloods
The Invisible Man
Jingle Jangle: A Christmas Journey
The Life Ahead (La Vita Davanti a Se)
The Little Things
Mank
The Midnight Sky
Minari
Mulan
News of the World
Soul
Tenet
The Trial of the Chicago 7
Music (Original Song)
Turntables, from All In: The Fight for Democracy
See What You’ve Done, from Belly of the Beast
Wuhan Flu, from Borat Subsequent Moviefilm
Husavik, from Eurovision Song Contest: The Story of Fire Saga
Never Break, from Giving Voice
Make It Work, from Jingle Jangle: A Christmas Journey
Fight For You, from Judas and the Black Messiah
lo Sì (Seen), from The Life Ahead (La Vita Davanti a Se)
Rain Song, from Minari
Show Me Your Soul, from Mr. Soul!
Loyal Brave True, from Mulan
Free, from The One and Only Ivan
Speak Now, from One Night in Miami
Green, from Sound of Metal
Hear My Voice, from The Trial of the Chicago 7
Animated Short Film
Burrow
Genius Loci
If Anything Happens I Love You
Kapaemahu
Opera
Out
The Snail and the Whale
To Gerard
Traces
Yes-People
Live Action Short Film
Bittu
Da Yie
Feeling Through
The Human Voice
The Kicksled Choir
The Letter Room
The Present
Two Distant Strangers
The Van
White Eye
Visual Effects
Birds of Prey
Bloodshot
Love and Monsters
Mank
The Midnight Sky
Mulan
The One and Only Ivan
Soul
Tenet
Welcome to Chechnya
While acne is sometimes labeled a teenage problem, around 15 percent of women continue to suffer from breakouts past the age of 25, according to the American Academy of Dermatology.
Regardless of your age, treating acne and stopping breakouts means finding the right products for the job. There’s no shortage of drug store products and DIY remedies that claim to cure acne and other skin problems. But the reality is that the only way to put an end to your breakouts is to find the right products for your skin and its unique needs. And that may include surgery like coolsculpting boca raton.
If you’re ready to stop the cycle of irritated, red, or inflamed skin, keep reading to learn what you need to know about skincare product ingredients.
Spotting Dangerous Skincare Ingredients
Take a stroll down any drugstore beauty aisle, and you’ll spot dozens or more colorful bottles, tubes, and tubs, each promising to cure your skincare woes. But behind many of those promises are ingredients that are designed to reel in unsuspecting buyers, only to do little to care for your skin. And worse, many of these ingredients may actually do you more harm than help.
When you’re looking for the right products for your skin, learning how to spot dangerous ingredients is important. For example, be wary of any products with added fragrances. While these scents may leave your skin smelling fresh, they can also cause irritation. In fact, research shows that added fragrances are a leading cause of contact dermatitis. In some, this may mean redness of the skin or discomfort. But others may experience painful rashes or more severe allergic reactions.
Another type of dangerous ingredients to avoid are parabens. These chemicals are added to many beauty products to prevent mildew and mold from forming, but can also wreak havoc on your skin. In some cases, parabens may even be absorbed into the skin, causing other health concerns.
Other ingredients that are overly harsh and may damage your skin or cause irritation include alcohol, phthalates, and formaldehyde.
Choosing the Right Ingredients to Fight Your Skincare Woes
Learning to spot harmful ingredients in common skincare products can help you avoid irritation and outbreaks. But if you want to get to the root of your skin issues, you also need to learn to spot good ingredients.
Your skin is unique, and with its unique features comes unique needs. The right ingredients can help you clear up breakouts, prevent wrinkles, or fade dark spots.
When it comes to fighting acne, skip the harsh alcohol for an ingredient with the power to clear your breakouts and prevent future ones. A salicylic acid cleanser, like the dermatologist-approved products from Rodan + Fields, will help to remove dead skin cells and other debris that clogs pores and causes pimples. Gentler than other acne treatments, it can also help to reduce red, inflamed skin.
Creating a Customized Skincare Routine
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When Margaret Sohn released her debut EP under the Miss Grit moniker, Talk Talk, they never expected it would receive as much attention and acclaim as it did. Rather than eliminating feelings of self-doubt, the positive response reignited the sense of imposter syndrome she had experienced both as an artist and a Korean-American, to the point where she felt more like “someone who was impersonating a musician.” Sohn, who grew up in white suburban Michigan before moving to New York to study music techology at NYU, tackles these gnawing anxieties head on with her formidable new EP, Impostor. Though the singer-songwriter has acknowledged similarities between their music and that of artists like Mitski and St. Vincent, whose influence can be heard throughout the record, the six-track collection radiates newfound confidence and ambition in a way that centers more on her own musical identity. Despite being entirely self-produced, the songs teem with explosive dynamics and rich atmospheres that not only showcase Sohn’s impressive production skills but also hint at a promising future. “I have nothing to say,” Sohn repeats on the standout ‘Blonde’, their voice slowly disintegrating as it sinks into some abyss. By the final track, she proves otherwise, signing off with a simple yet powerful directive: “Let me smile.”
We caught up with Margaret Sohn for the latest edition of our Artist Spotlight interview series, where we showcase up-and-coming artists and talk to them about their music.
You first picked up the guitar around the age of six. Do you have any memories of what it was like when you first started learning and playing?
I think I was just really excited to have this new thing that I was exploring. My mom would always tell me that she never had to remind me to practice or anything, and I was just really self-motivated.
I remember trying to write a song in high school, but I was really – I think I had in my mind that songwriting had to be done on acoustic guitar and playing chords and taking the more singer-songwriter approach, and that really didn’t work for me. So then once I had tried that, I was like, “Okay, so I guess songwriting isn’t really for me, I don’t think I’m cut out for it.”
It’s interesting that you say that, because I know that while you were studying music technology at university you were drawn to effect pedals, not just experimenting with them but also the idea of making them. I’m curious if being a full-time musician was always your first dream in your mind, or if there was a reason that you ended up gravitating towards that side of things as well.
I just wanted to be a guitarist in someone else’s band, basically, like playing backup for someone or helping other people’s bands form. But my first attempts at songwriting were in college, or first attempts with the production method that I was also using – songwriting and producing at the same time. I started that way because I wanted to just prove to myself that I could write music that I liked. And I wasn’t really taking it seriously then to pursue songwriting and being an artist at that time.
How did your mindset change?
I think it was just the confidence boost of releasing the Talk Talk EP and having it being received well by other people. Like, I didn’t even really dream of other people who I didn’t know listening to my music, so that was kind of just a big shock to me.
And of course that relates to the themes of this EP as well, with the idea of the imposter syndrome. When did you first fully grasp what that term meant or saw your experience reflected in it? How did you realize it’s different from just feelings of self-doubt?
When I started writing this EP, I didn’t really go into it being like, “Oh, I’m gonna write about imposter syndrome.” But it was more like, I was just writing these songs and they happen to have this common thread throughout them. And I realized that that was what imposter syndrome is like, basically these feelings of feeling like a fraud in a lot of different aspects of my life. And realizing that it was different from self-doubt because – I guess the way I can put it best is that I really just felt like I was faking being a musician or faking being a Korean-American. I guess it comes from a lack of confidence maybe in myself, but it’s also just part of my personality to always just be realistic about things and kind of talk myself down from getting too ahead of myself, and that’s how it gets ingrained in these different parts of my life.
You obviously created the moniker before before releasing your first EP, but for someone who’s only become familiar with your music now, because of the title of the new EP, they might assume you created this moniker as a way of separating your artistic and personal identity. Do you feel like it serves kind of a different purpose now, or has that always been part of the idea behind it?
Not so much separate, but kind of being able to step into these shoes and be able to express myself to the fullest, I think. Because having a different identity to step into allows me to put aside my insecurities as Margaret and all my social ties to people and just how I want to present myself in everyday life and be able to forget about those things as Miss Grit. I think before, when I was creating the Talk Talk EP, it wasn’t on my mind that I was creating music under Miss Grit, because I wasn’t even in that mindset that I was gonna release music and play live shows. So I think creating the Talk Talk EP was much more of a personal thing, like I was creating music in my bedroom. And I think some of those insecurities of Margaret kind of like played into that more, with the Impostor EP I was able to have a little bit more confidence and be able to say what I wanted to say more clearly.
I think that definitely comes through musically, especially in your decision to self-produce and expand your sound in many ways. Was having that confidence reflected musically more of a conscious decision or something that came subconsciously?
I think a little subconsciously, just because I was getting really excited writing this record. And I think guitar plays a big part in it too, like I was in the kind of live show mindset and arranging music so that it would feel really powerful to play in a live setting, and I think being a guitarist had a lot to do with that too. I just really wanted to create music that felt really good to play and feel empowered and expose some of my personal insecurities and be able to use all of that and combat it with a more powerful sound.
Now that the EP has been released, what do you feel like you’ve learned from the process as a whole? And what do you hope listeners take away from the EP?
I think looking back, just because it was so long ago that I was writing this – I think it was like two years ago now – I was in, like, live show mode, I was playing my first couple of live shows and I think I had a lot of rules for myself back then and trying to fit some template that I had in mind for myself, so reflecting now I’m just hoping to be able to write more freely in the future and not be too concerned about rules or templates I need to fit.
I hope my listeners are able to relate in some way. I think imposter syndrome is a really common thing and people probably deal with it in a lot of different aspects of their lives too, so I hope there’s just something in there for everyone.
What can you tell me about any new material that you’re working on currently? How would you compare it to your previous work?
It’s kind of funny, because the Talk Talk EP I wrote alone in my dorm room and in isolation, and then the Impostor EP, I was writing it with other people in mind, like other musicians playing my music and my band. And then this new music that I’m working on is written, again, alone in my room, in quarantine. So I think maybe there might be some more similarities to the Talk Talk EP with this new material that I’m writing. But I think I know myself better as a songwriter a little more, just because the Talk Talk EP was some of my first experiences writing and producing myself. The Impostor EP felt really good to write just because I was able to address the feelings I was having in those moments and write in the atmosphere that I wanted to write in. And I feel like I kind of closed that chapter in my songwriting phase and now I’m able to move past that and go full steam with this new material and try to create new atmospheres.
This interview has been edited and condensed for clarity and length.
